ICD MAY 1969 60¢ LAB TEST REPORTS HICH Heathkit's First Compact Ampex 1450 Tape Recorder FIDELITY' KLH 27 Receiver

How to Determine Component Compatibility

My Favorite Which Sibelius Records Symphony A NEW SERIES Recordings This Month Should You Leontyne Price

Z+7; ! s ; N H7S j. ;° NV-1,11)7'. ZO 6ilOT110004-9704$1,-'0-1v , . _G4

www.americanradiohistory.com 7;,Nt O M.r/C

S O U D S I A i E F M A M S T E R E O R E C E I V E R

101 108 88 90 92 94 961 98 100 102 104 106 - , ,. , . ...._._... r" IIO 120 140 ,I60 The 53 55 60 ,00 90 loo - ff.' Fisher .. 250-T I11 E''KOR

SOLD 5,7I E M A M STEREO RECEIVE I 88 90 92 921 96 98 100 102 104 106 101 co.) - The 53 55 60 6` 1.0 00 90 100 IMI 120 140 .160 - Fisher 400 -T i ek

1 The Fisher ffliadr 500 -TX SOIP 31,4,1

The Fisher RK -30. iii AIa An optional accessory that provides remote -control tuning of the Fisher 500 -TX. $9.95.

-SERVICE CARD NUM,. 3290993. P.ICES SE.HTE HIGHC iN 791 9 WE51. CIRCLE 30 ON READER WAENuT C.8iNET.S19.95. . w.ENUT C..INE.522.95. fu.S.PATENT www.americanradiohistory.com For $299.95 this receiver offers all these Fisher features: Tune- O -Matic pushbutton memory tuning, Stereo Beacont automatic stereo /mono switching, Baxandall tone controls, Fisher AM circuitry, FM sensitivity of 2.0 microvolts (IHF), and it delivers 100 clean watts into 8 ohms -enough power to drive any speakers at normal listening levels.

For an extra $50 this receiver has all the features of the 250 -T, plus an extra fifty watts of power. That extra power will come in handy if you're going to drive very low efficiency speaker systems at very high levels.

This is the most powerful, most versatile receiver we've ever made. 190 watts music power into 8 ohms. Dual -gate MOSFET RF and mixer stages in the FM -tuner section. (Usable sensitivity 1.7 microvolts, IHF.) A 4 -pole crystal FM filter provides an unusually high degree of selectivity. And there is a total of four ways to tune the 500 -TX. In addition to standard flywheel tuning and Tune -O- Matic, there's also AutoScanTM. Touch one of two buttons and the next FM station up or down the dial is automatically tuned in. Hold down either button and every FM station up or down the dial comes in, Free one by one. Remote control AutoScan is an optional accessory. r "7 You want power? We've So AM broadcasts will sound stations, then tune to them Mail this coupon got power. More clean power almost as good as FM -mono. electronically at the touch for your free for your money than anybody The FM- stereo section of a button. copy of The Fisher Hand book,1969 else, as a matter of fact. of a Fisher will pull in They all have Baxandall edition. This 72- Fisher receivers deliver stations other, comparably tone controls. So you can page full-color 1 regulate the upper highs and reference guide their rated output (± dB) priced receivers can't. (Fisher receivers extra - the lower lows without to hi -fi and stereo also includes detailed into 8 ohms, the impedance are information on all Fisher components. of practically all of today's selective as well as touching the mid -range. Fisher Radio Corporation speaker systems. sensitive.) Count stations. Of course, they all use 11 -35 45th Road (Receivers rated at Prove it to yourself. the very latest electronics, Long Island City, N.Y. 11101 4 ohms actually deliver less All these Fisher receivers including FET's and IC's. Name than their rated power into include the convenience of And all have facilities 8 ohm speaker systems.) Tune- O- MaticTM pushbutton for connecting and memory tuning. So in controlling two pairs of Address But power isn't every- thing. These Fisher receivers addition to being able to speaker systems. have a host of other features. tune across the dial in the (These Fisher receivers City State Zip All three, for example, regular way, you can preset are quite powerful. L include special AM circuitry. several of your favorite FM Remember ?) www.americanradiohistory.com pace power'

www.americanradiohistory.com 100 rintottA ohms

150 into 8 ohms

1f%watts.9%, into 8 ohms'

www.americanradiohistory.com ..-. 411/9w ..... +41tI I C1

Words are inherently limited in stimulating of every instrument. With no loss of power. the emotions aroused by music. This is especially so In the case of strings, this meant a cartridge in describing how high fidelity components perform. that could recreate the exact nuances that distinguish With cartridges, for example, we speak of a violin from a viola. A mandolin from a flat frequency response, high compliance, lute. A cello in its lower register from a double bass low mass, stereo separation. Words like these in its higher register. enlighten the technically minded. But they do We call this achievement "100% string power." little or nothing for those who seek only When you play your records with an XV -15, you won't be the sheer pleasure of listening. concerned with even that simple phrase. We kept both aspects in mind when developing Instead, you'll just feel and enjoy the renewed experience the XV -15 series of cartridges. We made the of what high fidelity is really all about. technical measurements. And we listened. We listened especially for the ability of PICKERING these cartridges to reproduce the entire range

THE NEW PICKERING XV-151750E. PREMIER MODEL OF THE XV-15 SERIES.TRACKS AT eft TO 1 GRAM. DYNAMIC COUPLING FACTOR OF 750FOR USE IN FINEST TONEARMS. $60.00. OTHER XV15CARTRIDGES FROM $29.95. PICKERING & CO.,PLAINVIEW, L.I., N.Y.

CIRCLE 49 ON READER -SERVICE CARD www.americanradiohistory.com HIGH FIDELITY

VOL. 19 NO. 5 May 1969 MUSIC AND MUSICIANS

REPORTS FROM LONDON AND TORONTO 20 SPEAKING OF RECORDS Leontyne Price 28 DRUNKENNESS, INCEST, MURDER, AND RAPE- FA -LA -LA LA O. B. Brummell Thoughts on a recent record release 48 DICK HYMAN AND THE STUDIO MEN John S. Wilson Portrait of the virtuoso as a free-lance musician 50 THE SEVEN SYMPHONIES OF SIBELIUS Harris Goldsmith An appraisal of the recordings 56 JOHN McCORMACK- MUSICAL RACONTEUR David Hamilton The Irish tenor's winning collection of opera and song 110 CREED TAYLOR: MUSIC -BUSINESS MAVERICK Gene Lees Can a perfectionist survive in today's record industry? 116 AUDIO AND VIDEO

TOO HOT TO HANDLE HF answers your more incisive questions 30 VIDEO TOPICS The laser lights the way? 36 NEWS & VIEWS A Capital hi-fi show ... Choose your stylus 39 EQUIPMENT IN THE NEWS The latest in audio gear 40 ARE YOUR COMPONENTS COMPATIBLE? Robert Long 44 PUBLICITY PHOTO FILE A gallery of rare shots 54 EQUIPMENT REPORTS 65 Heathkit AD-27 First compact in kit form KLH -27 The company's first receiver Ampex 1450 Automatic reverse in a low -cost deck Altec Lansing 893A Speaker system, the baby of the family RECORDINGS FEATURE REVIEWS 75 Solomon and Theodora-Handelian oratorio at its grandest Two views of Prokofiev: Leinsdorf (logical), Karajan (lyrical) The "other" Bohème: does Puccini really outclass Leoncavallo? OTHER CLASSICAL REVIEWS The Berrys' satirical condiments . Istomin and Ormandy in Beethoven's Fourth 79 IN BRIEF 112 REPEAT PERFORMANCE Peter G. Davis The Gigli /Albanese (Puccini) Bohème ... Fritz Reiner's excellent Strauss 114 THE LIGHTER SIDE A close -up of Nina Simone ... The new Bobby Darin 118 125 JAZZ Fats Waller's African Ripples . . . Claire Fischer sizzles THE TAPE DECK R. D. Darrell New horizons for the classical tape collector 128 ETC.

OUR NEW DEPARTMENT 4 LETTERS TO THE EDITOR 6 PRODUCT INFORMATION 21, 131 ADVERTISING INDEX 130

and of High Fidelity Magazine are Stilly protected Published et Great Barrington, Mass. 01230 by Billboard Publications, Inc. Copyright to 1969 by Billboard Publications, Inc. The design contents and at additional Authorized as second-class mall by the Post Office by copyright and must not be reproduced in any manner. Second-class postage paid at Great Barrington mailing offices. in High Fidelity /Musical America Edition is published monthly. Subscription in the U.S.A. and Its Possessions, $12; elsewhere, $13. Subscription Department, Ottawa and for payment of postage cash. monthly. Artist Directory published in December, 517, in the U.S.A. and its Possessions; elsewhere, $18. Regular issues $1.00 a copy. National and other editions published including Concert el address wakes and Mellowed Subscription In the U.S.A. and its Possessions, $7; elsewhere, 58. Regular issues 60A a copy. Indexed In the Reader's Guide to Periodical Literature. Change Street, Cincinnati, 45214, Please state beeh old and new addresses when rebeesting a sbange. copies (P., 35m) Owed be addressed to Pleb Fidelity, Subscript¿en Department, 2140 Patterson O.

MAY 1969 3

www.americanradiohistory.com LEONARD MARCUS Our New Department Editor DEAR READER: NORMAN EISENBERG This month we initiate a new department, "Speaking of Records." Audio -Video Editor It is intended to fill a vacancy which, by the very nature of a criti- cal journal like ours, often seems unavoidable. PETER G. DAVIS As you know, the vast majority of HIGH FIDELITY'S reviews are Music Editor i of new releases. While our classical critics generally refer to pre- vious versions of those works that have previous versions, for pur- SHIRLEY FLEMING poses of comparison, contrast, etc., "newness" is the peg to which Editor, Musical America Section any consideration for discussion must be attached. If there is no new release of a work, a previous one will have little chance for EDITH CARTER discussion in our review section. ROBERT LONG SHEILA SCHULTZ We also publish record -appraisal articles pegged not to newness Associate Editors but to subject -the discographies such as this month's assessment of the recordings of Sibelius' symphonies. ROY LINDSTROM This leaves the bulk of the discs found in any well- stocked record Art Director store outside the boundaries for discussion. And this is where

"Speaking of Records" comes in. ROBERT MADDOCKS Each month a different connoisseur-a professional musician, Associate Art Director or an established critic, perhaps a serious collector -will tell you about recordings that have given him (or her) particular pleasure. RUTH W. DUNTON We will expect that most of the recordings under discussion will Production Editor be available to the reader' who has been stimulated enough by the article to buy them. But this guideline will not always be adhered MORGAN AMES to: we've got one exceptional column that deals with a selection ROBERT ANGUS R. D. DARRELL of extraordinary recordings which were deleted almost as soon as ALFRED FRANKENSTEIN they were released. In this new open- ended, no- holds- barred column, HARRIS GOLDSMITH will BERNARD JACOBSON you find such singular accounts as the one this month by GENE LEES Leontyne Price who extols the recordings not only of other prima CONRAD L. OSBORNE Contributing Editors donnas like Callas and Schwarzkopf but of pianists like Weis - senberg and Cliburn -and even of the Supremes! The column will give our regular reviewers a chance to expound MILTON GORBULEW Circulation Director on recordings they might otherwise not have a chance to tackle. We are a magazine of specialists. If we have a standard opera to review, it will probably go to Conrad Osborne. An out -of- the -way CLAIRE N. EDDINGS Assistant Publisher and classical or baroque opera? Paul Henry Lang is the man. A rock Director of Advertising Sales album? John Gabree. A piano recording? Who knows more about recorded piano literature than Harris Goldsmith? A medieval or WARREN B. SYER renaissance recording? Susan Thiemann Sommer will review it. Publisher But our specialists don't listen only to their specialties. Perhaps Curator Sommer has a favored Beethoven or Shostakovitch re- Corer: by Roy Lindstrom cording she would like to share with our readers. Mr. Goldsmith M might particularly relish some stereo bon -bons or Wagnerian epic. Is Professor Lang secretly enjoying some original cast or rock al- A D V E R T I S I N G bum? I can hardly wait. Main Office: Claire N. Eddings, The Publishing House, Great Barrington, Moss. 01230. Tele- Look for our annual speaker issue next month. It will feature phone: 413-528-1300 a three -way round -table discussion on "Speakers, Present and Fu- New York: 165 W. 46th St., New York, N. Y. 10036. Telephone: 212- 757 -2800. Seymour ture" by KLH's Victor Campos, JBL Sound's Dr. Robert Howard, Resnick, Eastern Adv. Mgr.; Charlotte Gilbert; Leonard Levine. and Electro- Voice's John Kelly. Among other topics, they will dis- Classified Adv. Dept.: James Flatley. cuss whether the new radical designs are superior to the conven- Chicago: Billboard Publications, Inc., 188 W. tional paper cone in a box. We also hope to enlighten you with Randolph St., Chicago, Ill. 60601. Telephone: "Speaker Facts and Fiction," which should dispel some common 312- 236 -9818. Leonard Levine. misconceptions about these transducers. "A 60 -Year -Old Contro- Los Angeles: Billboard Publications Inc., 9000 Sunset Blvd., Los Angeles, Calif. 9ÓO69. Tele- versy Has Flared Up Again" because of conflicting biographies of phone: 213 -273 -1555. Andrew Spanberger. two onetime antagonists: conductor Serge Koussevitzky and com- Nashville: Billboard Publications, Inc., Baker poser Alexander Scriabin. We will print both versions and even Building, 1905 Broadway, Nashville, Tenn. 37203. Telephone : 615-244 -1836. Robert come up with our own discovery of a critical object that was vainly Kendal I. sought by Scriabin scholars in the U.S.S.R. and Europe for half London: 7 Welbeck St. London W.I. Telephone: a century. Hunter 5971. Andre de Vekey. Tokyo: Japan Trade Service, Ltd., 2 -1 -408, 3 -Come Otsuka, Bunkyo -ku, Tokyo, Japon. Telephone: 944 -0805. Konji Suzuki. /1. West Germany: 10 Neuhauss EDITOR Str., Frankfurt/ Main. Telephone: 595172. Walter B. Rios.

4 CIRCLE 103 ON READER-SERVICE CARD -3

www.americanradiohistory.com TONEARMILLENIUM! The tones= on the synchronously powered SL 95... a breakthrough in stellar performance. Meticulously engi- neered- precision assemble.., it forms a completely integrated cartridge transport system -the most advanced tracking mechanism oz any automatic turntable. Pictured here, top to bottom, the galaxy cf refinements in this exceptional arm: Fully adjtsstabte counterweight for dynamic balancing Rgid, one -?iece construct_on Insert of Afrormosia -least resonant of woods The gyroscopically gimba'led mounting in which the arm floats, on needle pivots, virtu&.ly i ctibn -tree Tiny ball tearings for freedom of movement Calibrated stylus pressure gauge ' onearm safety rest Slide -in cartridge clip that assures positive alignment. &at shown: The pateited, permanently accurate s ldiag welgüt an.i -skating control Safe, gentle cueing /pause contro. The inccmparable Garrard expertise... maze than 50 yeas building the world's finest record playing eéuipstert For complimentary Comparator Guide, write Garrard, Dept. AE2 -£, Westbury, N.Y. 11590

www.americanradiohistory.com LETTERS TO THE EDITOR

Perilous Hobby number. However, I differ from Mr. Haber's general description in the fol- As a serious and aggressive classical lowing respects. record collector for twenty -five of my 1) I specialize in collecting works by thirty -five years, I identified totally with composers of the Russian school, in- Leo Haber's "The Perils of Record Col- cluding imports of obscure symphonies lecting" [February 1969]. I have passed by Scriabin, Miaskovsky, and Taktakish- through Mr. Haber's five crises -the last vili. I also specialize in pianists playing one when, bravely the joy of defying the critics. 1 Chopin, Liszt, Rachmaninoff, perform- purchased the universally damned Bort- ances by Rubinstein, and most all cello kievich Piano Concerto in B flat major music. and found it delightful. meathlESs Allow me to add 2) I have a three -by -five card file to Mr. Haber's five, two more crises of completely cross -referenced by composer my own, thus putting myself on just the and performer so that I can put my hand other puaity side of Mr. Nixon's canonical six. on any record at will. I shelve records 1) The jaded collector's compulsion to by label and number rather than by com- explore and savor obscure musical by- poser or category. ways: This dangerous state is reached 3) Once I acquire a record I will when one is overexposed to Tchaikov- rarely part with it even on an exchange the 0123.ma sky's Fourth, Liszt's Les Preludes, of and basis. To do so would mean adjusting other works ruefully labeled "war- the card file, and of course I have be- horses." There is no limit to which one come so attached to the record that it will not go majestic in search of new exotic would be like giving up a part of me. thrills. A knowing smile. indicative of Generally. I give each new record one my membership in an inner circle of or two hearings and file it. I would like powErz priestly initiates, illumines my face when- to come to the end of my never -ending ever I play Josip Slavenski's striking want list so that I can do more listening Sinfonia Orienta, Roine Rautiós poignant to earlier acquisitions. Perhaps I am D major Symphony and Kelevala Suite, now collecting just for the sake of col- Enescó s brooding Third Symphony, the lecting, but the temptations are too We could say much more about the Taktakishvili Second, or E.T.A. Hoff - strong to stop. new DC300 "breakthrough, amplifier, mann's brilliant Piano Trio in E major. Saul Kruger 2) The drive to acquire out but High Fidelity has already said it in -of -print Silver Spring, Md. records: There is something magical its March equipment report (based on about a record long deleted from I was rather appalled to find that Mr. CBS Labs test data): "'a stereo ampli- Schwann. Perhaps the item was not a Haber had written my biography in your fier that shatters all previous perform- red -hot money -maker and for this lame February issue, for I had no idea that ance records. Its performance is so reason it was withdrawn, thereby un- someone was studying the sordid facts of justly cheating good, it seems to mock the measuring us of a delicious musical my life behind my back. experience. Thus I have been breathing But despite the painful shock equipment used for evaluating it. Dis- of recog- down the necks of out -of -print specialists nition, I was pleased that something had tortion is more of a ... theoretical from New York to San Francisco in escaped Mr. Haber's acute eye: the pas- 'must be there' concept than an actual search of such rarities as Mendelssohn's sion for the "noncommercial" or "pri- measurable phenomenon. Response is Second Symphony (on the aptly named vate" recording. This often takes the form Unicorn label literally a ruler -flat line." Their final ), Bantock's haunting of a tape made off the air where a great Fifine at the Fair, and Busoni's Violin artist at the height conclusion? This "sonic Samson" de- of his powers and Concerto. Ever since I accidentally found inspired by the immediacy of a live livers " "in sum the highest performance a long -deleted recording of Hugo Wolf's audience captures for posterity the elec- yet uncountered in an amplifier." beautiful D minor Quintet in a teeny- tric charge of live music -making. Dare I bopper emporium which was otherwise Like to learn more? Check the cite Lotte Lehmann's farewell recital, given over to sheer junk, I have held the Ezio Pinza's Giovanni (from the Met in reader and service card we'll send you unshakable conviction that somewhere in 1942 with Bruno Walter conducting), the full Equipment Report plus litera- this great land every record on my out - and a Horowitz /Szell Tchaikovsky First ture. We'll also send you the name of of -print list is waiting patiently for me. that makes the old Toscanini collabora- your local dealer who will let you give William E. Oyler tion look tame? the DC300 the roughest "lab test" of St. Paul, Minn. Eric Kisch New York, N.Y. all personal listening enjoyment -the Collectors who share Mr. Oyler's tastes test. Or write Crown, Dept. 58, Box in esoterica, if not his energy in searching Sonic Boom 1000, Elkhart, Indiana, 46514. out that elusive deleted disc, will be pleased to hear of new recordings of Robert Angus' article "Hi -Fi in the Sky" both Mendelssohn's Second Symphony [February 1969] has frightening implica- (on Philips-reviewed this month) and tions. The picture of the trijet cabin with SO PURE . . . YOU CAN Wolf's String Quartet (on DGG-to be stereo speakers gives me cold chills. It reviewed next month). HEAR THE DIFFERENCE is high time that the whole philosophy of background music be re- evaluated. I My wife always thought that she was the challenge the notion that it can contain only LP- record widow around until I "something for everybody without of- showed her Leo Haber's article in your February issue. You certainly have my Continued on page 8 CIRCLE 17 ON READER -SERVICE CARD (t HIGH FIDELITY MAGAZINE

www.americanradiohistory.com press comment on the

recordAME.ICAN guide (Larry Zide)

"In choral works and other music of relatively 'heavy' content, the AR -3a simply

I in 1959 eliminates any mid -range lack of clarity ... I find myself repeating what said labout the AR -31. The AR -3a ... easily succeeds its prototype as a speaker that in home as the present state of the I consider 'as close to musical realism the ... art permits.' In a word, it's superb."

HIGH FIDELITY (Norman Eisenberg)

"Our reaction on first hearing the AR -3a was Jan' ... enthusiastic one which has not diminished after weeks of listening ... in normal use, predominantly fundamental bass is evident to about 30 Hz ... Tones in the 13 to 14 kHz region can be heard clearly at least 60 degrees off axis ... at (high' levels, the speakers sounded magnificent ... On any material we fed to them, our pair of AR -3a's responded neutrally, lending no coloration of their own to the sound."

i i 1 F1/StC1e U Review (Hirsch -Houck Laboratories)

.. the best speaker frequency response curve we have ever measured using our present test set -up ... virtually perfect dispersion at all frequencies - perhaps the most non -directional forward- facing speaker we have ever tested .... AR speakers set new standards for low- distortion, low- frequency reproduction, and in our view have never been surpassed in this respect."

CHICAGO DAILY NEWS (Bernard Jacobson)

.. I have heard many stereo setups, both professional and non -professional, in my time, but this is the most unobtrusive ...the most faithful, record reproduction I've ever heard."

The AR -3a is priced from $225 to $250, depending on cabinet finish. Literature is available for the asking.

ACOUSTIC RESEARCH, INC., 24 Thorndlk Street, Cambridge, Mass. 02141 Overseas Inquiries: Write to AR International at above address

CIRCLE 2 ON READER -SERVICE CARD MAY 1969

www.americanradiohistory.com Now ... another very special LETTERS Continued from page 6 fending anybody" -this is offensive by JansZen* its very nature. The incessant, inescap- able spate of low- grade, constant -volume electrostatic speaker system! pipeline "music" that permeates our whole existence is the American equiva- lent of the Chinese torture, and it ought to be suppressed before we all go mad. Special, because buyers have asked JansZen dealers Music is a form of nourishment, and time and again for a specific combination of our elec- people should choose what they listen to as carefully as what they eat, and trostatic speakers and woofer, for the famous JansZen not just be sprayed with it all the time. As fidelity and for a show -off cabinet ... all at an in- long as there are idiots around who are afraid to be alone with their own between price. Here it is ... the one model that has thoughts, I suppose we can go on feeding been missing from the superb JansZen line! them intravenously, as it were, via head- phones. But we should certainly turn off the loudspeakers that are disturbing the peace for the rest of us, especially in places like plane cabins with captive au- diences. Now, how about headphone sets for restaurant tables and for supermarket shopping carts? Ernest Staverrlragen Galveston, Texas

In your article "Hi -Fi in the Sky" you might have mentioned one very effective side benefit of those nasty plastic ear- phones the airlines use: nothing has been previously invented to shut up a gabby bore in the adjacent seat so com- pletely as wearing the earphones, even with the program material shut off. Frank Tack Los Angeles, Calif.

Exclusive Artists THE Z -960 Oiled walnut cabinet Apropos of Leonard Marcus' "Fausts in the Studio" 1969J, 26x% "h x 271/2"w x 14'/u "d. [January I must agree that exclusivity of recording contracts is Only $259.95 a very real problem. (Suggested retail price) I recently asked Nathan Milstein if he might consider reviving his chamber music collaboration with Vladimir Horo- If one of your big ambitions has been to step up to JansZen witz for a few Carnegie Hall recitals performance and quality and you've been hamstrung by a and recordings. Although hesitant at first. not -so -big budget, you can start stepping up now. The Z -960 for fear that his remarks might be taken has been custom -designed for you. as an indication that they were definitely going to do it, Milstein finally conceded It features three of our superlative JansZen electrostatic that he would be "delighted" provided speakers mated to our Model 350D dynamic woofer. Repeat: Horowitz indicated some enthusiasm for three electrostatics! The Model 350D, of course, is the only such a project. dynamic woofer specifically designed to match the JansZen In response to a follow -up query, I electrostatic and is hermetically sealed into a fiberglass -filled received a letter from Mr. Horowitz enclosure. stating that he was "seriously considering the proposal" but "the fact that we re- The Z -960 is a fully integrated system ... the sole function cord for different companies (Columbia of which is pure reproduction of the original sound from 30 and EMI) makes matters a little com- to over 30,000 Hz. It is a rich extension of the acoustical plicated." That was last May, and as yet authority of smaller JansZen systems and its definitive per- I have heard nothing further to indicate formance can hardly be differentiated from our costliest that anything has been done about the Horowitz /Milstein recitals and recordings. system. It holds its own in any size room and with the finest Naturally, if the "devil" of exclusive associated equipment money can buy. contracting should prevent two giants of Ask to hear the Z -960 at your dealer's. Its performance and musical history from committing their price will speak for themselves. If you wish, write us direct collaborative efforts to disc, the record- for descriptive literature. ing industry would have to bear the re- sponsibility of allowing a collaboration *JansZen speakers incorporate designs by Arthur A. Janszen between two great musicians to go un- documented. In this particular case, the and are made exclusively in the United States by only thing that maintains my optimism is the recent Columbia /EMI exchange per- NESHAMINY ELECTRONIC CORP. mitting the Cleveland Orchestra and Szell FURLONG, PENNSYLVANIA, U.S.A. 18925 Continued on page 10 CIRCLE 47 ON READER -SERVICE CARD CIRCLE 64 ON READER -SERVICE CARD ).

www.americanradiohistory.com How to recognize a stacked deck.

The Choice of Experts. Tnis is the famous Sony Model 355 selected as a 'best buy" by the nation's leading consumer report- ing service.

Unprecedented Specifications & Fea- tures. Achieves true high -fidelity per- formance even at slower speeds: (20- 22,000 Hz n 71/2 ips, 20- 17,000 Hz ä' 33/4 ips, 20 -9,000 Hz ( 17/s ips). Three speeds, 4 -track stereo and mono recording and playback, 7 -inch reels, Automatic Sentinel Shut -off, two VU meters, stereo headphone jack, pause control, four -digit tape counter, record interlock, vertical or horizontal operation.

Instant Tape Threading & Vibration - Free Motor. Exclusive Sony Retracto- matic pinch rober permits simple, one -hand tape threading. Automatic tape lifter protects heads from wear during fast -forward and reverse. Vibration -free motor is completely isolated from tape mechanism by exclusive Sony "floating" shock - absorber action.

Three Heads. Three -head design per- mits such professional features as tape/ source monitoring and sound - on- sound. Exclusive Sony circuit elim- inates record -head magnetization build -up, the most common cause of tape hiss.

Noise- Suppressor Switch. Special filter eliminates undesirable hiss that may exist on older recorded tapes. -

Scrape Flutter Filter. Special preci- sion idler mechanism located between erase and record heads eliminates tape modulation distortion. Formerly found only on professional studio equipment.

Sony Model 395. Pricec ender $225.50. For a free copy o: our latest cata og, write s7 to Mr. Phillips. Sony/Sine-scope, Inc, onf._i 8144 Vineland ¡overlie, San Valley, 3ai- . ou never heard t so good. fornia 91352.

1969. SUP ..Off ,N,

www.americanradiohistory.com LETTERS adelphia Orchestra. I refer to his review your magazine regularly, and to those of of the Telemann concertos on RCA [ "The Continued from page 8 us who follow his weekly criticisms in New Releases," March 1969] and his the Chicago Daily News. Mr. Jacobson is to record with Gilds on Angel. Perhaps snide crack at Ormandy's older recording entitled to civic pride in his city's or- EMi now owes Columbia a favor (if of Berlioz' Symphonic fantastique ["Ber- chestra, but not to the extent where he such reciprocity exists in the recording lioz on Records," March 1969]. I, for allows his emotions to do away with industry) and would allow Columbia to one, do not consider the Telemann re- reason, to say nothing of musical judg- borrow Milstein for recording sessions cording akin to "badly played Brahms," ment. with Horowitz. Let's hope so. which was Mr. Jacobson's analogy. Per- Richard J. Grande Jim Roos haps Ormandy does bring a romantic Madison, Wisc. East Lansing, Mich. treatment to baroque works, but I am nonetheless impressed by the élan and Mr. Jacobson replies: Mr. Grande accuses Critical Gall elegant playing of the Philadelphia first - me of civic pride, prejudice, and irrational- virtuosos. desk ity. Civic pride, which I happen not to I suppose any sane person has a boiling Mr. Jacobson's criticisms are typical of possess, is neither here nor there ac- point and I have reached mine. his attitude toward the -I finally Philadelphia Or- cepted a post in Chicago partly because I cannot understand Bernard Jacobson's chestra. His hysterically partisan com- I knew the orchestra to be a great one, prejudiced and irrational remarks con- ments on the Chicago Symphony are not the other way around. And I'd be and cerning Eugene Ormandy the Phil- quite well known to anyone who reads glad if Mr. Grande could instance some of those "hysterically partisan comments." As for prejudice, anyone who has read my reviews of the Karajan Bruckner Ninth, the Szell Mahler Fourth, or even the Or- mandy Nielsen Sixth, and compared them "The cNomeqt of TrutlL" with the general trend of my writing about these three conductors will know that my in `Hi`Fi cSourtd... judgments are not determined by prej- udice. As for irrationality, anyone who can read at all trill absolve that Telemann re- GFAIITAX FH-C STUDIO SPEAKERS view of the charge: there can surely be no more "rational" grounds for adverse How would you judge a sound reproduction system that criticism than bad intonation, unsteady tempos, and unrealistic balances. challenges the most highly regarded and comes off a winner ? You Mr. would listen and compare. Check and re- check. And, discover for Grande is certainly entitled to like what I don't like, since we refinements all ultimately judge yourself the unyielding that make this floor model by the emotional effect a performance system truly remarkable. Among other things, the FH -C Studio has on us, and iris gut is different from features a folded horn design enclosure to assure smooth, original urine. But his total ignoring of the specific bass response plus no undue emphasis or attenuation over the entire points I drew attention to suggests that it audible range. Tonal balance is precise and highs are faithfully is he, not I, who is being prejudiced and pure. Distortion and independent cabinetry resonance are simply irrational. non -existent. In all, the FH -C Studio means "concert hall" reality The "snide crack" he alludes to con- most knowledgeable sisted, I take it, in pointing out Ormandy's to the listener. rescorings of Berlioz. It's odd how often Do this. Judge this system against any floor model that sells people leap to the defense of an inter- for twice, perhaps three times as much. There's no doubt!- Fairfax preter at the expense of the composer. If stigmatizing such tamperings delivers the best value for "the Moment of in Hi -Fi as presump- Truth Sound ". tuous is snide, I am happy to be so. SPECIFICATIONS3 -way 4 speaker duo -harmonic system with folded horn design; freq. response 20.20,000Hz; 16' air sound travel; 60 watts power rating; 8 ohms I am very worried. May we have an im- impedance; crossover points at 900Hz and 4,000Hz; sealed, reinforced cabinets 1" d; natural oiled -walnut finish. 283/4" x 20" x 12 "; 5 year guarantee. mediate report on the state of Harris Audiofile list - $259.50 Goldsmith's mental health? Could it be that his psychiatrist's couch is out to be `FAIkFAX INDUSTRIES, Inc. reupholstered and he is taking his frustra- 165 Ward Street Paterson, N.J. 07505 (201) 684 -0669 tions, phobias, delusions, and other men- tal aberrations out on his typewriter? When, all in the same issue [March 1969], he can: a) label Artur Rubin - stein's sensitive, poetic, sober, introvert- ed, thoroughly beautiful performance of the Chopin F minor Concerto as "roughneck ... heavy, dull, and brutal "; b) find nothing but praise for Cliburn's unidiomatic, technically insecure, thor- oughly dull reading of the Grieg A mi- nor Concerto; c) prefer Watanabe's slap- dash, rough -edged, tonal- balance -and -or- chestral -ensemble -be-damned set of the Sibelius symphonies to Bernstein's alto- gether exemplary account -then he has .-.Y ` 7'1," lost me completely. As if this weren't r . enough, there is Mr. Goldsmith's rave re- a- view for that egocentric crackpot, Glenn Gould, whose performance of the Pro - t kofiev Seventh Piano Sonata is the worst I've ever heard. Every man to his own taste: however, as far as I am concerned, Mr. Gold-

Continued on page 14 CIRCLE 32 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com umuuc:rcuolmiooary Sound (tied Aniuhitier.

Unique "S.E.A." Sound Effect Amplifier tone control system of models 5001 and 5003 eliminates conventional bass and treble controls. Provides individual control of the five different frequencies that comprise the total tonal spectrum; 60, 250, 1000, 5000 and 1 5000 Hz.

watt systems to be used either independently or simul- In introducing the striking all solid state 60 E A f.eouency Cna:actensbcs per- 5 5001 and 140 watt 5003 AM /FM Multiplex Stereo taneously. Indicative of their unchallenged are Tuner Amplifiers, JVC brings the stereo fan a new formance is their refined styling. All controls The attractive dimension in stereo enjoyment -the complete con- arranged for convenient operation. the is off, trol of sound effects. black window remains black when power reveals both dial scales and tuning meter when This innovation is made possible through but _04 exciting <`e the power is on. For the creative stereo fan, the JVC incorporation of a built -in Sound Effect Ampli- 11f 7..... the 5001 and 5003 are unquestionably the finest medium fier (S.E.A.). a versatile component that divides the AMMO/ high powered receivers available today. audio range into five different frequencies. It en- and the 5001 and 5003 to be tailored to the acous- ? ables How the SEA System Works tical characteristics of any room, or to match the sound characteristics of any cartridge or speaker Glance at the two charts appearing on this page. In system, functions that were once reserved for ex- looking at the ordinary amplifier frequency charac- pensive studio equipment. But even without the teristics where only bass and treble tone controls built -in S.E.A. system. the 5001 and 5003 would be are provided, you can see how response in all fre- outstanding values. They offer improved standards quency ranges at the low and high levels is clipped the in FM sensitivity and selectivity by utilizing the latest off. Compare this chart with the one showing Tr.40 FET circuitry with four IF limiters in the frontend of SEA frequency response characteristics, and the the 5001 and five in the 5003. They both deliver a difference is obvious. No clipping occurs in the SEA 250,1,000, wide 20 to 20.000Hz power bandwidth while holding system. It offers full control of sound in 60, ranges from -10 to distortion down to less than 1 %. They feature com- 5.000 and 15.000Hz frequency pletely automatic stereo switching with a separation +10db. For the first time ever, you have the power figure of better than 35dB. They allow two speaker to determine the kind of sound you want to hear.

For additional information and a copy of our new full Color catalog write Dept. HF:

NC America, Inc.. A Subsidiary of Victor Company of Japan, Ltd.. clo Delmonico International Corp. 5035 56th Road, Maspeth, N.Y. 11378, Subsidiary of TST Industries, Inc.

Manufactured byVC Victor Company of Japan, Ltd. CIRCLE 38 ON READER -SERVICE CARD 11 MAY 1969

www.americanradiohistory.com even Gasset e tape recor ers or peop e

And they all have something in common. They all are Solid State. Which means instant They all use tape cassettes, of course. Which sound, because there are no tubes to warm up. means snap -in, turn -on ease of operation. They all have Capstan Drive. So your recordings (No reels to thread; no tape to spill.) And also won't stutter unless you do. means up to two hours of recording and playback They all have fast forward and rewind. -not just playback alone. They all can work on batteries and house current. They all have larger- than -average speakers. And almost all of them set the right recording (For larger- than -average sound.) level automatically.

2. Separate tone and volume controls. Built -in AC /DC. AC line cord with patch cord for direct recordings from outside sources. RQ -203S

1. A lot of sound for not a lot of money. Simple lever operation works with set standing up or sitting down. AC adaptable. RQ -204S

4. Cassette recorder with AM radio. Roll -bar tuning and volume control. Records right from interior or exterior sound sources at the flick of a switch. Speaker on /qff switch. AC adaptable. RQ -233S

www.americanradiohistory.com E a) 6 a) E CO w ^ c ó CL) m r ó t t 4) ., i , g u S Ñ ,^r roz >. L ó n co -o w rO S L r a," , V .0 i i .i(1, Ñ _d 11 C U- N(Q Q L N.-. 7 N> C ro L.ó N R1` 3 d L U ap U N Y c.0 N 7 0 E -p N Q= ,,,p. mm r. v - cR gg + w U N U[L ücA EQcc .SQ'á==n, a ó Ó. 3 TO: 3 L 0 0 0 _N U c a) ro c cá c ñ 0 w w XDEc-cs 07L o a) T ° >.% a v Q o U ce . a) e m. w L w m a) a) c= ro 1 o L a'- U co a E c 0 E o a) ° o >, s Ñó 0 ciú- : al ro Oj, " L Ci- ó

a) Ó uai E C a) o.) a) m i Jl 8 a) p C ro ca U + E a) >, C ß Ú ro ro

- c ;, wcc >. (n y C LB "03:, (2 E >`c12cvïc-' 3 m Q a) a) E a) c á) co ,c E o U° ' o- U a) N aU) a) ç° 3 o a ro a) a) ; ~ E o N ó a)= E o 7 a) O N U a) U L ro 3 co a) a)L c L as a E ói (s U ß U .0 >, cn,mQ=O en a) c 3>0 o roc a) c a) E E -á.E

www.americanradiohistory.com LETTERS ugly singing of Giovanni Martinelli on the ness Beatles recording (Alarch 19691: that Otello reissue Continued from page 10 [ "Repeat Perform- 1 agree. the Beatles are becoming harder ance." December 1968j? I took my copy and harder to write about. but not be- smith isn't competent to criticize Andy back to the store so fast it nearly melted. cause of. as Mr. Gabree puts it. "socio- Williams playing the Spinning Song. When we have had Vinay, Del logical treatises." but because their music Herbert Reno Monaco, Vickers. and McCracken to and philosophical "being" is more Denver, Colo. show us that Otello can sound beautiful complex. as well as dramatic. why do your re- The Beatles is a farewell to the pro - Mr. Goldsmith replies: Reader Reno is viewers insist on praising the hacks of siniial sound of the Sixties and the even quite right in his assertion "every man to olden times? Every time I listen to a more traditional sound -makers. If the his oleo taste." Personally. I'd much pre - Martinelli or Melchior record I thank Beatles perform here in the styles of fer Roger Williams on piano. though it God for Kraus, Corelli, King, Wind - Dylan. Joplin. the Beach Boys. and many aright prove interesting to hear Andy gassen, Pavarotti, and the other twenty - others. it is not to mock. but to show Williams sing Mendelssohn's Spinning five great tenors we have today. Boo that they can master these styles if they Song. on you. ss ish and in some cases even do a better Stella Sherman job of it. Now Generation San Francisco. Calif. 1 have always received the message of the Beatle albums and I think that their Peter G. Davis is out of his mind! The Beatles' Own Thing latest says: a) we are the Beatles and How could anyone with ears in their head no one else-we have our style and they praise the god -awful, off-pitch, strained, In reference to John Gabree's review of have theirs: b) so long to the traditional: now sse can become ourselves in our formulated polystyrene. The Somebody cially entire music. finally designed edge of the speaker is firmly fixed on a There is no mediocrity in this album, frame. a speaker that's compatible only in the styles of the people they are What about the unusual shape of our emulating. There is no mockery in the Ivith the human ear. speaker? Well, a grand piano isn't exactly simplicity of Blackbird, only the idealistic like cones, right? round. Like we said, the Natural Sound Speakers are shaped beauty of the Negro's "freedom." And The cane type speaker was Speaker operates on the same concept exit-tiny can a man and his music be common- in it as the sounding board of a grand piano, invented by A. S. Sykes 1919. Then place if one song reveals several connota- W. S. W. violin or guitar. They are shaped the way was refined by C. Rice and tions? Happiness Is a Warm Gun, for they for a good reason, Kellogg. The enclosure and bass reflex are very and so example. touches on sexual aggression. 1920 and is the Yamaha Natural Sound Speaker. enclosure happened between drug use. and gun legislation. horn was Tests show that a 1930. The exponential devel- symmetrical design No. Mr. Gabree, there is no mediocrity (round, rectangular, square, triangular, oped about 1919. By 1930, the funda- in the Beatles' latest album, only a subtle mentals were perfected etc.) gives rise to degen- and disturbing transition. The Beatles tr,day, thr.,e funda- in the And eration vibration hale reached a stage where they no the same. mode at specific frequen- longer need outside influences. They have Recently, manufactur- cies. reached a point in their work where they ers have tried to repro- In summary: The tone can become themselves. duce sound which they quality of the Natural J.B. Hanson believe is comfortable to Sound Speaker is uniquely Atlanta, Ga. the human ear - thus, the natural. The design of the advent of unreal booming speaker provides for a vir- bass and strident highs tual omnidirectional effect It becomes increasingly difficult to read the Beatles. am tired And, a great many people (rather than having the reviews about I of sharp sense like it that way because sound blast with a tunnel critics looking for "a of when they think it's high fidelity effect- common with many what sounds nice," though indeed, to that level their music does (in a way it is), but it usu- conventional speaker sys- listened on But that is surely damning ally isn't NATURAL sound tems) yet, a full and dis- sound "nice." faint the way it was originally tinct stereophonic effect is with praise. produced. retained. I have read few reviews of the Beatles none recently treat them With full consideration The Yamaha Natural -and -which as musicians. They are not culture heroes, of the human ear and Sound Speaker brings and when a critic who treats them as with the desire to pro- more live and psychologi- such is' disappointed, he invariably at- duce a speaker which cally pleasing sounds to tacks the "flab foursome." (As an aside faithfully reproduces the human ear. to Mr. Gabree: Where did you find such sounds as they w'... Listening fatigue is re- a God -awful epithet ?) inally created. Yamaha duced to a minimum, if not I am as biased as Mr. Gabree and developed the NATURAL eliminated entirely. successfully don't deny it. But I am fed up with such SOUND SPEAKER. It s not based on the The specifications. "in- depth" reviews, where the under- piston motion concept of conventional NS -15 NS-10 Impedance - 8 ohms 8 ohms lying criticism is based on the peculiarity cone type speakers. It's based on the Power capacity - of their private lives, their "different- principles of musical instru- 30 watts 20 watts acoustic Tone control - ness." When a critic looks for hidden ments such as the piano, guitar or violin. Continuously Variable Continuously Variable meanings and doesn't like what he finds. The quality of sounds produced are Speakers - Natural Sound: Natural Sound: perhaps he should analyze his own in- to 13 x 17" directly correlated the acoustical 11 x 15" terpretation, not the music itself. design of their sounding boards. The Cone: 2" Cone: 2" Cabinet - 1 am not saying anything against the sounds are called BENDING MOTIONS Removable grille Removable grille Straight -grain Straight -grain Stones: they are a fine group. But Mr. of sound, and they are natural sounds. American Walnut American Walnut Gabree's comparison is not valid. Their Following the concept of acoustical Open pore. oil finish Open pore, oil finish respective styles are radically different: Dimensions - bending motions of sound, Yamaha Height: 23Y2" 26" one might as well compare the Beatles developed the Natural Sound Speaker. Width: 161/2" 14" with the Brothers Four. The Stones's Depth: 71/2" 7" Its construction is entirely different from Weight: 22 lb 151/2 lb Banquet is a good album, but so is the that of a conical type speaker. It has a For more information write Beatles' latest. They are simply not fair rigid diaphragm constructed of a spe- Audio Products Division game for comparison. In the future, please get someone to Y review the Beatles who won't hold up 7733 Telegraph rRoad Montebello, California Other Yamaha products include pianos, skis, motorcycles, guitars. Continued on page 16 CI

www.americanradiohistory.com Tomorrow's electronics for today's enjoyment new Scott 342C 100 -watt FM stereo receiver

NEW 100 -WATT SCOTT 342C..THE WORLD'S MOST INCREDIBLY ADVANCED RECEIVER!

A light that snaps "Wire- wrap" - a New F /C /O cir- on automatically permanent con- cuitry gives vir- when you're per- nection technique tually distortion - fectly tuned: that eliminates free listening, solder joints: even at low vol- Perfectune® is a io, levels: miniature comput- No more solder - ume er . . . the most joint failures! Re- Scott's new Full effective way to liability- proven in Complementary tune for lowest demanding aero- Output means per- and best space applications. 0.1 fect sound at all distortion 10 70 reception. SINE WAVE POWER OUTPUT volume levels. And PER CNANNEL IN WATTS ... extra power is available at 4 Ohms output, vital when Ness IC Multiplex you want to con- section gives bet- nect extra speakers. ter performance A quartz crystal and reliability in lattice filter IF FM stereo: Printed circuit section: No larger than a modules snap into Regardless of age cigarette filter, main chassis: or operating tem- Scott's exclusive In- perature, your tegrated Circuit Eliminates solder 342C IF amplifier contains 40 tran- joints and provides will never need re- sistors and 27 re- for instant servic- alignment. sistors. ing.

Plus these famous Scott features: 342C Specifications: Silver -plated Field Effect Transistor front end Integrated Power: IHF ±1 dB @ 4 Ohms, 100 Watts; IHF ±1 dB @ 8 Circuit IF strip Integrated Circuit preamplifier Field Effect Ohms, 80 Watts; Cont. Output, single channel, 8 Ohms, 30 Watts: Transistor tone control All- silicon output circuitry. 1HF Sensitivity, 1.9 µV; Frequency response ±1 dB, 20- 20,000 Hz; Cross modulation rejection, 80 dB; Selectivity, 40 dB; Cap- specifications subject to change price: ture ratio, 2.5 dB. Prices and Check this unbelievable without notice. Walnut -finish case optional. 342C 100 -Watt FM Stereo Receiver only S259.95! C3 1969, H. H. Scott, Inc. SC OTT Dept. 226 -05, Maynard, Mass. 01754 Export: Scott International, Maynard. Mass. 01754 CIRCLE 100 ON READER -SERVICE CARD MAY 1969 15

www.americanradiohistory.com LETTERS Continued from page 14

the standards of Muzak as the measure of musical worth. This Hutch, at least. is UP owed the performers. Frederick Wasti STEP] Brockton. Mass.

to the finest automatic turntable in the world! ELPA'S A Reprise for Deletions I agree wholeheartedly with the views of Dr. Abram Chipman in his letter to the editor titled "A Mono Repository" [Feb- ruary 19691. I believe that there is a definite need for deleted recordings to be made available from some central source, and I think that the most practi- P cal way to accomplish this would he to zog convince each record company that it would be profitable to do so. The cost of actually pressing a copy of a record is very low; the vinyl is probably worth about ten cents. What the customer pays Your records are cut by a stylus with a 15° for when he spends $5.98 is the perform- vertical tracking angle. Play them back the ance and recording costs. Therefore, it way for fidelity. The ELPA same optimum would cost a record company very little PE -2020 is the only automatic turntable to make extra copies before they destroy especially designed to track a stack the stompers and delete the record. at 15 °! Then, when a collector wants the deleted rec- If you're settling for less than the ord, it could be PE -2020 you're making do with less ordered directly from than the best! ELPA PE-2020 $129.95 the company that recorded it. This system less base would also he of great benefit to the company, because through it they could find out first -hand if there is still a great Endorsed by Elpa because it successfully meets the stringent stand- demand for a particular record that they ards of performance Elpa demands. Write for full PE details. may have deleted prematurely. Elpa Marketing Industries, Inc., New Hyde Park, N. Y. 11040 In order to convince manufacturers of the value of such a plan, interested col- CIRCLE 27 ON READER -SERVICE CARD lectors will have to organize. One group that I know of, which may be able to help, is the Association for Recorded Sound Collections. Presently, it has approxi- mately 150 members. many of whom Before you send money to any will make tape dubs of deleted recordings they have for anyone who can't find a copy. For further information, write to record club, join the best one Mr. Paul T. Jackson, Oakland University Library, Rochester, Michigan 48063. If the ARSC became stronger, I think that for 3 months, free! this organization could have the power iti fi iti it ii iti it fi it fi it fi !1 to influence record companies to consider some form of solution to this problem. ' The Citadel Record Club 1 Steve Keller Symphonette Square, Larchmont, N. Y. 10538 Cedar Rapids, Iowa 1 1 Please enroll me for 3 months, without charge or Criticism Criticized obligation, as a member of the Citadel Record Club. Criticizing criticism is normally a com- Prove to me that it is the one club with every single 1 1 pletely wasteful intellectual pursuit, but advantage and none of the disadvantages of all the Philip Hart has driven me to lay aside others. I understand that I ani entitled mem- 1 to all my intellect temporarily and grasp my bership privileges, including large discounts on emotional cudgel. No less than three of 1 records of all labels, without any obligation buy 1 to his reviews in the January HIGH FItmLtry anything, 1 ever. 1 represent, respectively, the epitome of fatuous self -indulgence, sophomoric hy- 1 Name perbole, and misdirected emphasis. In ad- 1 dition, he hasn't done his homework. In his review of Elgar's Enigma Address 1 Variations and Cockaigne Overture, Mr. Hart writes ". . Elgar's pomposity in 1 the Enigma Variations is less offensive City State ZiD than Cockaigne. About the latter work. 774 -023 I I have nothing further to say." This is the - --i --m sum total of all Mr. Hart says about the -- Overture! Very informative! `---- Cockaigne CITADEL RECORD CLUB Mr. Hart is so livid at the quality of

Continued on page 18 CIRCLE 13 ON READER -SERVICE CARD

I (i HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scottt Casseiver! AN FV STEREO RECEIVER! A STEREO CASSETTE RECORDER! THE NEWEST VOST VERSATILE COVPO \ENTON THE VARKET!

tot sa I Mat at y, I1 7.74.11.12

r.... WNW ___ - . -0M . . . . IMP

3600 Casseiver Controls: (Receiver section) What's a Casseiver? Just a quicker cause it's a lot more than a receiver. Inertia drive tuning control; Power on /off; Receiver. Inside, the Casseiver has a lot Switching for Main, Remote. or both sets of way of saying Cassette/ speakers; Noise Filter; Mono /Stereo switch; Scott's new 3600 is an ultra- sensitive going for it. Scott's silver -plated Tape monitor control; Volume compensation in a of control; Dual Bass and Treble controls; Bal- 82 -Watt FM stereo receiver. It's also FET front end brings raft ance control; Loudness control; Input selec- a professional cassette recorder with stations loud and clear whether tor; Center Tuning meter; and stereo head- ... phone output; Balance Right. Balance Left; digital counter and individual record you live in the canyons of Manhat- Tape selector, external or cassette. (Recorder section) Left and Right microphone and input and playback meters. And it's all tan or the Grand Canyon. Integrated record level controls; Dual microphone in- in one beautiful long low cabinet. Circuits, both in the IF strip and in puts; Left and Right Record level meters; Resettable digital counter; Individual con- The Casseiver is versatile. You the preamplifier. keep your favorite trols for opening the cassette section, record, can listen to FM or FM stereo. You sound distortion -free and clear of play, fast forward, rewind, and stop. can listen to pre- recorded cassettes. annoying interference. The cassette Specifications: Power :LA dB (i 4 Ohms, 82 You can also record onto cassettes, section is specially built to Scott's Watts; 1IIF (a 4 Ohms, 65 Watts. (. 8 Ohms. either from voice or instruments demanding specifications, including 611 Watts; RMS 4 Ohms. 18 Watts per Channel; RMS . 8 Ohms, 15 Watts per Chan- dB, 211- 211,188) 1 there are two microphone jacks on a precision synchronous AC motor, nel; Frequency Response ±1 Hz; Hum and noise, phono. -55 dB; Cross the front panel). or from records assuring you of absolutely constant Modulation Rejection. 80 dB; Usable sensi- tivity, 2.5 µV; Selectivity, 56 dB; Tuner 1 connect a turntable) . or directly speed, with no annoying flutter or just Stereo Separation. 31) dB; FM IF Limiting from the Casseiver's own superlative wow. AC operation is inherently Stages, 9; Capture Ratio, 2.5 dB; Signal to FM stereo tuner. And check this stable, and requires no additionally Noise Ratio, 60 dB; Phono Sensitivity, 4mV. great extra: the 3600 offers you stabilized power supply. sound -with -sound stereo recording That's the Casseiver ... a great . sing along with FM stereo, rec- new idea from Scott ... An idea ords, or tape, and record it all in you'll get used to very quickly once C3 SC OTT glorious stereo. More? Add extra you've seen and heard it in action. For complete del., on the new )61x) Cas- showroom seiver, write: 11.11. S,.utt. Inc., Dept. 2226 -115. speakers or headphones. You can do At your Scott dealer's ... Maynard, Mass. 01754. Export: Scott Inter- a lot more with the Casseiver be- only $399.95 *. national. Ma) nard, Mass. II I754.

© 1969, H.H. Scott, Inc. *Recommended Audiophile Net. CIRCLE 100 ON READER -SERVICE CARD MAY 1969 17

www.americanradiohistory.com LETTERS Continued from page 16

the music that he refuses to review it. arty. Subsequently, after my review went When you're Does Mr. Hart have such an ego prob- to press, I saw promotional material stat- lem that he really believes that HIGH ing that this is in fact the first complete FIDELITY readers care to read about his recording of this Symphony; had this in- number one in rage at the music? Did it not occur to formation been available earlier, I would him that some readers who enjoy the have mentioned it. recorders music just might be looking for a rec- Finally, may authority for the estimate tape ord review? of the number of symphonies written in Mr. Hart's review of Rachmaninoff's the eighteenth century is not some "eccen- you don't Second Symphony misses what is per- tric," but rather the annotator of the set haps the most important point of this of records reviewed-Dr. Joseph Braun- release; that at long last, this is the stein, a distinguished musicologist spe- make the first completely uncut performance on cializing in precisely this area of study. records. I'm sure that there are myriad Of course I have not heard all ten thou- admirers of this work who have been sand symphonies estimated by Dr. Braun- number- two waiting to hear what an uncut perform- stein, but I have heard enough to sub- ance sounds like. Alas, if their sole stantiate the opinion -! repeat opinion - source of information is HIGH FIDELITY, expressed in this review. Among those I tape. they won't know that this experience is have heard were many by C. P. E. Bach, now within their grasp because Mr. Hart and these may include those mentioned makes absolutely no mention of it. by Mr. Morrison: if such were the case, I have now read the lead sentence of they did not stake the kind of impression Mr. Hart's feature review of Haydn's on me that they have on Mr. Morrison. London Symphonies five times and I still But, as in the case of Elgar, he has his don't believe it. I reluctantly accept his opinion and I have mine. it costs a few pennies more. assertion that ten thousand symphonies But Sony professional-qual- were written in Europe in the eighteenth The Sound of Bizet (though this figure seems ity recording tape makes a century absurd). For all I know, some eccentric Of course Bernstein's new recording of world of difference in how may have devoted thirty or forty years Bizet's Symphony in C "is one of much better your recorder of his life to counting them and Mr. Hart the finest sounding records I [Philip sounds -and keeps on sound- may well have come across this figure Hart] have heard from the Philharmonic ing. because Sony in a reference. But I can't believe Mr. in some time" [January 1969]. The Bizet That's Hart's monstrous conceit in pontificating was recorded in the warm acoustic ambi- tape is permanently lubri- that ". . those by Mozart and Haydn ence of Manhattan Center, a site Colum- cated by an exclusive Lubri- alone deserve to be remembered . bia Records used until late 1965, where- Cushion process. Plus, its (italics mine). Has Mr. Hart heard all ten upon they foolishly opted for acoustically Oxi- Coating thousand? Or perhaps he's heard, say, dead Philharmonic Hall. extra -heavy three thousand and examined the scores Since the switch, every New York Phil- won't shed or sliver. Sony of the remaining seven thousand? Let me harmonic recording has sounded thin, tape is available in all sizes simplify the question. Has Mr. Hart at confined, and murky; not once have we of reels and cassettes. And least heard the four symphonies compris- had a recording to equal the brilliance remember, Sony profes- ing C. P. E. Bach's Wq. 183? If he has of older discs such as Alexander Nevsky, not, he hasn't done his homework. If he Shostakovich's Leningrad Symphony, sional- quality recording has, I question his judgment. and others. One shudders to imagine tape is made by the world's Delwin Morrison how awesome Bernstein's recording of most respected manufactur- Melville, N.Y. Mahler's Sixth might have sounded if he er of recording equipment. recorded it in the old site. As it is, the Mr. Hart replies: Nothing pleases a critic companion Mahler Ninth sounds richer more than evidence that he is being read: and more resonant. even though recorded in this case I at least rejoice in having two and a half years before the Sixth. roused more than passive interest on the Milton Zapolski part of the reader. In baseball parlance, Schenectady, N.Y. Mr. Morrison has one out of three. SONY My opinion of Elgar's Cockaigne Overture is simply that -legitimate criti- High Fidelity, May 1969. Vol. 19. No. 5. Fla-150 Published monthly by Billboard Publications. cal opinion about an aspect of Elgar's inc.. publisher of Billboard, Vend, Amuse- music that repels me. My statement was ment Business, Merchandising Week, Amer- precise and, to the general reader, pos- ican Artist. and Modern Photography. High who Fidelity /Musical America Edition published sibly informative. To the Elgar fan. monthly. Member Audit Bureau of Circula- may well like the Cockaigne Overture, tions. my subsequent endorsement of Davis' Editorial correspondence should be ad- performance should give some help in dressed to The Editor, High Fidelity, Great determining whether or not he might Barrington, Mass. 01230. Editorial con- ( tributions will he welcomed. Payment for investigate this record. articles accepted will be arranged prior to In the case of the Rachmaninoff Second publication. Unsolicited manuscripts should Symphony, I plead an abject mea culpa. be accompanied by return postage. be to High here, Subscriptions should addressed I shall not pretend nor could I in Fidelity, 2160 Patterson St., Cincinnati, O. my review, that I have listened to all 45214. Subscription rates: High Fidelity/ liu neN er heard it so good. recorded versions of this symphony. I did Musical America: In the U.S.A. and its listen to it with the score, as I do all Possessions, 1 year 512; elsewhere, 1 year $13. National and other editions published records I review whenever possible, and monthly: in the U.S.A. and its Possessions. would have reported cuts had there been 1 year $7; elsewhere, I year $8. .1968 SUPEASCOPE.iNC Change of address notices and undelivered copies (Form 3579) should be addressed to SONY SUPERSCOPE®] High Fidelity, Subscription Fulfillment 11:1 1111 i111 n Dept.. 2160 Patterson St., Cincinnati, Ohio Sun Valles', California 91352 IIIP 45214. CIRCLE 63 ON READER -SERVICE CARD HiGH FIDELITY MAGAZINE

www.americanradiohistory.com SCOTT'Sitwhy don't they" STEREO SYSTEM

8 8 1 Iñ A A A l l :

The Scott 2513. at a glance, looks like many other compact stereo sys- tems. But look closer. The new 2513 is our answer to the many audio en- thusiasts who asked, "why don't they build a really professional turntable into a compact system ? ". We did ... the Dual 1009F, with automatic cue- ing, adjustable stylus pressure and anti- skating controls, and a fine -tune speed control.

"Why don't they" continued our insatiable customers, "include 3 -way speakers in a complete system ? ". Okay, you have them now ... big Scott S -15's. And you'll hear the difference immediately. We've packed a whole flock of other "why don't they's" into the 2513 ... a powerful Scott AM/ FM stereo receiver, with Integrated Circuits, Field Effect Transistors, and direct -coupled all- silicon output circuitry. We've built in a comprehensive set of controls that really do give you con- trol over the kind of sound you're hearing. And we've given you the inputs and outputs you need to satisfy your future expansion plans ... extra speak- ers, earphones, tape, tape cartridge. You name it, you can connect it. Your dealer has Scott's DSCOTT "Why Don't They" 2513 AM /FM Phono Stereo H. H. Scott, Inc., Dept. 226 -05, Maynard, Mass. 01754 System, so bring your favorite record. The price ... $529.95 ... and worth Export: Scott International, Maynard, Mass. 01754 every cent. Write for a spec sheet. ® 1968, H. H. Scott, Inc. CIRCLE 100 ON READER -SERVICE CARD MAY 1969 19

www.americanradiohistory.com NOTES

FROM OUR CORRESPONDENTS

made quite an impact in London with LONDON his deliberate avoidance of pianistic "good manners" (as he sees it, when Richard Wagner people started following Schnabel, the rot set in). "If I'm going to copy Horo- and Richard Rodgers- witz, it's got to be good," he said boldly. pointing out that he had added the Horo- As Sung by Renata Tebaldi witz elaborations (not to mention some of his own) to Moritz Moszkowski's al- Renata Tebaldi was intent on thwarting ready daunting Fantasy on Themes from all eavesdroppers during her recent re- Carmen. So he applied himself diligently cording sessions in Kingsway Hall -and for three successive days, seven hours a understandably, too. The soprano's rep- day, battling with this and other equally ertoire for her two latest Decca /London formidable show pieces until the ends of recital discs (her first in over four years) his fingers were in danger of splitting is decidedly out of the ordinary and any and he had to tape them up. sort of audience, however sympathetical- The record pays tribute to eight great ly disposed, might well have aggravated virtuoso pianists from Clara Schumann an already tense studio atmosphere. Al- to Horowitz -an idea somewhat similar though I was unable to attend the ses- to Joan Sutherland's homage to her sions, the prospect of Tebaldi taping such great predecessors in "The Art of the unexpected items as Isolde's Liebestod Prima Donna." As a precaution, the Dec - and Rodgers and Hammerstein's If I ca engineers had placed the microphones Loved You sends the imagination racing. rather further away from the piano than One disc will be entirely devoted to they usually do in Kingsway Hall, and operatic arias, and besides Isolde's ec- the sound was correspondingly fuller static "Love Death," Tebaldi decided to and richer, less clangorous, though clean- include another Wagner selection, "El- ly focused to catch all of the fiendish re- sá s Dream" from Lohengrin (Elsa, by peated notes in Moszkowski's Caprice es- the way, at one time actually figured in pagnol. The collection will include Liszt's the soprano's active repertoire; followers Fantasy on Mendelssohn's Wedding of filmed opera may recall an Italian ver- March (with Ivan Davis' elaborations), sion of Wagner's music drama with Gia- Schumann's Abegg Variations, Chopin's cinto Prandelli and Tebaldi on the sound Andante spianalo and Grande Polonaise track). A sequence of popular French brillante, Rachmaninoff's arrangement of arias is also planned for this recital, in- The Flight of the Bumble -Bee, and Lia- cluding the Habanera from Carmen, punov's Lesginka- nearly an hour of "Mon coeur s'ouvre ìa to voix" from hair -raising acrobatics at the keyboard. Samson et Dalila, and two arias from Massenet's Manont. Everything was sung Lewenthal Records an Oddity. Raymond in Italian, of course, and the conductor Lewenthal has also been hard at work, for the occasion was Anton Guadagno, recording a brilliant nineteenth -century who led the New Philharmonia Orches- oddity for CBS-the Piano Concerto by tra. the German pianist and composer Adolf The second record will be of a de- von Henselt. Lewenthal was scheduled cidedly mixed nature. Richard Bonynge, to record this concerto before Christmas who has had plenty of experience direct- with the London Symphony Orchestra ing accompaniments in lightweight show under Antal Dorati. but Asian flu sabo- pieces for his wife, Joan Sutherland, took taged the project. The sessions were post- charge of the conductorial duties for poned to a later date and the new con- these sessions. Tebaldi described her ductor was Charles Mackerras -the re- choices here as a collection of encores, cently appointed musical director of Sad - ranging from the heavier splendors of ler's Wells Opera. Lewenthal, unlike Aida's " Ritorna vincitor" to such pop Davis, was nervous about having critics favorites as Estrellita, Granada. Cor'in- present, but the sessions were kept to grato, and the aforementioned If I Loved schedule, with the pianist recording both You. Tebaldi enjoying herself, just that. the Henselt and Liszt's Totentanz -a conflation of the composer's two differ- Davis' Finger -Splitting Encores. In the ent versions prepared by Lewenthal him- same hall, just a few days earlier, Decca/ self. The recording should be appearing London also recorded the brilliant young on both sides of the Atlantic before the American pianist, Ivan Davis, in a com- end of the year. EDWARD GREENFIELD parable collection of encore numbers. In two visits, this year and last, Davis has Continued on page 24

20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com OUR NEWEST PREAMPLIFIER The transistorized PAT -4 is almost two years PAT -4 is only $89.95 as a kit and $129.95 old and we still can't fill the demand. factory -assembled. At one -third the cost of Our newest preamplifier doesn't replace our other units, such consummate value just natu- earlier ones, so you can now have Dynaco per- rally gets around. formance with either tubes or transistors. Our Dynaco introduces new products only when mono preamp is still selling after 12 years, they fill a real need. They never render previous and the unbeatable PAS stereo series is going models obsolete. strong after 10. We can't promise that the transistorized This unprecedented longevity is explained PAT -4 will still be our newest preamplifier 10 by Dynaco's unswerving devotion to perform- years from now. ance, reliability and unmatched low cost. The But we do know it won't be out of date. DYNACO, INC., 3060 JEFFERSON ST., PHILA., PA. 19121

CIRCIF 74 ON READER -SERVICE CARD

www.americanradiohistory.com \ OYES FROM 01 R CORRESPON DENTS Continued from page 20

TORONTO

Canada Enters The International Recording Picture

The Canadian record industry. hitherto content with releasing hest -sellers from Britain and the United States. is now beginning to bring Canada into interna- tional prominence as a recording center for serious music. The Dominion's cen- tennial year. 1967. saw RCA recordings featuring the Montreal Symphony and a Winnipeg group, as well as CBS's two - disc set of "Canadian Music in the Twen- tieth Century." In recent months such domestic labels as Dominion have joined RCA, Columbia. and Capitol in recording works by native contemporary composers, including Murray Adaskin, Pierre Mer- cure. Kelsey Jones. J. J. Gagnier. and Howard Cable. Additionally, RCA has issued a twenty -disc collection. mainly of Canadian music, performed largely by Canadian artists. The sanie company commissioned and has just recorded Asterism for Piano and Orchestra by the Japanese composer Toro Takemitsu, per- formed by pianist Yuji Takahashi with the Toronto Symphony led by Seiji Ozawa. Earlier. Columbia recorded music of Schoenberg ( Verkliirte Nac'h,, Three Little Orchestra Pieces. Survivor from Warsaw, Pelleas and Melisandc) with Robert Craft and the CBC Symphony, and a Stravinsky collection (Symphony in C, Suites 1 and 2 for Small Orchestra. Marra) with the same orchestra led by the composer. The Takemitsu, Schoen- berg, and Stravinsky projects encompass distribution in the United States as well as Canada. Of course. ever since early LP days the Canadian record industry has been active in tapping pop material for the Quebec market, and indeed future growth will include further inroads into Can- ada's pop and folk legacy. ( RCA, for ex- ample, has issued a ten -record anthology of Canadian folk music.) While the Ca- nadian pop scene has long concentrated on recording American hits translated into French and performed by native tal- ent, recent years have seen the growth of peculiarly French -Canadian artists, the chansonnier-Gilles Vigneault comes to mind -who writes his own material, words and music, with local topics as the source of material. Virtually un- known outside the Province of Quebec. they can nonetheless sell as many as 100.000 copies of a hit LP -a Gold Rec- ord in Canadian terms. (Not only is the Canadian record market numerically small, but only two out of thirteen peo- ple own phonographs, as compared to the U.S. ratio of two to eight.) Merchandising Methods. Two parallel- and occasionally overlapping- programs CIRCLE 62 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com have so far resulted in several dozen LPs, with many more promised. The In- ternational Service of the CBC has col- laborated with RCA to produce such albums as the ten -disc folk set mentioned above and Harry Sommers' opera The Fool. Similarly, the Composers, Authors, and Publishers Association of Canada (its equivalent of ASCAP) is in the sec- ond stage of a project to underwrite re- cordings that major labels have agreed to release. Composer /conductor Louis Applebaum supervises the CAPAC program (which has already produced ten LPs), as well as pursuing his musical career. He acted as conductor, for instance, for CAPAC's album of music composed by Eldon Rathburn for Expo '67's Labyrinth. Re- leased by Dominion. this disc is CAPAC's best seller; ironically it has yet to show a profit. As Dominion's president, T. St. Clair Low, explains, "It may have been one of the most expensive records ever made in Canada because of the size of the orchestra and the amount of studio time required for special audio effects." CAPAC put up the money, and Low, who believes profit to be just around the corner. handled manufacture and dis- tribution. Applebaum's zeal and flair for mer- chandising is reflected in an album called "Heritage," containing works by seven Canadian composers. He had discovered that the developers of the St. Laurent shopping center in Ottawa were searching for a distinctive gift for VIPs, and man- aged to persuade them that there would be nothing more distinctive than a rec- ord featuring Canadian music. "I made arrangements with Dominion to release and distribute the disc at list price," he recalls; "and we guaranteed the develop- ers that the shopping center's symbol would appear on every record, along with credit for their sponsorship in the liner notes. They were delighted and agreed to pay for the recording and to underwrite Mr. Low's costs of manufac- ture." George Harrison of RCA admits that most of his Canadian music projects won't make a profit. However, since the Canadian Broadcasting Company gener- ally supplies the tapes (from CBC broad- casts), costs are relatively small. Harrison sees libraries and radio stations as the main market for these records at present, The evolution of a better turntable but is optimistic about Canada's future The New Sony PS -1800 playback system cisely the correct speed. A DC motor that in the recording field. "You won't see has something missing. It also has several rotates at 300 rpm, one -sixth the speed of the Toronto Symphony recording Bee- things not found in other turntables. And conventional AC motors.to reduce the thoven or Brahms for sale in New York," therein lies the story of its superior per- intensity of motor -produced vibration. he notes. "We'll have to stick to the formance. What does this all mean to you? A unusual and unrecorded if we want to What's missing? Sony has done away turntable with a precisely balanced tone - do business in the world market. But with the mechanical linkages between arm of low mass design that tracks records we have several things going for us. For arm and turntable required in the auto- flawlessly. A turntable that is absolutely one thing. the CBC subsidizes groups matic shutoff systems of all other record silent (total wow and flutter, only 0.08% like the Winnipeg Orchestra. Further- playing To this. Sony rms and rumble 60 dB below the NAB more, because these Canadian musicians instruments. achieve works developed a new kind of solid reference level). play so many twentieth- century completely rehearsal time state device, the SONY Magnetodiode The new Sony PS -1800 playback system they don't need as much oil- finish walnut as their colleagues abroad." (SMD). It replaces the troublesome mech- - turntable, tonearm, motivating $200. Evolution? With thoughts like these anical linkages andeliminates any chance base. dust cover. Under record industry, collectors Sony Corporation of the country's of drag in the tonearm's motion across It's a revolution. look forward to some adventurous Van Dam Long can the record. America, 47-47 Street, and off -the -beaten -track recordings from York 11101. What does the PS -1800 have that other Island City, New Canada. ROBERT ANGUS turntables don't? The convenience of automatic shutoff SONY®PS -1800 25 after record is played. A servo-controlled DC motor that always operates at pre- PLAYBACK SYSTEM CIRCLE 62 ON READER -SERVICE CARD

www.americanradiohistory.com These magnificent stereo receivers have one thing in common. . .

LR-1500T

LR-1000T

LR-500TA

LA FAY E m E ®

CIRCLE 41 ON READER- SERVICE CARD

www.americanradiohistory.com UNBEATABLE VALUE! 220 watts` for only 299.95 "High performance and an abundance of features. .. an excellent buy on today's market." "HIGH FIDELITY"

150 watts* for only 239 "... it offers most of the refinements (and performance) typical of receivers selling for twice its price... clearly one of the best buys in audio." "HI -FI STEREO REVIEW" 75 watts' for only 179.95 «... a unit with excellent tuner characteristics ... I suspect that Lafayette will have a great many satisfied customers." "MODERN HI -FI & STEREO GUIDE"

to If you can believe the advertising, unequaled values then? Well, we took our receivers to the experts everywhere. Almost find out what they had to say. Their unbiased find- in stereo receivers abound up in the comments above. Noxo every receiver ad claims to offer more of everything ings are summed features, more who do you think offers the finest value in stereo for the money -more power, mare receivers? sophisticated circuitry, better performance... and so on. Not that we don't do the same ourselves. But Write for free 512 page 1969 Catalog 690 to with all these claims, it's becoming harder than Lafayette Radio Electronics, Dept. 19059, P. O. ever to decide on a receiver. Who can you believe Box 10, Syosset, L. I., New York 11791. eIHF ± 1db (in accordance with the high fidelity industry's latest test procedures for rating power outputs.

CIRCLE 41 ON READER- SERVICE CARD

www.americanradiohistory.com SPEAKING

OF ,pRE

FOR SOMEONE. whose public image is hear how Flagstad or Lehmann solved tied exclusively to the operatic. it may the problems of interpretation. But I be- seem rather odd to make the following lieve that whatever a singer may possess admission, but -I don't listen to vocal in the way of a Verdi, Puccini, or Mozart recordings very often. My record col- style is an individual matter and comes lection contains mainly piano music from within -a singer's response to this (perhaps because I'm something of a music will either flow spontaneously or frustrated pianist). My favorite is Van it will not. This may sound a bit mysti- Cliburn's recording of the Rachmaninoff cal, but it is what could be called a Third. I've made a special effort to get natural rapport between a singer and the everything Van has recorded. partly for music, which of course can never be sentimental reasons (we made our New taught. York debuts on the same day: Van ap- That said, let me now admit that my peared with the Philharmonic in the after- operatic heroine is Maria Callas. I own noon and I gave my debut recital that almost everything she has ever recorded. evening at Town Hall), but mostly be- No one, as far as I am concerned, sees cause I love Van's direct, honest approach beyond the notes and into the heart of a to the romantics-whenever I play one role quite as she does. My favorite com- of his records. its like getting a faceful plete opera recording is Callas' first ver- of fresh air. sion of Tosca, probably the most exciting Alexis Weissenberg. on the other hand, operatic performance ever made. After is a very different sort of pianist and I having recorded so many operas myself, like listening to his perfumed style with I know how difficult it is to walk into a Chopin for a change of pace. His per- cold studio atmosphere with those naked formances of the concertos on Angel microphones staring at you and try to and, of course, Van's "My Favorite whip up the immediacy of a live per- Chopin" on my own company's label, formance -but Callas does it. I must RCA, have given me much pleasure. As confess that I also find Elisabeth Schwarz - you might have guessed, my own predi- kopf's singing of Strauss's Four Last lections are in the classical /romantic Songs a gorgeous match of voice and concerto category, and I believe I own material. When I have nothing better to every major work in this repertoire. per- do, I play a recording of my own, prob- formed by maestros Rubinstein. Horo- ably Carmen: frankly, I'm mad about that witz, Weissenberg, Gilels, Dichter, and one -it really entertains me. Cliburn. In popular music I prefer the soft, easy Collecting records is a comparatively torch singing of Ella Fitzgerald and recent hobby. When I was studying at Frank Sinatra or the soothing guitar - the Ohio Central State College and playing of Jobim. The Francis Albert later at Juilliard, there was little spare Sinatra /Antonio Carlos !obit', album is time for record listening. I did. however, a marvelous combination of talent: the take advantage of the student tickets, interplay of voice and guitar produces heard as much live music as possible. and some really fascinating musical effects. occasionally borrowed records from the I also enjoy André Previn's tinkling cock- school libraries. But, in those days, it tail piano flavor, especially on his All was mainly orchestral records and I Alone solo album. Peter Nerds original specifically remember falling in love with and versatile approach to everything he Debussy's La Mer- Koussevitzky's ver- plays makes for wonderful listening; his sion with the Boston Symphony Orches- America's Lore Is Blue is a delight. I don't really tra. I nearly wore out the library's copy. go in for hard rock, although some of La Mer is still one of my favorites. and the Beatles' later productions-Sgt. Pep- my current preferred recording is of per and their new two -disc set -have Charles most noted diva Munch's performance. moments for me. If I'm in a little more When I do listen to vocal recordings, exuberant mood, I'll listen to the Lady I do so not for any professional reason, discusses of Soul, Aretha Franklin, who has af- but simply for pleasure and relaxation. forded me many hours of fantastic en- would never attempt to learn a role from joyment. And then there's Nancy Wilson, a recording, nor listen to another sing- the recordings Tom Jones, Ray Charles, and especially er's version of an opera that I'm study- the Supremes -I've everything they've ing. I stick to the old -fashioned method recorded too. of learning, beginning with the libretto she likes But classical piano music will always and then working out the music at the be my first love. My idea of a night out piano -and here is where my role of is an oriental dinner, followed by a con- would -be pianist comes in handy. best cert where someone plays a piano con- It is quite possible that one can learn certo. It always inspires me to try my something about vocal style or tradition own hand at popping off some Beethoven from listening to recordings by singers of sonatas or a couple of Chopin études- the past and it is certainly interesting to very badly of course, but I enjoy it.

28 CIRCLE 50 ON READER -SERVICE CARD - '

www.americanradiohistory.com c/1 tan o b U , °' ,. á 1.4 a) á c á .4 a Á ... a) .-0 ai c°o ,x Ñ °pg w ów Ú1 2 ;-; v A b; ', . + a O ö .0 g Ó Ñ 'a UCZ 2cd á ÿ H V óc a sa. ,P., Q c .a,o4 O S''' O Ó a E a) ú a c - o n E pq tc1 óo4 -0 1 o a ., a ca ,I ódO o 0113 bo ° br+,

bk .°y o +, ,.,U OO' o o c , .., ... á a,4 a,$.a,.v10 ,x an á E Ú o E V. M > .a cd c a) O ÿ 4 g EV'". cC E o ß, '44 aD E: $'" c/3 ,44 U en > w O

www.americanradiohistory.com one can buy a commercially built color TV with automatic fine tuning (which the Heath does not have) and a T00 test generator.-Max Wexler, Brooklyn, N.Y. We never said that "only Heath owners can make adjustments." We did say HOT that this is the only set we know of which readily permits service adjust- ments by the owner without additional ,, TO test gear. The point of the Heathkit approach is that it's aimed at non - technicians who don't know one end of a test probe from the other. And what HANDLE color set with a big screen and the su- perior audio section of the Heath in- cludes a test generator? You're right, My KLH of course, that the Heath Twenty distorts severely on the so, are reprints available ? -Larry H. does not inner grooves of most of my records, Draper, Oak Harbor, Wash. have automatic fine tuning. especially during loud passages. I've No it was not. In fact, we look on such set the stylus pressure to three grams projects with a skeptical eye and don't To join the controversy over recom- as specified, used a Preener to clean believe that putting a great many bad mended weights to use with various my records (which are in very good speakers together will somehow pro- arms using the Shure V -15 Type II, condition), and am using a needle only duce a good system. what would you recommend as the a few months old. Is there any way in tracking pressure of the following arms: which I can get rid the ADC of this distortion? Are the standard brand tapes that I -Pritchard, the arm of the Dual Would my using an elliptical stylus or a buy (Scotch 111 and 201 for most re- 1019, and that of the Miracord 50H ?- different Peter cartridge help? Or would I be cordings, 190 when I need greater Ballou, S. Freeport, Maine. better off if I With sold the Twenty and pur- length, and Scotch 200 or 290 when I any arm, and with any cartridge, chased a Dual changer with a Shure occasionally record an entire opera) the accepted rule is: balance the arm V -15 Type II, which with the other com- equal technically to the tape used by according to the manufacturer's in- ponents, would cost over $200? Also, manufacturers both for master record- structions; then adjust the stylus force I've noticed that several records in my ing purposes and for making prere- (popularly and incorrectly termed collection are turning grayish (I play corded tapes? If not, what brands are "tracking pressure ") to the maximum them about three times a day). My unit of the same superior quality and where amount recommended by the cartridge has been checked by the factory, and I can I get them? Until recently I record- manufacturer. Next, reduce the stylus was told that it was in excellent con- ed almost completely at 71/2 ips, but force in small increments, say 1/4 gram dition. -Kurt M. Wiley, Ann Arbor, with the acquisition of my new pride at a time, until you reach the lowest Mich. and joy -the Teac 4010S am doing stylus force at which the cartridge will Inner groove -I distortion usually signi- a great deal at 33/4 ips. -Charles S. satisfactorily track your most demand- fies mistracking, itself caused by a de- Lipton, M.D., Philadelphia, Penna. ing records -without going below the fective cartridge or arm, incorrectly in- It is no secret that for years Scotch 111 minimum recommended for the car- stalled cartridge, excessive dirt on the has been regarded as a standard tape, tridge. stylus tip, or any combination of these both for master recording and for test- If the cartridge cannot track those causes. Three grams is a correct stylus ing of equipment. It is a 1.5 -mil ace- records at any force within its recom- force to use on the KLH Twenty, so tate- backed tape that has excellent re- mended range, then either the arm may we'd suggest checking the other possi- sponse and durability and is easily be incorrectly balanced or defective, bilities. As for your question about the spliced for editing purposes. However, the cartridge incorrectly installed in it, Dual /Shure combination, yes -it would our tests of recording tape indicate or the arm not capable of handling that be a better setup than the combination there is no best tape. Any of the brand- cartridge. supplied in the KLH compact system ed tapes can yield optimum perform- Any of the arms you mention, how- in terms of arm balance and inclusion ance with respect to a given tape ma- ever, should be capable of handling of antiskating -and because the car- chine when that machine's bias and the Shure V -15 Type II (or any other tridge is acknowledged to be one of equalization (especially its bias) have recent high -quality cartridge) within its the best on the market. For one thing, been correctly adjusted for that partic- recommended range of stylus forces. the Dual /Shure combination would al- ular tape. The Teac 4010S is factory- The Shure cartridge's recommended low you to use a lower tracking force. adjusted for optimum performance with stylus force range is 3/4 to 11/2 grams. But first check your stylus. Even a new Scotch 150 tape. It can be readjusted The ADC arm tracks as low as 3/4 stylus may be damaged and can play gram; for best results with any other tape but the arms on the Dual and Mira - havoc with your records. A grayish col- Teac recommends having this adjust- cord track as low as 1/2 gram, oration on records (usually found on ment made only by a factory- author- loud passages) signifies severe wear. ized service station. Being If you really play these records three a newcomer to high fidelity, I still have a times a day, it's no wonder hard time distinguishing be- they are You recently made statements about worn out. Laboratory rests indicate tween what is good and what is bad. the Heathkit color TV that were very Would that vinyl suffers fatigue under the you please advise me on the misleading. The impression that only best pressures-in the order of tons per stereo FM /AM tuner in the $100 Heath owners can make adjustments is square inch -that result when your price range. -Bohdan Dombchewskyj, untrue. Most big -name color TVs have State College, three grams are concentrated on so Penna. the same type of controls as the Heath. We haven't tested any AM in microscopic a bearing surface. The /FM tuner I have found that by using vinyl won't recover fully for the Heath the price range you specify, although about manual ($2.00) and my own commer- twenty -four hours. If you must play this there are some listed by purveyors of cially made TV's service manual, I was music so often, why not copy the hi -fi products: Allied 285 ($80), Heath - rec- able to adjust my set for very good ords onto tape? kit AJ -33 ($100), Knight -Kit KG -765A performance. Of course, I had to bor- ($100), Lafayette LT -225 ($80), Olson row a dot generator, but this item costs RA -940 ($100), and Radio Shack TM- Was it HIGH FIDELITY that published under $100 with color -bar and cross- 70 ($100). an article about building a loudspeaker hatch test patterns, as well as dots. So, system from sixteen little speakers? If for almost the same price as the Heath, Continued on page 32

30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "...an uncommonly good -sounding small speaker, indeed the best we've heard yet in its price class." HIGH FIDELITY MAGAZINE The quote comes from the April issue of High Fidelity Magazine. They're talking about our new HK50 omnidirectional speaker. If you think the review is good, just wait until you hear the speaker. For the complete text of the review and more information, write Harman -Kardon, Inc., 55 Ames Court, Plain- view, N.Y. 11803, Dept. 50.

harman kardon A subsidiary of Jervis Corporation

CIRCLE 34 ON READER -SERVICE CARD

MAY 1969 31

www.americanradiohistory.com TOO LIO "I' "l'o HANDLE STEREO REVIEW Continued hunt page 30 I've seen in an audio club here a Fisher HIGH FIDELITY receiver 800 -T which seems to resemble the 500 -T advertised in American pub- POPULAR ELECTRONICS lications. I will be coming home soon and could get an 800 -T cheaper here POPULAR SCIENCE through the club than a 500 -T in the States, but are they the same ? -Capt. HI -FI BUYERS GUIDE Arthur Fenner, Frankfurt, Germany. Yes, except that the 800 -T available in ELECTRONICS ILLUSTRATED Europe has a multivoltage power trans- former that makes it usable both there HIRSCH -HOUCK LABS and in this country. The face plate is somewhat different, but that would All the authorities agree: hardly affect function or performance. The all- solid -state Cortina series adds up to total stereo If you can get the unit cheaper through performance at lowest cost. Kits and Wired. See them at your your audio club, by all means do so. local dealer. Write for free 1969 32 -pg. catalog.

I cannot make up my mind which stereo tuner to buy. I'm thinking of Sound n' Color: New n S exciting way to enjoy the Dyna FM -3 (tubed, about $100), music. Original all - and the Scott LT -112B (about $150), solid -state system (nn __ wheels or motors) and the Heath AJ -15 (about $190). I provides true syn- would like the best value for my money chronization of sound _ with color. See every but I'm totally confused. -Bill Borne - tone. chord, combina- misza, New York, N.Y. Stereo Tuner: Automatic FM Cor- tion of instruments tina 3200, $99.95 kit, $139.95 create its own vivid The Heath FM circuit has something wired, including cabinet. patterns of lights. none of the others has -crystal IF Stereo Amplifiers: 70 -watt full - Connects to any 3.2 capability Cortina 3070. $99.95 to 50 ohm audio line 4.101111111 filters, which can be great if you need kit, $139.95 wired, including cab- (hi -fi or radio) with- ( - to sort out a weak signal from among inet. 150 -watt full -capability Cor- out disturbance. Cor- 3150, 3440. $49.95 kit. adjacent, stronger ones. As far as we tina $149.95 kit, $225 tina 1- 111 ^ 1 lit r wired. including cabinet. $79.95 wired. know, the AJ -15 is identical to the tuner Stereo Receivers: 70 -watt Auto- ra matic FM Cortina 3570, $169.95 section of the AR -15 receiver, to which kit, $259.95 wired, including we gave top marks in our Test Report cabinet. 70 -watt Automatic FM! [Sept. '67]. The other designs are all cortina by`ZE/COL7' AM Cortina 3770, $189.95 kit, Designed, manufactured in U S.A. and guaranteed $279.95 wired, incuding cab- older. We reported on the LT-112B by EICO 283 Matta St.. Brooklyn. N. Y. 11207 inet. (together with its wired counterpart, the 312C) in the March '67 issue. It CIRCLE 26 ON READER- SERVICE CARD remained one of the most advanced tuners on the market until the Heath came along. But it usually sells for about $180; if your dealer is selling it for $150 now that the LT- 1128.1 THE MINI -COMPACT (which is only superficially different) is out, we'd say that's an excellent buy. The FM -3 is oldest of all (we reviewed it in March '65) but it was so well designed that it remains the best buy of all unless you want the refine- ments and added flexibility (muting, to name only one feature) of the later models. One other consideration: roughly speaking, the lower the price, the easier the construction job and the simpler the operation. Comparison of the specs we published is a matter of hair-splitting where the basics of FM reception are concerned. As to the extras, we would consider them largely a question of personal choice.

I have a De Wald tuner and a Fisher X -2028 preamp and amplifier. I was thinking of replacing both with the Heath ARW -15 (wired) receiver, but I hear that the Lafayette LR -1500T is excellent. Have you tested it? -Ellis G. Stone, Lima, Peru. Hard to believe it will sell for less Yes, the report was published in our than $200! A complete professional October 1968 issue. We never tested type cassette stereo system, includes the X -202B, but its specifications are AM -FM and FM stereo tuner. This exceeded only slightly by the Fisher receiver and at least equaled by Crown mini -compact is small enough See your local Crown Dealer or write 250T the LR -1500T -both of which cost to play anywhere (built -in AC and INDUSTRIAL SUPPLIERS COMPANY, $299.95. In other words, your ampli- a 755 Folsom Street, San Francisco, DC), with sound big enough to fill fier is still worthy of respect today. concert hall. California 94107. Why not hang onto it and replace only the tuner with a more modern one? CIRCLE 18 ON READER -SERVICE CARD 3n HIGH FIDELITY MAGAZINE

www.americanradiohistory.com This little speaker may cause the downfall of the capitalist system. Until a few months ago, only capitalists If that claim strikes you as so much class systems are also affected. owned high- fidelity systems of really propaganda, we're not the least bit Suppose, for example, that you've superior quality. For the ordinary rich worried. The superiority of the Mini -III been thinking of buying one of the American, the price was simply too high. isn't so subtle or elusive that you can widely advertised stereo compacts. The Of course, we aren't talking about possibly fail to recognize it when you better ones cost upwards of $400, com- those nice middle -class systems for six hear it. Its exceptional smoothness, defi- plete with their own speakers. Nov or seven hundred dollars, with their nition, freedom from distortion and lack consider the alternative: loud and clear but unmistakably canned of "boxiness" are easily audible char- A pair of Mini -Ill's for $159. One of sound. We mean the real goods, the acteristics to music lovers. the new generation of high -powered big, professional -type stereo installa- However, you may not recognize the solid -state stereo receivers (they're tions in which the two loudspeakers full consequences of this revolution. The great!) for well under $300. One of the alone moy have cost well over a thou- downfall of the capitalist system is just best imported four -speed automatic sand. one of them. (Obviously, the same sys- turntables with a good magnetic stereo That kind of capitalist system was tem with the same -or better -sound for cartridge, for about $100. Total: just economically justified by its perform- about a thousand dollars less is no over $500. ance, until the September Revolution. longer exclusively for capitalists.) But This combination will perform almost Then, at the New York hi -fi show last middle -class and even lower -middle- in a class with the world's most expen- September, Rectilinear introduced a sive systems and about seventeen small loudspeaker, called the Mini -III classes above the best stereo compacts and priced at $79.50. After hearing it, -for barely $100 more. Plus about ten even capitalists began to wonder why minutes more of your time, to connect anyone should pay more for any the speakers and plug in the turntable. speaker. Remember, it's capital that we made The Rectilinear Mini -III is the brain- superfluous. Not labor. child of a group of young, unorthodox, (For further information, see your we might even soy radical, engineers. audio dealer or write directly to The kind you'd be more likely to find the Rectilinear Research Corporation, working for, say, NASA than for the 30 Main St., hi -fi Establishment. They took great de- Brooklyn, light in demolishing the Establishment N.Y. 11201.) ilNl-III myth that speaker performance depends on size and price. And they came up with enough bright new ideas to make by Rectilinear the 12" by 19" by 191/2" deep, under - eighty- dollar Mini -III one of the four or five best -sounding loudspeakers available today -regardless of size or price.

CIRCLE 54 ON READER -SERVICE CARD

MAY 1969 13

www.americanradiohistory.com from the world's finest stereo receiver...

--.-2!""111WW'-.

PlY

ql, 11-, ;;:1 ï,i 611 80 !(l' l'i la! . ' . . . . .

1 . 2 . 111 f i' Z tan .04 SASS '.lai Uaa.Cl ..1u01 . P11.1144 rimigimileeeo E0011. comes the world's finest stereo tuner...

0,8.290 y? 9a 96 98 100 10? 106 108 I_a_ ..I_. a.... L..,.L10a

Alva, 11H;."l'111C[T 0000 EL e: and the world's finest stereo amplifier...

for the man who already owns a fine something or other.

CIRCLE 35 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Heathkif AR-15

Every leading electronics magazine editor, every leading consumer testing organization, and thousands of owners agree the Heathkit AR -15 is the world's finest stereo receiver. All give it top rating for its advanced design concepts and superior performance ... all give it rave reviews such as these: no basis" ... "cannot . Royce" "engineered on an all -out, compromise "an audio Rolls ... system" so impressed by a receiver" "it can form the heart of the finest stereo recall being ... advanced "performs considerably better than published specifications" ... "a new high in ... match the superb overall per- and circuit concepts" . . "not one that would performance ranks with formance of the Heath AR -1.5" ... "top notch stereo receiver" ... "its FM tuner could produce the hottest available" ... "it's hard to imagine any other amplifier, at any price, significantly better sound" ... "a remarkable musical instrument." sensi- AR -15 has these features: exclusive design FET FM tuner for best The Heathkit Circuit IF tivity; AM tuner; exclusive Crystal Filter IF for best selectivity; Integrated for best limiting; 150 watts music power; plus many more as shown below. Kit AR -15, $339.95'; Assembled ARW -15, $525'; Walnut Cabinet AE -16, $24.95' Heathkif AJ-15

For the man who already owns a fine stereo amplifier, and in response to many requests, Heath now offers the superb FM stereo tuner section of the renowned AR -15 receiver as a separate unit ... the AJ -15 FM Stereo Tuner. It features the exclusive design FET FM tuner with two FET r.f. amplifiers and FET mixer for high sensitivity; two Crystal Filters in the IF strip for perfect response curve with no alignment ever needed; two Integrated Circuits in the IF strip for high gain and best limiting; elaborate Noise - Operated Squelch to hush between- station noise before you hear it; Stereo -Threshold switch to select the quality of stereo reception you will accept; Stereo -Only Switch rejects monophonic programs if you wish; Adjustable Multiplex Phase for cleanest FM stereo; Two Tuning Meters for center tuning, max. signal, and adjustment of 19 kHz pilot signal to max.; two variable output Stereo Phone jacks; one pair Variable Outputs plus two Fixed Outputs for amps., tape recorders, etc.; all controls front panel mounted; "Black Magic" Panel Lighting ... no dial or scale markings when tuner is "Off "; 120, 240 VAC. Kit AJ -15, S189.95 "; Walnut Cabinet AE -18, $19.95'

Heathkit AA-15

For the man who already owns a fine stereo tuner, Heath now offers the famous stereo am- plifier section of the AR -15 receiver fis a separate unit . .. the AA -15 Stereo Amplifier. It has the same deluxe circuitry and extra performance features: 150 Watts Music Power output ... enormous reserves; Ultra -Low Harmonic & IM Distortion ... less than 0.5% at full output; Ultra -Wide Frequency Response ... ±1 dB, 8 to 40,000 Hz at 1 watt; Ultra -Wide Dynamic Range Preamp (98 dB) ... no overload regardless of cartridge type; Tone -Flat Switch bypasses tone controls when desired; Front Panel Input Level Con- trols hidden by hinged door; Transformerless Amplifier for lowest phase shift and distor- tion; Capacitor Coupled Outputs protect speakers; Massive Power Supply, Electronically Filtered, for low heat, superior regulation ... electrostatic and magnetic shielding; All - Silicon Transistor Circuitry; Positive Circuit Protection by current limiters and thermal circuit breakers; "Black Magic" Panel Lighting ... no dial markings when unit is "off "; added features: Tuner Input Jack and Remote Speaker Switch for a second stereo speaker system; 120 240 VAC. Kit AA -15, $169.95'; Walnut Cabinet AE -18, $19.95'

HEATH COMPANY, Dept. 114 NEW Benton Harbor. Michigan 49022 plus shipping charges. FREE CATALOG! C Enclosed is E Now with more kits, more color. Please send Fully describes these along with !quantity R model, over 300 kits for stereo /hi -fi, Please send f PEE Heathkit Catalog color TV, electronic organs, elec- Nanie tric guitar & amplifier, amateur radio, marine, educational, CB, Address Mail or home & hobby. coupon Zip Benton City State write Heath Company, HF-225 & specifications subject to change without notice. Harbor, Michigan 49022. l *Mail Order Price; FOB Factory. Prices CIRCLE 35 ON READER -SERVICE CARD MAY 1969 35

www.americanradiohistory.com BY ROBERT LONG Soic Gr)( 0(), VIDEO TOPICS S1eeo

TV PREVIEW: THE LASER AND LIVING COLOR F(11( izrtof? NOTHING'S NEW UNDER THE SUN -SO they say. But the new recombina- tions of old ideas seem legion these days, particularly in audio -visual technology. Many of the most advanced proposals center around the laser, that space -age producer of so- called coherent light which has been t used for all kinds of things from welding retinas in eye surgery to lunar communications. From lasers came holography, invented in 1948. A hologram stores visual information in photographic film not as an image but as a record of interference wavefronts between two sources of coherent light -one a laser, the other the laser light reflected from an object. Properly viewed, TOUJAY PEDESTALS a hologram allows you to see the object in the round rather than as a Finished in Select walnut and made to look like a solid block of wood. Its classic lines easily flat picture. blend with all interiors. Pedestal rotates to we reveal a housing for stereo equipment PLUS Anyway, have long heard excited twitterings about the possible 100 records. Assembled Only. applications of the laser to video. The idea was that the laser's thin, intense, monochromatic, all -in -phase beam might somehow he made to scan a screen and, using the properties unique to laser light, add special refinements to televiewing. At first -probably owing to the three -dimensional properties of the hologram- speculation centered on concepts of 3 -D TV. More recently, as the spectrum of colors available from lasers has been widened, we've been regaled with visions of color TV requiring no phosphors and dealing in light intensities (and therefore screen sizes) far beyond the capabilities of presently available color picture tubes. MULTI -CUBE One setup for applying lasers to color TV (diagramed here) has pro- So different ... So flexible ...Awarded U. S. duced very' promising results, we are told, in the laboratories of General Patent No 205524. Vertical, horizontal and wall -hung arrangements. Availalle in Maxi and Telephone & Electronic Corp. A krypton laser produces the red beam, Mini size.

ARGON ION LASER

. BRAYING .ROR SCREEN POLARIZATION BEAM SPLITTER

ROTATING GREEN L--r POLYGONAL COLOR DICNROIC \, MIRROR SEPARATION Miou SRS PRISMS V,BRATOR SYNC RED MOTOR

LIGHT POLAR IZA TIC`. MODULATORS

TOUJAY TOWER IEA3) é B KRYPTON ION LASER styles in all A collection of exciting vertical COLOR BAS VERT HORIZ periods. Traditional Towers are available in VIDEO SQUARE DRIVE DRIVE many different decorator finishes and also SIGNALS WAVES PULSES SINE WAVE as kits. SIGNALS DERIVED FROM COLOR TV RECEIVER Designers and Manufacturers of fine Audio furniture, custom cabinets, will installation and contract work. an argon laser both blue and green. The beams are refined for color

For lull One literature end color cart send 250 to purity in a series of prisms. Relative hrightnesses of the three beams are N Y office only controlled by the modulators. (The square -wave bias helps in cutting off Designed by Jerry Joseph í I P D the beams altogether when there is no video signal.) Then the beams 111:11:nQ4 -- _ i 9 ri S are combined through dichroic mirrors (which reflect some colors, let others pass through), and the multicolor beam is split in two, the halves Showroom oisits daily through your choler and decorator only Saturday by appointment Closed Sunday and Monday alternating in producing scan lines on the screen. Horizontal scanning

NEW YORK -146 F 53rd St , New Cori. M Y 10027, TO

(2121 752 2354 LOS ANGELES -144 N. Robertson Bird . is controlled by a rotating mirrored drum; vertical scanning by a single, Suite 103. Los Angeles. Calif 90049, Td 17131 652 6003 SAN FRANCISCO -11SO Samsoma SI., "The lu House" vibrating mirror. Sulla 205. San Frenclece, CAW. 94111. Te1. (4151 989.6847 Very interesting. But not yet commercially available.

36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 9OWatLs. AM /FM. $19995 And that's only the beginning.

Most receivers that cost about So we've introduced our Noc- rooms, separately or at once. S200 are severely compromised. turne Three Thirty. (The Three Thirty has enough 4 speaker If they have reasonable power, It's beautiful. It has big power. reserve power to drive they lack features. If they have (90 watts, 1HF, ±1 db.) Ultra - systems without stress or dis- leatures, their power is usually wide -band sound. A truly so- tortion.) marginal. And most $200 re- phisticated AM/ FM tuner. And The Three Th rty is at your ceivers are less than elegant every important feature you Harman -Kardon cealer now. See looking. The kindest thing you could possibly want in a re- and hear it soon. We think you'll can say about them is that they ceiver. Like function indicator agree that it delivers a degree of are adequate. For $200, we don't lights. Defeatable contour. excellence never before avail- think adequate is good enough. Headphone receptacle. Tape able at such a modest price. monitor switch. And front panel For complete Technical infor- switching for stereo mation write: Harman -Kardon, in two Inc., 55 Ames Court, Plainview, N.Y. 11803.

Inn% o

harman kardon A subsidiary of Jervis Corp.

CIRCLE 34 ON READER -SERVICE CARD MAY 1969 ;7

www.americanradiohistory.com New developments in the great bass revival.

Last year, when we introduced the Fisher XP -18 four -way speaker system with its huge 18 -inch woofer, we predicted a renewed interest in bass among serious audiophiles. We pointed out that no bookshelf -size speaker, not even the top Fisher models that are famous for their bass, could push the low The new XP -15B frequencies around a room with quite the same authority as a big brute like the XP -18. This came as no surprise to those who remembered that a 40 -cycle sound wave is more than 28 feet long. That's why it takes a double bass or a contrabassoon to sound a note that low. Bass and big dimensions go together. But the sound of the big XP -18 did surprise a lot of people. They knew it had to be good at $329.95, but they weren't prepared for a completely new experience. And then came the obvious request: Couldn't we make the XP -18 concept available in more moderately priced speakers? We could. And did: in the new Fisher XP -12 and XP -15B. The new XP -12 They're a little smaller (24" x 22'/2" x I3%" and 27" x 27" x 143/ ", respectively), but still twice as big as bookshelf speakers. They're three -way systems instead of four -way, but they have the same type of 8 -inch midrange driver with molded rubber surround, plus the exclusive Fisher dome tweeter with a new half -roll suspension and an improved dual dome. The main difference from the XP -18 is in the woofers: a 12 -inch unit with a 6 -Ib. magnet structure in the XP -12 and a 15 -inch driver with a 12 -lb. magnet structure in the XP -15B. The prices justify the slight comedown in woof -inches; the XP -12 is listed at $199.95 and the XP -15B at $269.95. How do they sound? Not quite like the XP -18. Just better than anything but the XP -18. (For more information, plus a free copy of the Fisher Handbook 1969 edition, an authoritative 72 -page reference guide to hi -fi and stereo, use coupon on front cover flap.)

PRICES SLIGHTLY HIGHER Ill THE FAR WEST. If-El..O The Fisher040. U..N.Y.I1101,OvUHGi.NOC.n.',.,.[s.-[, ., i .O YI S..CR .OL' I V [.NTICNI. INC.. LONE WAND CITY. R.Y. 11101. CIRCLE 30 ON READER -SERVICE CARD 38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEWS&VIEWS

Enthusiastic crowds, in evidence everywhere at the Personal introductions are a feature of shows. The Washington High Fidelity Show, line up here for man from Panasonic is saying, in effect, "Miss X, a demonstration of the KLH /Dolby tape recorder. I'd like you to meet the RF -60 stereo FM headset."

A CAPITAL SHOW IN THE CAPITAL CITY

Officials of the Washington, D.C. High Fidelity Show power amplifier's feedback loop (as well as to its output (Feb. 14 to 16 at the Sheraton -Park Hotel) claim a terminals), so that the amplifier can correct nonlinearities total attendance of 22,000 -a whopping number for in the speaker's performance. Erath says that the job this sort of affair. Even without statistics, it was obvious of making the feedback -loop connection is a simple one to anyone who attended that the show had to be and that amplifier manufacturers have agreed that the reckoned as a success; not only were there enthusiastic connection will not void the amplifier's warranty. visitors everywhere, but there were a surprising number Fairfax, another recent entry, showed its latest, the of new products on display, considering how recently Color Cube speaker systems measuring one foot per last fall's shows were held. side and available in a number of color combinations. Seminars on various relevant subjects -all well at- The Model C -150 cubes sell for $59.50 each. tended -were presented with the co- operation of the Other new speakers at the show included a proto- Federal Communications Commission, Catholic Uni- type "Experimental S -7" in the Rectilinear room. The versity, the Institute of Electrical & Electronics Engi- S-7 is a two -cubic -foot system (more or less) with a neers, and the Audio Engineering Society. The AES special diffuser in the tweeter, a 5 -inch midrange, and a further participated by supplying members to answer 10 -inch woofer crossing over at 100 Hz. It is expected technical questions posed by show visitors. to sell for less than $200. Most conspicuous among the new products was a A large number of new products on display elsewhere bevy of loudspeakers. Entirely new to the merry -go- were either tape recorders or combinations including round of hi -fi shows were Loudspeaker Design Corpora- some sort of tape facility. Of these, one of the most tion, Power Research Products, and the Erath Co. of interesting was the Ferrograph Series 7 recorder. Fer- Texas. rographs have been made (and sold) in England since LDC was showing two models named Ezekiel after the the very beginnings of home tape recording and have ap- company's president. The Ezekiel is a large folded -horn peared on the American market from time to time. Now system 65 inches tall, selling for $2,500 per pair, and Elpa is importing them. The new Series 7 is designed with designed for corner placement. A smaller, against -the- the serious recordist in mind. It will handle reels up to wall version, the Ezekiel IV, sells for $550 each. 81/4 inches in diameter, and offers three heads, three PRP's system is quite different. It's a three-way design motors, three speeds, and some niceties of control with a total complement of twenty-six speakers (two functions including a front -panel bias adjustment to viscous -damped tweeters, twelve 31/2-inch midrange driv- optimize the recorder for various tapes. The particular ers, twelve 61/2-inch foam -damped woofers). Yet to be model that should be of most interest in the U.S. announced are both the price and the model designation (several options of heads and electronics are available) of the PRP system -in fact, a contest to name it was a is the 704 4 -track stereo deck, which sells for $549 -or feature of the exhibit. $599 with its own case. Erath is a name we had heard before, but the Wash- Panasonic showed several new models, including the ington Show was the first event of its kind at which RS- 796US, an auto -reverse deck for $249.95. Craig also the company had shown its LWE line of feedback loudspeakers. All four models are connected into the Continued on page 40

MAY 1969 39

www.americanradiohistory.com NEWS & VIEWS Continued front page 39 EQUIPMENTNEWS had an auto -reverse deck (Model 2405) and other open- reel recorders. And Harman -Kardon showed its CAD -4 stereo cassette deck, a walnut -cased home unit carrying a minimum resale price of $159.50. Wollensak displayed a whole new line of recorders, decks, and cassette units. It claims to be the first American company to manufacture its own cassette transport mechanism. Prices range from $54.95 for the Model 4000 portable mono cassette recorder to under $240 for the Model 6300 4 -track stereo recorder with two speakers. Among the combination products were Scott's latest Casseiver, two cassette recorder /receivers from Pana- sonic (the RE -7060 at $249.95 and the RE -7080 at $349.95), and an 8 -track cartridge home music system from Lear Jet (Model H -459, $289.95 with record changer, AM, and FM). Fisher's complete line, including its new cassette units, also was on hand. Except for the Radio Shack room, where a whole new line was on display, most electronics at the Washington Show had been seen previously elsewhere. But, even so, it's hard to remember a February when hi -fi manu- facturers had so much that was new so soon after Christmas. CASSEIVER MIXMATCHER

PENN CENTRAL'S TORTURE TOUR Scott's latest Casseiver (cassette-receiver combination) not only matches component assembly functions for but permits mixing during recording. Bob Angus, who reported on the state of fidelity to be diverse uses, For microphone inputs mixed with found on the nation's airlines in our February issue, instance, can be music took the Penn -Central Railroad's new Metroliner to from tuner or auxiliary inputs (turntable or separate tape recorder) while recording on the -in Washington for the hi -fi show. There is a music system built stereo way on the high -speed train, he reports, "that makes the cassette deck -a good to make slide -show sound tracks, for one thing. The Casseiver FM tuning, lowest fi in the sky sound delightful by comparison." -with -watt and full Each coach has several loudspeakers mounted in the 82 output, a complement of controls -sells for $399.95. ceiling and music is provided by a tape unit on the train. According to Angus, "The speakers are only CIRCLE 145 ON READER -SERVICE CARD nominally mounted; the one over my head rattled all the way to Washington. Baffles seem to be only skin - deep and the tape itself sounded hesitant about passing the playback head. Worst of all, like those systems in elevators and airliners on the ground, you couldn't shut it off. The best a distressed traveler could do was to tune in to the clack of the rails (virtually nonexistent on some welded sections) and the whoosh of air outside."

CHOOSE YOUR STYLUS

ADC recently held a press conference to announce its $100 ADC 25 stereo pickup system. A major feature of this system is a supply of three easily interchangeable styli. ADC, it seems, believes that a single tip can't be all things to all records. The three styli include two with elliptical tips (0.3 by 0.7 mils and 0.3 by 0.9 mils) and one with a spherical tip (0.6 mils). The first of the ellipticals will ride somewhat deeper in the groove than the other. ADC suggests a trial- and -error system to determine which will produce GLASS FIBER USED IN SPEAKERS the best reproduction with which records. The spherical is suggested specifically for such records as RCA's Dyna- The 141/2-by 8'/4-inch elliptical woofer of the EMI 205 groove series, whose inner -groove compensation, ADC speaker system is reinforced with glass fiber for a implies, is designed for playback with spherical tips and significant increase in power handling capacity, accord- will not produce optimum sound with an elliptical. ing to Benjamin Electronic Sound, which imports the The offering of interchangeable styli for a given bookshelf system. A pair of cone speakers handle the cartridge body is in itself not news; but when a cartridge midrange; the tweeter is a new compression driver. manufacturer takes on a specific record company, we Three -position controls are provided for both midrange sit up and take notice. RCA's comments were not yet and tweeter. Price is $225. available at press time. Stay tuned to this column for further developments. CIRCLE 146 ON READER -SERVICE CARD

CIRCLE 153 ON READER -SERVICE CARD Continued on prl'.'[' 42

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the 1969 Ampex stereo tape catalog for everyone who owns a tape player /recorder

folk, It's a I hear -the most complete selection different recording labels. Pop, rock, H -73-1, No. 7340 A, and spoken word selec- Mail to: Dept. P.O. Box of pre- recorded stereo tapes ever put be- soul, jazz, classical Chicago, Ill. Please send me the 1969 Ampex tween two covers . . . for your open reel, tions, too . . . all categorized by type of Stereo Tape Catalog. Enclosed is 500. 4 -track cartridge, 8 -track cartridge and music and listed alphabetically by artists for cassette player /recorder. easy reference. Included are informative NAME In 160 pages this entertainment guide lists articles written by the leading authorities in over 5,000 selections from more than 65 the music and entertainment fields. ADDRESS CITY GET YOURS TODAY! FOR YOUR COPY SEND 500 NOW! AMPEX Someone beat you to the coupon? That's okay. Write STATE ZIP Dept. H -70 -1, P.O. Box No. 7340 A, Chicago, Illinois. STEREO TAPES AMPEX STEREO TAPES Division of Ampex Corporation 2201 Lunt Avenue Elk Grove Vi Ilage, Illinois 60007 41 MAY 1969 CIRCLE 5 ON READER SERVICE CARD

www.americanradiohistory.com EQUIPMENT IN THE NEWS females. The $56 price may seem high unless you are a frequent user of these types of connectors. Continued from page 40 CIRCLE 148 ON READER -SERVICE CARD

PREMIUM FEATURES, MODERATE PRICE

The Panasonic RS -768US is a four -track stereo tape deck with some unusual features for its price class. Separate record and playback heads permit monitoring, sound -on sound, and sound -with- sound. The motor is a synchro- nous design, powering a three -speed transport. The deck's list price is $219.95.

CIRCLE 150 ON READER -SERVICE CARD

SERVO /SONY /SUPERSCOPE

Superscope has announced a Sony two -track mono tape recorder with servo speed control. The portable Servo - control 800 -B has several other unusual features as well: a built -in "electret" microphone, four -speed (15/ 16 to 71/2 ips) operation, and a two -position automatic level control allowing wider dynamic range in the music position. There is an outboard mike, too, with its own stop /start switch: both mikes can be used at once. The 800 -B is expected to sell for less than $230.

CIRCLE 147 ON READER -SERVICE CARD

TELE -MIKE FROM AKG

A professional -quality "shotgun" microphone has been IRISH STRETCHES CASSETTES announced by the AKG division of Norelco. The D -900E has a dynamic element, set at the end of a two -foot Two new long -play formats have been announced for the barrel, which controls incoming sound to make the Irish cassette line: 261 -C90 (ninety- minute playing time) microphone's sensitivity pattern extremely directional. A and 261 -C120 (playing two hours). Retail prices for the two -position ( -7 and -20 dB at 50 Hz) roll -off switch will blank cassettes be $3.95 and $4.95 respectively. is provided to control effects of low- frequency boom, rumble, or wind noise. Its impedance is 200 ohms; its CIRCLE 149 ON READER- SERVICE CARD price, $149.

CIRCLE 151 ON READER -SERVICE CARD

......

P .. 1.;577,--- tr"Vi

Ì

HOOKUP HELPER CASSETTEER FOR THE CAR Lafayette's RK A connector adapter kit designed with users of elec- -200 cassette player /recorder is designed for 12 -volt DC in tronic instruments in mind has been made available by operation autos or boats. It is capable of 2 -track mono record or playback, 4 Switchcraft. The K130 kit contains seventeen different or -track stereo playback of adapters and Y connectors, solving just about prerecorded materials. The price ($79.95) capable of includes a remote stop /start mike with a coiled, retract- any riddle of three -type and incompatible -prong Cannon ing cord. Lafayette's number is 99 -1573. phone -type fittings- whether the riddle grows out of mixing types or from trying to mate two males or two CIRCLE 152 ON READER- SERVICE CARD

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com B -200Y Treble Speaker Pair B -209 B Midrange Speaker

B -207B Two -Way Coaxial Speaker B -199A Bass Speaker These BOZAK loudspeakers re- create all music precisely

with the "break -up" of Just as a fine orchestra is composed of outstanding coloration usually associated musicians with fine instruments, so Bozak loudspeaker speaker cones. systems are comprised of the finest component speakers For Treble with sweetness and warmth, the Bozak available in each sound range. Which is why Bozak B an aluminum diaphragm nested in a bed of speaker systems are unsurpassed in their ability to -200Y uses which prevents spurious peaks and ringing, and re- create music realistically. rubber assures smooth, broad response. The very same component speakers used in Bozak's Concert Grand - the ultimate in home loudspeaker A Basic System complete in itself is the Bozak B -207B systems - are available individually for building into coaxial two -way loudspeaker which combines a B -199A existing furniture or even into walls. bass speaker and a B -200Y treble speaker on a single mounting frame. It need only be installed in one of the Bozak fine furniture enclosures shown below. an is the Bozak B -199A For Bass with a sense of feel, there existing cabinet or a wall to become the foundation wool with its variable density cone which has a 50% from which a larger. more complete speaker system can content. "grow" by the addition of components in logical steps in the future. For Midrange with tones essential to the identification Complete descriptions of these Bozak component and timbre of sound. the B -2098 is unique in both speakers, panel- mounted speaker systems and complete design and construction. A patented laminated systems in fine furniture enclosures are included in our neoprene- and -aluminum diaphragm eliminates the catalog. It's free.

Box 1166, Darien, Connecticut 06820

43 A1,w 1969

www.americanradiohistory.com BY ROBERT LONG ARE YOUR COMPONENTS COMPATIBLE?

"IT's A LOT EASIER than assembling knock -down furniture," a hi -fi salesman will tell you. "You just plug everything together, and you're ready to roll. Tape recorders, rec- ord playing equipment, electronics . . . they're all designed to recognized standards which means you - can interchange the products of different manufacturers and get the particular features you want without worrying about whether the separate parts will work together." What the salesman is talking about is component compatibility, and there is much truth in what he says. But for the best possible performance from the finest equipment there's a good deal that you should know. If you're the sort who spends $50 or so for a stereo pickup, who wants to be able to distinguish, say, string bass from low organ pedals, or the clarinet in the upper register from a flute, then read on. Much of what follows may strike you as hair -splitting. So it is -but it is from those split hairs that the finest sonic fabrics are woven.

To nECI. consider the pickup end of the hi -fi chain. Today's cartridge is lighter - that is, it has less total mass -than its predecessors. It also has much higher compliance (particularly to vertical forces) than did earlier models. For optimum performance, modern cartridges should be used in modern arms that offer such refinements as negligible bearing friction. low mass, damped counterweighting, accurate tracking -force adjustment, and antiskating. RJ The variables oI st% tus compliance and arm mass or inertia actually interact between arm and cartridge to determine the PICKUP combination's resonance- typically in the 4- to I 5-Hz range. if it is too pronounced (more than a few dB in amplitude, and close to the I5 -Hz mark), arm resonance can produce low- frequency transients and cause mistrack- ing, especially of warped records. It also can reinforce a turntable's rumble. Conse- quently, the highest -compliance cartridges can prove incompatible with less than the most refined of tone arms. Used in an older or cheaper record changer, such a car- ARM tridge may not only fail to improve the system's sound, it actually may degrade it. Counterbalancing arrangements also can be a source of arm -cartridge incompati- bility in some inexpensive changers. If the cartridge you want is unusually light or un- usually heavy, try it in the arm before you buy to make sure that the range of ad- justments on the arm will accommodate the cartridge weight. Similarly, tracking force adjustments must allow for small increments (' gram or less), must be accurately calibrated, and must cover an appropriate range (say, 3/4 to 2 grams) if you are to achieve optimum performance with the finest cartridges.

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com a an integrated IN CONNECTING YOUR PICKUP to a preamp input (whether it is on receiver, of amplifier, or a separate preamp) you are completing a circuit containing a number electrical variables that add up to a value of impedance. Inasmuch as this characteristic be 47K has been standardized, input impedance at the preamp is always assumed to ohms. Variations in the capacitance of this circuit, however, can pose problems: ex- cessive input capacitance can cause some high- frequency attenuation. You can help avoid attenuation by keeping the leads from the turntable to the preamp inputs as short as possible, preferably no more than a few feet. If, in a particu- lar installation, the run from turntable to preamp exceeds three feet, a thicker than usual signal cable is recommended; a good choice is 3- inch -diameter microphone cable. the It can be fitted with the common phono plugs. Short signal cables also help reduce chance of hum pickup. In this regard, the thicker cable won't help -but there's another type that will: known as twin- conductor shielded cable, it consists of two inner con- ductors surrounded by braid. To use it, connect the inner conductors to the signal ("hot ") and ground pins of one channel of the cartridge's output. Do not connect the braid to anything at the turntable end, but do connect it (together with the ground lead) to the phono plug ground at the preamp input end. This technique, known as a "floating ground," has been known to eliminate hum in many an installation that otherwise de- fied all attempts to defeat hum pickup. Signal level between pickup and preamp also bears watching. Theoretically, the would be to match cartridge output to the preamp's input sensitivity if ideal relationship PICKUP the maximum output of your amplifier can drive your speakers somewhat beyond the In loudest levels you will want, and do so without undue clipping or other distortion. practice, however, matching cartridge output to input sensitivity within 50 per cent will do nicely. A cartridge rated for 6 mV output, for instance, will work well into any in- put rated between 4 mV and 9 mV, enabling the amplifier to furnish substantially its full rated power. (We are assuming, as we will throughout the article, that ratings are consistent with those of CBS Labs, as published in our test reports.) PREAMP Mismatches in excess of 50 per cent between cartridge output and preamp input sensitivity threaten trouble. Since these ratings are in volts, they must be squared in order to calculate power ratings; hence, a reduction to one -half in cartridge output will produce a drop to one -quarter the power at the amplifier's speaker terminals. For example, if your amplifier can produce 60 watts per channel, with a rated input phono sensitivity of 6 mV, it will furnish only 15 watts when driven by a cartridge supplying with the speakers 3 mV of signal -not enough, perhaps, to produce full -bodied sound you are using. The possible remedies then would be to change to a cartridge furnishing a higher output signal (closer to 6 mV), or to a preamp with higher input sensitivity (actually expressed as a smaller number of millivolts, say, 3 or 4 mV), or to a heftier power amplifier (one able to supply much more than 60 watts per channel), or to more efficient speakers capable of producing more acoustic power for a given amount of electrical signal) . Conversely, if cartridge output is higher by more than 50 per cent than the sensi- tivity rating of the preamp, the excessive signal levels may require you to keep the in- put gain control well down. If your preamp is provided with input level controls, cor- rection is easy; without them, you may, in extreme cases, damage the amplifier or the speakers if you have the volume control turned to much past 2 or 3 o'clock. You may also find that the signal level overloads the input stage of the preamp, producing dis- tortion at any gain control setting.

ear- IT IS AXIOMATIC IN AUDIO that transducers (cartridges, speakers, microphones, and least linear links in any system; they exhibit characteristic peaks and PICKUP phones) are the dips in their response. However, a peak in one component, reinforced by a similar peak in another component, will lend the sound an overemphasized, unnatural quality in a particular frequency region. If both peaks occur in the highs, the sound will seem overbright or shrill. In the midrange, the peaks may cause a honking effect. In the lows, the peaks will produce over -heavy bass, often at the expense of a better -defined (if less prominent) bass line. SPEAKER By the same token, dips in response -reinforced by more than one component in the sound chain -lend the sound a deficient quality. Treble dips produce a lackluster, thin sound, wreaking havoc with critical overtone structures of music. Bass dips weaken the entire foundation of musical sound, and unbalance the tonal presentation. Between the relative response characteristics of pickups and speakers there is ample

45

www.americanradiohistory.com n,u;n ARE YOUR COMPONENTS COMPATIBLE?

room for gross mismatching; there is also opportunity for canny mating to achieve rea- sonably balanced and lifelike sound. In comparing speakers, note which have bright- sounding highs and which are more muted. Then study cartridge response curves as a guide to compatibility. In doing so, though, keep in mind that a very live (or very dead) room will further emphasize (or attenuate) apparent high- frequency response. At the opposite end of the audio range, beware of using a pickup known to have a low- frequency resonance together with a speaker similarly known for its ample bass output -especially if that speaker is to he driven by a husky amplifier or is to be in- stalled in a corner where the bass will be reinforced.

MISMATCHES BETWEEN A TAPE RECORDER and other equipment are also possible. For in- stance, a tape recorder's inputs may be so sensitive that they tend to overload at the normal "tape feed" signal levels (1.5 to 2 V peaks) supplied by a system amplifier or receiver. On playback, the tape deck's output may be lower than normal, requiring unusually high settings of gain and volume controls. As a general rule, when audio devices of roughly similar quality are used in a system, all level and gain controls -up to the final or master volume control -should be set at 12 o'clock position (midway rotation) for the best signal -to -noise ratio consistent with the sound level you opt to TAPE RECORDER hear and which you control with that master volume control. Thus, if you own a tape deck feeding into a system amplifier or receiver for playback, the deck's own output level controls should be set midway. If the receiver or amplifier has input level con- trols, they too should be set midway. Then, for the actual listening level adjustment, use the main volume control on the receiver or amplifier. You can demonstrate the wis- dom of this advice for yourself: turn your tape deck's playback level control to, say, AMPLIFIER 3 o'clock, and your main volume control to, say, 9 o'clock. Listen for a few moments. Now, back off the former control to 12 o'clock, and raise the latter control to 12 o'clock or to whatever setting gives the same volume as before. You can expect to hear as much signal but with less background noise.

OFFBEAT HEADPHONE -JACK IMPEDANCES are another source of some incompatibility. Most of today's equipment is designed to handle low- impedance (8 to 16 ohms) head- TAPE RECORDER phones. A slight mismatch upward (say you're using 600 -ohm professional headphones) should result in little or no audible change and is considered okay. A gross mismatch up- ward-with headphones whose impedance is in thousands of ohms -may be something else again. Be prepared for extra -high levels, since high -Z phones may be more sensitive than average. Conversely, some tape recorders have headphone jacks designed for 600 -ohm impedances. Again, the mismatch to low -Z headphones is not serious; though it produces HEADPHONES less sound. However, a higher mismatch downward (a very high -impedance output feeding low -impedance headphones) may allow excessive current through the phones, loading down the tape recorder's output and introducing distortion into related cir- cuits. The only remedy here is a matching transformer. The rule to remember is that if impedances do not match, you're almost always safe driving a high -impedance device from a low -impedance source; but avoid driving a I low- impedance from a high- impedance source.

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com already know something of the IF YOU HAVE READ THIS FAR, the chances are that you room. problems of determining optimum speaker- amplifier relationships for your power Briefly, the larger, or more acoustically dead your room the more acoustic speakers. the you need to produce a given level of sound. And the less efficient your more amplifier power you need to reach a given acoustic power level. Amplifier power ratings (even assuming they are all given in terms of rms dramatically values of continuous power, as we do in our test reports) do not vary as the produces only 3 as would appear at first glance. Remember that doubling power between dB more sound, an easily discernible but not startling increment. Mismatches find amplifier power and speaker efficiency must, then, be large indeed before you you that you cannot attain the loudness levels you want or -on the other hand -that AMPLIFIER or even must keep the gain control well down to avoid uncomfortable loudness, speaker damage. Power levels actually can become harmful to your speakers before they hurt your not designed ears, especially if you are trying to fill a large room with speakers that are speakers for the job. Power -handling capacity ratings for speakers tell the story. If your 40 watts per channel. all will be are rated for a 15 -watt capacity and you drive them with SPEAKER to each speaker. More well as long as the amplifier is putting out no more than 15 watts power, however, may damage the speakers. And you may, occasionally, get more power without touching the gain control. switching Spurious transients, such as those caused by a dropped pickup arm, various can produce sud- noises, or a bad connection in your system -these and other causes hard den surges in amplifier output that might be disastrous. Since it usually is relatively to drive an amplifier much beyond its rated power, matching amplifier and speaker ratings more closely will help protect the speakers. Damping factor is another specification worth considering in the amplifier /speaker very relationship, although real incompatibility is unlikely and can occur only with low or extremely high damping factors. In general, most sealed- enclosure, direct - radiating speaker systems (air- suspension or infinite -baffle) seem to benefit from high damping factors- typical in solid state amplifiers -in terms of clean bass. In contrast. ported systems (bass reflex, for example) could seem deficient in bass if the amplifier's damping factor is up around 200. Since that is about twice the rating of many modern amplifiers, cases of real incompatibility in this respect are rare.

alto- IF YOU HAVE AN INTEGRATED AMPLIFIER or a receiver, you can skip this section gether. If. however, you locate separate preamp and power amp at some distance from PR EAMP each other, you may suffer noticeable compatibility problems. Here's why: IHF specifications call for separate preamps to be tested under loading that approximates the conditions presented by 30 -foot leads between preamp and power amp. Not all preamps are produced to so rigorous a specification, however, and may contribute to some losses in high -frequency response if long leads are re- quired. While these losses may not be serious (and, again, may even he desirable if the room tend to emphasize high frequencies) you may want to check POWER AMP the speakers or the manufacturer's recommendations for any self -powered speaker system you con- template using at any distance from your preamp. Lm

How SERIOUSLY SHOUL.D YOU WORRY about compatibility in the system you own or con- template buying? You probably will find that most potential incompatibilities can he ruled out in your system. Still, if you are serious about your equipment, you will want to consider all angles of the problem of high fidelity -and you might find other areas we could have covered (impedance matching in FM antennas, for example -a prob- lem that almost invariably will be solved for you by the owner's manual provided with your tuner or receiver). In short though, most components really are compatible; it's just that some are more compatible than others.

47 MAY 1969

www.americanradiohistory.com The recent release of a ten -record set of 160 traditional ballads casts a new. and sometimes startling. light on a major aspect of our cultural heritage. Drunkenness, Incest, Murder,

AMONG ITS BLESSINGS, the English- speaking a great dollop of monotonous iteration! But it world can number perhaps the finest body of isn't. In point of fact, few releases of recent folk ballads extant. Unlike a poem. which years can so fascinate the listener. catching him achieves its final form at the hands of the poet up at once in musicology. history, art. psychol- and /or printer, a ballad- transmitted orally ogy ( folk ballads have no rival in exploring the from singer to singer. generation to generation tangled human thickets of love and lust and -remained unfixed. Sometimes the endless ver- tenderness and murder), and a seascape of bal editing improved a song; not infrequently, it glorious melody, wave upon changing wave. debased the original. In any case, the sole con- Here the listener sails to his death across a stant for our ballads through almost a thousand wintry ocean with the despairing Sir Patrick years was constant change. Spens: after a bout of incest, he murders his Not until the end of the last century when pregnant sister. Lizie Wan: poisoned by his Harvard Professor James Francis Child pub- sweetheart, he lies down to die as Lord Ran- lished his collection of 305 British traditional dal: drunken. he rapes a peasant girl beside the ballads with variants did this material attain road in The Knight and the Shepherd's Daugh- anything approaching codification. Since then. ter. All of it is here -the fleeting joys, the collectors have recorded variants of given Child besetting frailties. the incessant horrors of the ballads in the hundreds: they have also discov- human condition -as valid today as when seen ered that the ballad remained a vital. proliferat- through the mists of a millenium. ing art in North America long after it had lost Mr. MacColl and Miss Seeger sing with due relevance to life in the British Isles. Indeed, regard for the -way -it -was. Most of the songs. early in this century the English specialist Cecil particularly the early Scots and English ver- Sharp rediscovered in the southern Appala- sions, they present neat -a solo voice with- chians several magnificent Elizahethan ballads out accompaniment of any kind. Miss Seeger, that had been completely lost in their homeland. an American, deals with most of the New Essentially, then, no ballad possesses any- World variants in a true, somewhat nasal thing resembling an "original" form, or even a soprano redolent of the Appalachians. Mac - "hest" recension. With this in mind. the team Coll's virile, roughhewn voice, while not im- of Ewan MacColl and Peggy Seeger-long -time mune to the occasional catch or wobble, ranges laborers in the vineyards of authentic folk song magnificently through the archaic Scots dia- -have undertaken to present a ten -disc series lect of songs like The Twa Corhies, The Cruel ( "The Long Harrest." Argo ZDA 66/75, S5.95 Mother, and The El /in Knight. He reaches the each) devoted to great traditional ballads with summit of the balladeer's art in his bitter. their principal Scots. English, and North Ameri- mortuary singing of the six- hundred -year -old can versions. Of the forty -eight selections. - dirge, Sir Patrick Spens. His harsh. intense forty -three appear in Child's collection: includ- voice inflects with high tragedy -and savage ing all variants, the series offers 160 songs, and irony -the final stanza wherein the brutally playing time exceeds seven hours. drowned ship's company sway endlessly at the One's first reaction is almost reflexive: Voici bottom of the sea with their unwilling skipper:

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com and Rape- Fa -la -la La by O. B. Brummell Lord Brand and The Twa Sisters, also share "Half ower, half ower be Aberdour/ Whaur a Norse ancestry. It seems to me that the Vi- the sea's sae wide and deep /It's there it lies king role in developing and disseminating folk Sir Patrick Spens /Wi' the Scots lairds at his ballads would prove a fruitful subject for mu- feet." sicological investigation. One cannot sufficiently praise the annota- tions Argo has provided. Each album con- To TRACE THE provenance and evolution of tains a booklet with scholarly commentary the individual ballads provides yet another on and complete texts of every ballad. As ex- fascination. I, for one, am convinced -and of the intriguing lore purveyed in the this splendid set reinforces the conviction - amples learns that the color green ( "down that many of the ballads are far older than notes, one the greenw000d." "in the green hills," etc.) most experts dream. Take Lord Randal. for by belief symbolized death: the refrain instance, whose origins various authorities in ancient Expounded the bent fix anywhere from the thirteenth to the seven- of Riddles Wisely -"Lay broom not nonsense but an teenth centuries. There is a neglected Iceland- to the bonnie " -is against witchcraft; the herb juniper ic analogue, Olaf and the Elf -Maid. which incantation gentle) placates certainly derives from a prethirteenth- century routs evil spirits, hawthorn (or wards off the evil Danish source. Another hallad. The Maid the good fairies, rosemary the otherwise incomprehensible Freed from the Gallows. exists in lands as eye -hence (juniper) gentle and rose - disparate as Sweden, Estonia, Russia, the Fa- refrain "Jennifer roes, and Sicily: it is generally traced through marie." with rue the incredible an ancient Yorkshire variant, to a ninth -cen- Finally, one remarks the tury Irish folk tale called The Distressed Hand- dilution of those ballads that have crossed an uncanny ability to purge maid. Now, it is instructive to note that all of Atlantic. We have passion. The sinister these places share a common factor -a Viking them of their ancient into the jolly Billy occupation. The song was born in Ireland Lord Randal degenerates Boy whose sweetheart can indeed "hake a cher- ( Dublin was founded by Vikings in the ninth who deserts his Scottish century). passed through Yorkshire (York ry pie." Lord Lovel, to roam the world, turns into the was a Viking capital in the tenth century). and sweetheart at the White House Gate. appears in Russia (Novgorod and Kiev were puerile Abe Lincoln trans- Viking strongholds in the tenth century), Scan- The barbarously anti- Semitic Sir Hugh of childhood joys. dinavia (home of Vikings), Estonia (domi- mutes into a gay little chant given our national pro- nated by Vikings), the Faroes (settled by Vi- A strange phenomenon, only wonder why. kings), and Sicily (ruled in the twelfth cen- clivity for violence. One can is a that combines tury by Normans, the descendants of Vikings). To summarize, here series impeccable scholar- This can be no coincidence. The Maid Freed consummate artistry with to our know- from the Gallows most probably stems from ship. It adds a new dimension and evolution of that great an old Norse ballad with roots well into the ledge of the birth ballad. previous millenium. Other ballads, notably cultural heritage -the English

49 MAY 1969

www.americanradiohistory.com Alk

Portrait of the virtuoso as a free-lance recording musician

ONE STORMY EVENING a few months ago, 1 met ments at a session for the singer Enzo Stuarti. This Dick Hyman hurrying down Madison Avenue on his time he would simply be a sideman. way to work. Hyman is a pianist, organist, and harp- "Piano or organ ?" I asked. sichordist (not to mention arranger, composer, and "I don't know," he said. conductor) who is part of the very busy inner core That surprised me. "What kind of music will it of that pool of approximately two hundred musicians be ?" who do most of the recording in New York -pri- "Don't know that, either." marily, pop discs and TV /radio commercials. He was "Well, who are you playing for ?" going to a recording session at Columbia's studios on Hyman laughed. "Look, all I know is that Stan East 52nd Street. A couple of nights before, he had Applebaum's conducting. Whose date it is, who the been at this same studio conducting his own arrange- other musicians will he. what we'll play -these are

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com began to hang mistily in the high -ceilinged studio. all things I wont find out until I get to the studio." had returned. The call was for seven o'clock. Hyman walked into By the end of the playback. everyone more take which was pronounced okay. the studio building at five minutes of seven, greet- They did one It was 7:50. and these players had completed work ing Max Polikoff, the violinist (clue No. 1: there none of them had seen an hour would be strings on the date). Up one flight. the on a score that they turned to You'll Never Walk lobby outside the studio was filled with musicians earlier. At 7:53 ran through it for notes. By 8:30 they hanging up hats or coats, exchanging greetings. Alone and too. splitting into small gossipy groups. They might have had finished that been old friends arriving at a dinner party. Hyman chatted briefly with Urbie Green, the debonair trom- bonist who was smoking a small cigar, waved to THE FREE -LANCE MUSICIANS who accomplish these guitarist AI Caiola and bassist George Duvivier, feats day after day in the New York studios are and went into the studio. unique among professionals in any field. Not only It was a forest of spindly microphone booms, must they produce instant music, faultlessly played, towering gobo walls, baffles, coat racks, and a sil- but they must be able to perform with equal facility very set of chimes. Music stands and chairs were in areas as far removed from each other as standard arranged in neat patterns. The scores on the stands symphonic works, rock and roll, and commercial were stamped "Anita Bryant" (clue No. 2: it was a jingles -and in whatever styles, old or new, that pop vocalist's date). At one end of the studio, some may be called for. of the violinists were tuning up. Hyman found he "The demands made on their talents," says Enoch had been supplied with piano, organ, and harpsi- Light, who has been conducting these musicians for chord. He tested a few notes on the piano as the more than a dozen years on his Command and Project other musicians began drifting in. 3 recordings, "are more than those expected of any By seven o'clock everyone was in or next to his sportsman or professional in any field. If Arnold chair, most of them still talking. Phil Kraus strode be- Palmer has eight or nine bad tournaments, he just hind his barricade of percussion-a xylophone, a vi- keeps on going. In golf, these things happen. But if braphone, a Chinese bell tree, a set of orchestra bells, Tony Mottola or Doc Severinsen should hit a bad chimes, and two kettledrums. He gave the kettle- note, everybody in the studio would be shocked. be- drums a couple of businesslike raps with his These men have got to be so felicitously facile knuckles, tuned them with a quick twist of the cause they've got to be able to do everything." wrist, and, like a haberdasher raising the shade on For their "felicitous facility," the professional his door to indicate he is open for business, turned professionals are paid $65 for a three -hour recording who to face Stan Applebaum. session. Bookings are made by a contractor, It was 7:01 as Applebaum, a tall, handsome man may himself be one of the musicians on the date. whose eyes darted humorously behind dark -rimmed Usually this is done by phone and, equally usually, glasses, gave the down beat for the first run -through the contractor simply leaves a message at the mu- at a certain of Over the Rainbow. Phil Bodner, who was un- sician's answering service offering a date packing his flute as the down beat was given, played time and a certain place. The musician phones hack most of the run -through from a Groucho Marx an acceptance or a rejection. That is the extent of when crouch in pursuit of his music stand as it was moved communications until the time of the session from the French horn chair, where it had been the contractor hovers nervously near the entrance set up by mistake, to a new position. Applebaum to the studio, hoping everyone will turn up. Consid- found something he wanted his three guitarists to ering the number of such sessions held in New York change. While they worked on this, the rest of the every day, there are relatively few slip -ups. men pulled out tax withholding forms and began To become one of those who are constantly sought filling them in. out by contractors. a musician has to be versatile, Two more run -throughs for notes and Applebaum flexible, coöperative, and, Dick Hyman adds, lucky - was ready to try it with Anita Bryant. By now most "you have to be at the right place at the right time." was of the nonblowing musicians had lit up cigars, For Hyman, the right place at the right time which they clamped in their teeth as they played. the NBC staff in the mid -Fifties. By then he had Jackets were being shed (Kraus hung his on his had classical training with his uncle, Anton Rov- chimes). Applebaum, resplendent in a bright canary insky, the pianist, and he had studied jazz with at shirt, put on earphones. Miss Bryant, slim, chestnut - Teddy Wilson. He had worked as a jazz pianist haired, disappeared into her gobo, blowing her nose. Wells' in Harlem. at Café Society in Greenwich Another pair of run -throughs and then, at 7:30. Village. and at Birdland. He had toured with Victor the first take was made. Six tries resulted in two Lombardo's orchestra and with Benny Goodman's West's complete takes. sextet. He got into radio and TV with Alvy While the last take was being played back, the group, hacking Eddie Fisher, Don Cherry, and other (now musicians wandered out of the studio, some purpose- singers. He went to NBC when Mort Lindsay arranged fully, others casually. The blowing musicians took a neighbor of Hyman's in Montclair, N. J.) Milton De- the opportunity to light up their cigars as smoke for Hyman to replace him as pianist in

51 MAY 1969

www.americanradiohistory.com Dick //1 roan, with coworkers: "The great thing in this . . . business is friendship."

lugg's house hand. There he was steered towards re- full schedule; but if it is too full. fatigue and /or bore - cording sessions by Eddie Safranski, the bassist. dom are apt to set in, if not outright punchiness. Hymie Schertzer. the alto saxophonist, and other Those like Dick Hyman who have no steady friends on the NBC staff. source of income are usually involved in something "The great thing in this free -lance recording other than the sideman's trade. Hyman (along with business is friendship." Hyman told me. "It's not Joe Harnell. the pianist. and guitarists Al Caiola and just a matter of making contacts and keeping them Tony Mottola, among others) is not only an arranger up. You have to like people. You have to he able and conductor but a recording artist in his own right to subordinate yourself to a total unit. You have on Command Records. Phil Bodner, who would to like the music you're playing. at least for the have no trouble finding opportunities to play his moment, because you have to commit yourself to it. various woodwinds twenty-four hours a day, is the Loyalties and friendships are very important. My arranger and producer of the instrumental group best friends are the ones that I work with. We ap- called The Brass Ring. Trombonist Buddy Morrow preciate each other and try to help each other. has a band that he takes out on college dates on Most of the free -lance work in New York is done weekends. Saxophonist Tommy Newsom is an ar- on a moonlighting basis. These musicians usually ranger and conductor. have some kind of steady job-on staff at one of the three networks. in the pit band of a Broadway show (to which they can send a substitute when As HYMAN'S INTERESTS and capabilities have ex- necessary), at Radio City Music Hall, or with the panded, he has found that each step of his progress New York Philharmonic. Hyman began moonlighting is part of an interlinking series of experiences which at NBC, continued it during a three -year period when must be maintained to sustain each other. he was music director for Arthur Godfrey on radio When I arrange and compose," he explained, "I and television and was also playing on Sing Along find that everything derives from the playing ex- with Mitch. Since 1962. however, he has not had a perience. The playing is the root of everything. It steady job for more than a couple of weeks, thus all starts with the fingers. On a record session you joining the ranks of those who depend entirely on may be asked to draw on all the experience you've free -lance work for their income. had in the past. You have to simulate styles of It is possible, if you have the talent and the playing that you may have done on club dates, in a stamina. to make a good living as a free -lance side- show, or on a live radio program. The tunes you man. Between recordings. transcriptions, and TV learn on club dates are a musician's ABC. films, a sideman who is in demand can maintain a "That's why I still take outside jobs. I did a week

52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com very like with Bob Crosby in Atlantic City in July. I played about what would be appropriate, much the at Eddie Condon's for a couple of weeks last winter. realizing a baroque figured -bass. As a rule, do this in the rhythm I did a weekend with Tony Scott at a psychedelic arranger will expect you to I conduct I encourage the rhythm discothèque. I played organ at a church wedding section. and when for a friend -forty minutes of quasi -Bach as a section players to contribute. from a written part -and prelude because I can play my own Bach better than "Whether you deviate with the kind of Bach's Bach. how much you deviate -has to do and your rela- "There's a lot of blowing of this kind going on music involved, general precedents, who is usually also the if you look for it. And you have to seek out these tionship with the conductor, fixed, opportunities because you must use them to keep up arranger. The string and wind parts are more some tinker- what started you in the field. but even here there is usually room for can be overly "What I like best about free -lancing," he went ing. Of course, a band of arrangers Abe Lyman fired any on, "is the challenge of each new thing, the variety helpful. I once heard that too much about that you run into, the odd combinations of things player he suspected of knowing that you may do in one day. The contrasts can be arranging. Or was it Joe Venuti? In the funny honky -tonk ragtime session, then some soul "To me, the most fun is in improvising. -a movies. In fact, organ, and then a pseudoclassical date. Twenties, I'd have played for silent harp- "You find yourself doing things with a single I've done an equivalent thing with baroque with organ tune that would never happen on a regular job. The sichord improvisations for TV plays and is instant composition first time I played /llya, Darling was for an album on soap operas. Improvising it has uses arranged by Emmanuel Vardi for Columbia. Then I and, particularly for a keyboard player, it started with arranged it and played it at a Muzak session. Next, that go beyond jazz. For me, however, I played it on harpsichord in United Artists' original jazz." cast album for the show, augmenting the bouzoukis. And right after that I did a honky -tonk piano ver- sion on a funny, un -Greek treatment by Louis JAZZ IS ONE OF several sources that have produced Prima." today's free -lance studio musicians. Some have sym- Keeping up with musical fads can also keep a phonic backgrounds, many grew up in the traveling free lance on his toes. Those who become adept at dance bands of the Thirties and Forties, and now to the new developments quickly are the ones who are like- even rock and roll is beginning to contribute ly to be in the greatest demand. In the past few pool. But regardless of their primary backgrounds, years, studio men have had to add new instruments the successful studio men are those who have gone the to their arsenals- fluegelhorn, Fender bass, ondioline, beyond specialization and have assimilated sitar. Other instruments are being put to new uses nuances of all the other types of music currently with the help of exotic engineering techniques. New being recorded. They know the whole scene. kinds of accenting and phrasing have come along. With these guys," declares Enoch Light, "all you and new rhythms too: bossa nova, bugaloo. have to say is, 'Look, I would like to play this in a Studio men must be constantly alert for every very stiff style' or 'Play it very loose' or 'Play it coming musical twist and turn. Bobby Rosengarden corny' or 'very modern' or 'improvise on such and and their is a drummer who prides himself on being on top of such a basis.' They know what you mean developments in Latin music, particularly Latin response is instantaneous." rhythms. When Rosengarden left New York for a This type of studio work is producing a hybrid short trip, Hyman and the other free lancers who musician of a caliber never before known. Despite work with him prepared an elaborate put -on for his the requirement that everything must be played on return. They greeted him with reports of a new thing sight and given only a few minutes of run -through called the Columbo which, they said, had been before being committed to final form, composers sweeping the music business during Rosengarden's and arrangers are finding that they can present the absence. The free -lance community had been so studio men with increasingly complex and difficult widely alerted to the gag that Rosengarden spent material and expect to get good results. several anxious weeks discreetly trying to find out A similar sense of assimilation is bubbling all how to play the Columbo before he discovered that through contemporary music. The lines that have it was a figment of Hyman's imagination. segregated classical music from jazz, that cut off For a keyboard player, the varieties of style and popular music from folk music, are disappearing. A material that free -lancing requires are made even new generation of composers, apparently oblivious broader by the fact that much of what he plays is to such departmentalization, can already be heard at more or less improvised. work on the collegiate level. They are as familiar "The keyboard part is sometimes completely writ- with rock and roll devices as they are with the forms ten out and you play it as is," Hyman explained. of traditional European music, the ethnic music of "But quite often it just consists of chord names, a India, and jazz. They are drawing on all these sources bass line, and possibly orchestral or vocal cues. to create what could be a new kind of music. And a Then you have to complete it, using your judgment new breed of musician has developed to play it.

53 MAY 1969

www.americanradiohistory.com Koss/Acoustech

PUBLICITY

U.S. Navy

'Darn that decorator ... always leaving tacks around."

Ampex

"And tomorrow we'll try it with both chopsticks."

Packard Bell

"One noue crackk like .that, and you Set it right in the kisser."

Two children named Hansel and Grete!? No, 1 haven't seen them." 54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com M. Hohner, Inc.

PHOTO FILE

HIGH FIDELITY receives a number of publicity photos that we just cannot use in our regular fea- tures. In order to let our readers share them, we here present a selection of some of the best.

Telex

"You're right-it does taste better with the high -priced spread."

Navan, Inc.

"And bare you anything to say before sentence is carried out ?"

High Fidelity Music Show, Inc. Ill tat lotted This the Second Floor. OR" el fa the ¢general g Weto9430 and may Monday will be d yCents ,saves au a trip to the beauty salon I~ "/t each week."

"Instruction 3b: If you don't hare a splicing block, remove the reels from the deck, and get . . . 55 MAY 1969

www.americanradiohistory.com Sibelius' Seven Symphonies A CRITIC'S VIEW OF THE RECORDINGS by Harris Goldsmith

JEAN CHRISTIAN SIBELIUS was a man of deliberation. promising aesthetic sinew and originality. The first Like Brahms. Sibelius waited until he felt himself a two symphonies arguably owe something to Tchai- seasoned craftsman in orchestral technique before he kovsky, Borodin. Dvoi'ák, and other illustrious fore- attempted his first symphonic work; he was. in fact bears, but they are nonetheless unmistakably Sibelian. thirty -four when he completed the Symphony No. I, As for works like the Fourth and Sixth symphonies, in 1899. The following twenty -five years saw the pub- there is nothing in their content that is even remotely lication of six more symphonies -and then the great derivative. One has to turn to the roughly concurrent Finnish composer was to live another thirty -four masterpieces of Béla Bartók to find twentieth -cen- years as a veritable compositional drop -out. tury music of comparable emotional range. complex- There have been several explanations tendered for ity, and rapt communion with nature. this unhappy circumstance. One of the most plausible In the last -named quality lies the crux of the mat- has it that Sibelius was trammeled by his greatest ad- ter: Sibelius' writing. being so allied with nature mirers: with every new work heralded as a consum- sounds, is crucially dependent upon mood and nota- mate masterpiece. the highly sensitive. self- critical tional specifics; yet his directions are often very composer might have been loath to bring into being vague and open to widely divergent interpretations. anything his worshipers (let alone an objective pos- Sibelius no doubt knew exactly what he wanted, but terity) might find less than exalted. Another explan- his visions and aural impressions were often too elu- ation has it that, like Brahms and Dukas, he built a sive to translate into precise words and notation. To censorial bonfire. (Intimates of the composer such as compound the problem, despite the plenitude of re- the conductor Basil Cameron -who swore he held cordings and written evidence from interpreters who the score of the conjectural Eighth Symphony in his could claim direct and intimate association with Sibe- very hands -lend credence to the latter theory.) lius, there is no clear -cut "performance tradition" Whatever the case. we do have twenty -five years for his music as there is for Beethoven, Mozart. of solid symphonic growth, characterized by uncom- Brahms, or Stravinsky. In point of fact, the various

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com with compact "authentic" Sibelius readings are often startlingly di- cool and sharply defined, phrasing And as a color- verse, even contradictory. What traditions exist lyricism and bright understatement. an orchestral spectrum that should rightly be called "Cults of Personality" for ist, Beecham provided in light rays as Kous- Sibelians, both interpreters and listeners, have always covered as much range pointed did with their more massive been a cultish lot. Often these factions are unreconcil- sevitzky /Stokowski able, with one set of devoteés antipathetic to an- swashes of color. of Karajan. Here the other. It might then be advisable, before passing on 4) The Teutonic Sibelius mold tempos to the works themselves. to outline the best -known music is poured into a Germanic -the a -square regularity and most encountered styles of Sibelius interpreta- and rhythmic scansion have four a Brahmsian tion. which gives the symphonies decided a valid point of view. for 1) The Kousseritzky Tradition. This approach flavor. This is certainly romantic move- stresses broad outlines with weighty, sensuous sonori- Sibelius owes much to the German instrumental coloration, Karajan ties and a romantic softening of the music's starker, ment. In terms of light transparency than to less compromising aspects. while at the same time veers closer to Beecham's or Stokowski's blended opu- retaining a basic reserve and continence. Of modern - either Koussevitzky's day exponents. Bernstein's readings can largely be lence. This kind of read- taken as the paradigm for the Koussevitzky ap- 5) The Nonvirtuoso Approach. and proach. ing generally eschews hair- trigger sensationalism rather sober- 2) The Stokowski Tradition. Conductors espousing precipitate tempos, presenting the music values. Many this school achieve results just as lush as Kousse- ly and with an emphasis on structural Kajan- vitzky, but their manner tends to be more wayward and of Sibelius' own countrymen -such as Robert (who, overtly theatrical. Here the music is frequently sub- us, Tauno Hannikainen, and Akeo Watanabe jected to little exaggerations and distortions of bal- despite his Japanese name, is half Finnish) -sub- rarely dull) ance and accent. Dynamic extremes are often widely scribe td this somewhat reserved (but contrasted and, in general, the music frequently be- mode of expression. by Bernstein comes superheated and (for me) incongruously trop- One further point: the recordings sets con- ical and sensational. and Watanabe are available only in five -disc 3) The Beecham Approach. In lieu of the lush, taining all seven symphonies-with the exception hefty sounds of Koussevitzky and Stokowski, Beech- of Bernstein's version of the Fifth, which may be am keeps the strands of Sibelius' instrumentation bought separately.

a bit more con moto Symphony No. 1, in E minor, Op. 39 sound. On the soft, amorphously rever- movement -taken berant new Angel release (S 36489) the than usual -has a nice line). The Vienna playing here frequently Eugene Ormandy is a veteran interpreter tempos seem bloated and leaden. and the Philharmonic's with a heavy of this symphony (he recorded the work entire interpretative aura degenerates in- sounds like Tchaikovsky factor that puts twice on 78 -rpm discs), and his current to a Sunday -school religioso manner. foreign accent, another edition (Columbia MS 6395) is my own Bernstein's account (Columbia M5S me off. favorite among presently available re- 784) is unquestionably inspired but also Beecham avoided the Tchaikovsky his recorded cordings. Ormandy brings to this per- lamentably flawed. He goes at the first trap and as a result I found "right" (Co- formance a sturdy. well -considered choice movement hell- for -leather and quite suc- performance incomparably deleted). of tempos, and only occasionally does he ceeds in sweeping the listener off his lumbia ML 4653, mono only- were always broad, lapse into Tchaikovskian rhetoric -an feet -temporarily. Bernstein is dread- While his tempos inherent danger with this billowing. ex- fully cavalier about details. however. and there was also plenty of sinew and mus- nat- troverted opus. For the most part. the he frequently permits hectoring. scrappy - cle in his music making. This sane, Philadelphia's customary massive sonority sounding playing from his orchestra. By ural- sounding, and, for all its individ- version fur- does not become too lush or cloying. and virtue of its ardent vitality though, I can uality, completely unaffected Philhar- details of scoring are unusually clear. almost succumb to this performance de- ther profited from the Royal its sound Indeed, one even notices that Ormandy spite the glaring reverberant sound and monic's superb execution, and cer- has retouched the instrumentation here the sloppy tape editing. Certainly as a was perfectly ample. Odyssey should and there. transposing a few violin pas- performance in the concert hall (as op- tainly reissue the disc. version, which sages in the first and last movements up posed to a record intended for repeated Sir Malcolm Sargent's Capitol /EMI an octave, adding an occasional harp hearings) it would be a knockout. I know from its original twang and cymbal crash, and so on. All Watanabe's reading (Epic BSC 157) is incarnation (I have not heard the current that is missing from Ormandy's well -re- sober, a bit lethargic in the first move- Pickwick pressing) is a sturdy, objective produced reading are those vital intangi- ment perhaps, but otherwise strong and account. It resembles the Beecham bu bles: rapt sensitivity. communicative in- honorable. The secco tone of the Japan without the latter's urgency or eloquence trospection, and the last word in dramatic Philharmonic -ultrasharp definition be- inspiration. tween strings, wind. and brass -may not Barbirolli. who also once recorded the be to everyone's taste. Symphony No. 2, in D, Op. 43 First with the New York Philharmonic Maazel's account (London CS 6375) on Columbia 78s, can be heard with his has many enthusiastic adherents, but I Inasmuch as the Symphony No. 2 is work (Fin - own Ha11é forces in two interpretations. am not one of them. For nie. the first Sibelius' third most popular I prefer the earlier Vanguard /Everyman movement is theatrically hauled about landia and Valse Triste. of course, take is edition (SRV 132 SD) where Sir John's and utterly disunified. I would guess that pride of place), the range of choice broad, romantic inclinations and his Maazel does not feel this music deeply extremely wide. My preference is the PHS 900092). predilection for flexible adjustments of -he seems determined to make it sound . Szell recording (Philips tempo and gushing (or "committed ") "new" and "different" -and I end up \ For one thing, the Cleveland conductor's string playing are kept in check by the being more exasperated than convinced approach is subtle, broad, and controlled; dry astringency of the bright recorded (I must admit, though, that the slow for another, he is not directing the Cleve-

MAY 1969 57

www.americanradiohistory.com land Orchestra in this Philips release. an icy desolation. I find it interesting, but I do not wish to discredit the Ohio aggre- ultimately inappropriate. The sound is gation, which of course is a superb en- fine, however, and so is the Hallé's semble, but only to point out that the playing, some unpolished moments aside. dark, burnished timbre of the Amster- I had recalled Karajan's Angel record dam Concertgebouw suits this music to (S 35891) as a dim, drab performance. perfection. Here is a Sibelius perform- but an actual rehearing has compelled ance without melodramatic excess but me to alter that view. Yet for all its replete with dramatic flair and genuinely sturdy, musicianly playing, the approach expressive details. Toscanini's view ( RCA is a bit unidiomatic and Prussian. Red Seal LM 6711 -available only as Maazel's performance (London CS 6408) part of RCA's 10th anniversary five -disc suffers from the same traits as his ac- package) is a bit more impetuous than count of the First, and Watanabe's state- Szell's but not dissimilar in its rug- ment (Epic BSC 157) is brutally frank. ged, albeit intellectualized drive. Though without much personal poetry. Ormandy the Maestro's reading urver derives from the once made a fine 78 -rpm version of broadcast of December 7. 1940, its can- the Second, but his stereo remake (Co- did Studio 8 -H sound is strikingly ample lumbia MS 6535) is turgid and bloated. and agreeable. In any case, since clarity Paray is interpretatively threadbare and rather than lushness is Toscanini's es- (`claustrophobic in its recorded sound sential goal, the acoustical compactness ( Mercury SR 18057). while Ansermet's may even be construed as helpful. stodgy conception (London CS 6391) is Monteux and the London Symphony tentatively played by the Suisse Romande also rate among my favorites in this Orchestra. 'Í work (RCA Red Seal LSC 2342). Mon - teux's approach is a bit more easygoing, but (except for a surprising bit of over - Symphony No. 3, in C, Op. 52 phrasing in the third movement trio) emotionally direct and urgent enough. The four available interpretations of The fine playing by the LSO is repro- No. 3 tend to divide themselves right duced in one of RCA's cleanest, most down the middle: Maazel (London CS lifelike recordings. 6591) and Kletzki (Angel 35315, mono Beecham's 1954 concert performance only), favor headlong tempos while with the BBC Symphony is available on Bernstein and Watanabe share a more an imported pressing (Odeon ALP 197) staid. deliberate point of view. There is and might be a bit difficult to locate. something to be said for all four ver- This is a performance that will conjure lions. Maazel, I feel. tightens up the up pine trees and snappy northern air, work and makes its content easier to and as Sir Thomas himself might have grasp than does any other performance said, "to hell with the ragged brass en- in my experience. He gets a delectable, tries." romping vitality into his first movement Those with limited budgets have two by virtue of the most meticulous atten- fine performances to choose from. One tion to articulation and accentuation. is the Dorati, taped in 1967 and well Kletzki's energy, by contrast, sounds Sibelius provided no clear -cut perform- played by the Stockholm Philharmonic it more febrile, although to some tastes ance tradition for his symphonies; hence (RCA Victrola VICS 1318). Some de- that quality might be congenial here. "cults of personality" developed among tails are presented with almost chamber - The principal difference between the his many interpreters and his devoteés. like deftness. but in the main this is a `; more sober accounts by Watanabe (Epic muscular, extroverted performance. The `' BSC 157) and Bernstein (Columbia late Tauno Hannikainen was one of MSS 784) lies in orchestral tone: the the composer's intimates and his bril- Japanese orchestra is clear and undif- liantly analytical presentation (Cross- fused, while the New Yorkers tend to roads 22 16 0226) is a handsome hom- produce an altogether warmer and more age to that association. Basically, Han - matted sound. Bernstein's strings some- nikainen's approach is akin to Szell's times project a greater feel for the under- though without quite the latter's kinetic lying pulse, but as counterbalance, Wat- intensity. The Sinfonia of London plays anabe's forces occasionally achieve sturdily for him and with brilliant de- greater breadth. All four discs (including tail well captured by the recording. the Kletzki) are well recorded. While Those who admire the Koussevitzky Maazel's Third may succeed best in interpretation (which, incidentally, was terms of structural clarification, I have a recently reissued in England but not premonition that the Watanabe or the here) might investigate the performance Bernstein might offer the richest rewards in Bernstein's integral set (Columbia in terms of long -term acquaintance. I'll MSS 784). Bernstein, like his mentor, declare a tossup for all four versions opts for a slow tempo in the first move- and leave it at that! ment, and while he goes in for some fancy excesses, his reading holds together well. The same New York Philharmonic Symphony No. 4, in A minor, Op. 63 occasionally summons up more opulence and color for its performance with For me, the Fourth is Sibelius' greatest Thomas Schippers (Columbia MS 6535) symphonic achievement. It is a strange, but on the whole that conductor's ram- grim, utterly desolate work, full of sug- pant Stokowski -isms sound mighty pu- gestive, vague undertones that are final- erile alongside the more mature views of ly structured into epical proportions. Its Bernstein. secrets can be elusive, and many -if not Barbirolli's latest account for Angel most-of our modern maestros have (S 36425) projects a unique loneliness, strayed far wide of the mark in this

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com work. One of the most frequent re -crea- tum until it discharges, finally, into a live maladies is the tendency to choose mighty harbor. ludicrously slow tempos. In various di- My own favorite account of this Sym- vergent ways, Bernstein, Karajan, Wat -L phony is by Sir Malcolm Sargent and SG 7181 anabe, and Ansermet fall prey to this , Mthe BBC Symphony (Capitol - pitfall (the last -named distressingly so). deleted). It is a reading of ruddy dynam- Ormandy, on the other hand, is fast, ism and breadth, and it should certainly slick, and vacuous; this superficial, soup- he reissued. While none of the avail- ily reproduced edition (Columbia ML able editions really displaces Sargent's 5045, mono only) can be summarily in my affections, many diverse and in- discarded. teresting points of view are presented. Maazel's reading (London CS 6592) My favorite of the currently available V offers a fairly reliable compromise be- ti lot is Maazel's (London CS 6488). It is tween the too slow and personal and the very tight and compressed, often unnatu- too brisk and impersonal approaches. rally so. I have the interesting sensation His outlines are, for the most part, taut, of being whisked through the work on a Culver clear, and stark. One can generally feel musical conveyor belt. It is also a highly a definite rhythmic pulse in every move- charged, ultradynamic reading. To be ment, but in the main I am left unful- sure, such acute extroversion can't help filled by what Maazel accomplishes missing out on mood, although I must here. What results is an odd sonorous say that 1 am highly impressed by Maaz- hybrid wherein the Vienna Philharmonic el's strong, clear- headed ideas and also produces a cold, "age -of- steel" glitter in his remodeling of the Vienna Philhar- tutti passages, while the first -desk play- monic. Here the players sound utterly ing (the all- important cello most partic- unlike themselves: knife -edged, precise, ularly) sounds flaccid. This, to be sure, and compellingly committed. is a very personal reaction. and Maazel's Barbirolli's Vanguard Everyman edi- effort is probably, by default, the best of tion (SRV 137SD) has a relaxed, rhythm- a problematical lot. ically restrained, low -toned understated Karajan's account (DGG 138974) is quality that perhaps would be more darkly burnished, mushy, and soft -cen- appropriate applied to the Fourth Sym- tered. His curvaceous, yielding emphasis phony. Yet the interpretation works. This on sonority makes his Fourth sound like is not the Fifth Symphony itself, but excellent Brahms. Bernstein's is equally rather, a revealing confession about it flaccid (Columbia M5S 784) but a little from a musician who has loved and lived closer to the appropriate grayness. An- with the music for a long time. It will sermet's account (London CS 6387), for be interesting to compare Barbirolli's all its lethargic impersonality, is rather remake for EMI which has already ap- better than his Second. Indeed, certain peared in England but is as yet unre- details have a rapt concentration that leased in this country. leads me to suspect that the Swiss con- Prêtre (RCA Red Seal LSC 2996) ductor knew more about this music gives us the work as Debussy might have than his nonvirtuoso orchestra allowed composed it, while Karajan (once again) Pictured here with .Sibelius in 1940, the him to show. London's sound, in con- gives us a Brahms -eye view ( DGG 138973 year of his seventy -fifth birthday, Georgia trast to the overrich quality accorded and Angel S 35922). With the French- Graves, American contralto, sang a group Karajan and Bernstein, is clinically trans- man, everything caresses the ear: tempos of his songs to benefit For Finland. Inc. parent and a bit "white." and accents are gauged for maximum Watanabe (Epic BSC 157) recovers plasticity and nuance. Karajan is sono- o with reasonable success from an unsteady rously just as elegant, but metrically ' first movement; and as for those snarling divided squarely in four- and eight -bar .cforzando brass attacks, the playing is phrases. His DGG version has a more far more effective than the sleek polite- brilliant recorded sound than his earlier ness of Maazel's, Karajan's, or Bernstein's Angel, and all things being equal, it is men, not to mention Ansermet's anemic to be preferred. regarding the performance (Epic forces. The situation `,i While Watanabe's Fourth Symphony would be immeasur- BSC 157) is also alert and extroverted, ably improved, indeed quite possibly its brisk tempos are less extreme than solved, were Philips to usher George Maazel's. Watanabe is particularly suc- Szell back to Amsterdam for another ses- cessful in the eerie tremolandos at the sion with the Concertgebouw. start of the finale. Ormandy's account L (Columbia ML 5045, mono only) is cut ' from substantially the same cloth as Symphony No. 5, in E flat, Op. 82 Watanabe's, though his famous "Phil- adelphia Sound" tends to draw an in- The most popular of the later Sibelius evitable curtain between the music and symphonies, No. 5 shares structural simi- me. larities with both its two immediate Alexander Gibson's clear, alertly predecessors. Its first movement, like played, and well- recorded account (RCA that of No. 4, builds up to holocaust Victrola VICS 1016) is one of the best proportions from a beginning stated in nonperformances that I have ever heard. muted resignation. But as in the Third, How so superficially positive an inter- the subsequent sections of the work make pretation can be so utterly without a use of short insistent rhythmic /melodic point of view (in the sublime sense) is a figurations. The principal mood of the mystery, all told, and I feel rather guilty E flat Symphony is one of distant, wind- for not liking it more. Gibson's accom- swept optimism. Like Smetana's Moldau, panying Karelia Suite, though, is lovely. the work tends to flow like a mighty I like Bernstein's performance less river that continually gathers momen- now than I did when I first heard it

MAY 1969 59

www.americanradiohistory.com (Columbia MS 6749 or, in the complete Both Watanabe (Epic BSC 157) 1-1 and felt, highly charged emotions to get the set, MSS 784). His reading conveys a Karajan (DGG 139032 and Angel better of him at times. As a result, some certain heroic quality, but I feel that 35316) offer some improvement, though of the sharp, clear orchestral attacks much of his direction here is tentative both conductors unfortunately share become a bit soggy, tentative, and scram- and soggy (or perhaps merely imperfectly Bernstein's laggardly views about the bled, particularly in the climaxes. The conveyed to his players). In the first aforementioned third movement. I prefer recorded acoustic too tends to be woolly, movement Bernstein's strings wear their the Watanabe: for one thing, his read- matted. and unclear. sentiment too coarsely and seem unable ing is refined, but unlike the two Kara - At the opposite end of the spectrum to project any sort of continuous line. It jan versions not overrefined. is Beecham's idyllic statement (Angel is this sluggish, unshaped, rhythmically Maazel again takes top honors here. S 35458). In terms of sophistication and uncertain phrasing in the opening two He gives you the sharpest, clearest, cold- beautifully organized orchestral execu- movements, and the clumsily negotiated ; est Sixth yet to be heard on LP (London tion, his edition is way out in front. Sir transitions there, that are at fault rather CS 6591 ). It scores an immediate vic- Thomas also makes a few judicious dy- than slow tempos per se (though what tory in the problematical pow vivace namic adjustments (e.g.. the second, mi- Bernstein makes of the second move- which startles at first until one accepts nore entrance of the trombone motto) ment's Andante mosso, quasi allegretto the movement as the scherzo that the that greatly enhance clarity and defini- is absurdly slow by any reckoning). composer intended -and is here. About tion. But Beecham's conception is too Moreover, the New York Philharmonic's the other three movements, I am less pretty, too intimate, too lacking in trans- ensemble tone seems not only at odds certain. To be sure, Maazel's very cendental ferocity. While each episode is with the music but with itself: on the severe, metrical approach makes the in itself probably phrased and shaped one hand, you have heavy, glutinous, outlines of the music much easier for the with more penetration and point than in soft- textured low strings, and on the listener to grasp, though isn't it all a mite any other version, the requisite cumula- cold -blooded and prosaic? The Vienna tive build -up is lacking. Big orchestral Culver Philharmonic plays exquisitely, no mis- moments here should burst the bonds of taking that, and London's sound is ex- civilized restraint, but never do in tremely compact and brilliant. I suspect Beecham's affectionate rendition. that Maazel's dry -eyed outlook is, in Both of Karajan's accounts (DGG the long run, good Rx for the music. 139032; Angel 35314, mono only) offer orchestral playing that rivals Beecham's in clarity, subtlety and articulation. Symphony No. 7, in C, Op. 105 Furthermore, Karajan's point of view does succeed better than Beecham's in This one -movement work was first per- projecting the music's internal granite. formed under the title of Fantasia Sin - Yet in the long run, Karajan's bigness fonica; not until publication did Sibelius is parochially Teutonic where it should decide that here was, after all, Sym- be triumphantly universal: there is, in phony No. 7. Many Sibelians have spoken both his recordings, a wooden, square - of its qualities as an apotheosis. but I toed lethargy and an emotional oppres- feel that even they understate the case siveness. Of the two editions, I prefer Did the highly sensitive, self -critical Si- when they call the Seventh a composite the Philharmonia /Angel because of its belius compose an Eighth Symphony and of the composer's symphonic output. For louder, weightier, more impressive- sound- condemn it to be a "censorial bonfire ?" Sibelius was not merely summarizing ing reproduction, despite its pre- stereo en- himself in this work; he was in fact gineering. distilling a very ingenious "moonshine" Watanabe's completely forthright pres- from many famous earlier orchestral sentation (Epic BSC 157) is the one other, hard -toned woodwinds and harsh, C major works. There is some of the that presents, aesthetically speaking, the overblown brass. The acoustic too tends gallant pomp of Mozart's K. 503 Piano least to quibble at. He provides just the to be overreverberant and confused. If Concerto and Jupiter Symphony, and right ratio of muscle to delicacy, and you prized Koussevitzky's famous read- some of the weighty stride of the Meister- the right kinds of emotion and intellect. ing, perhaps you will be able to tolerate singer Prelude. There is a lyrical motif Moreover, he gets clean recorded sound Bernstein's, which -in intent anyway-is that plainly reminds one of Tchaikov- and has his Tokyo aggregation playing interpretatively similar. sky's String Serenade, some of the with discipline. But you can plainly Bloomfield's Everest version (3068) sensuous opacity that is Schumann's hear that the orchestra's capabilities sounds like a competent sightreading job, Second Symphony, some of the fierce (particularly in the realm of tonal qual- recorded in a telephone booth. eruptiveness out of the finale of Bee- ity) are simply not of the best. Some thoven's Fifth, and -most specifically - of the more intricate bits of instrumenta- a recurrent trombone motto that sounds tion sound raucous and infelicitous. In Symphony No. 6, in D minor, Op. 104 like an amalgam of the Brahms First sum, Watanabe's performance is sturdy Symphony chorale and the transfigura- but not eloquent or incandescent. Like the Fourth Symphony, the Sixth is tion theme from Strauss's Tod and And yet I prefer the Japan Philhar- another misunderstood, often maligned Verklärung. Sibelius has here fashioned monic's execution to the patently superior opus. This is a brief, tersely impersonal, a magnificent "through- composed" tone but unconsciously foreign -speaking dialect and yet very intimate utterance: its poem that attains, in the right kind of of the Vienna Philharmonic. Maazel's phrases, like the best classical music, interpretation, a triumphant, heroic intelligent reading (London CS 6488) are crystalline in their shining severity. grandeur. is sapped of energy by the enervated, Bernstein (Columbia M5S 784) offers The present array of recorded per- vibrato -laden strings and uncrisp wind a warmly romantic, richly curvaceous, formances offers a goodly interpretative playing (the brass comes through gal- and generally subjective reading. In leeway, though every one of the avail- lantly, however). Sibelius aus Wien is short, his account presents all the quali- , able versions leaves something to be just not my cup of tea! London's sound ties that should not be applied to this desired. Bernstein (Columbia MSS 784) is beautifully balanced and defined. score. To be sure, both the playing seems emotionally most en rapport with I'm afraid I must opt for the Bernstein and reproduction are better than else- the work. He approaches it with epical in the Seventh, but if you don't want where in his recorded cycle, but the breadth and the sort of big, free -wheeling to get the whole set, I'll recommend flavor still has the characteristic of cigar expansiveness that brings to mind Kous- the Karajans, with a slight edge to the aroma in a lady's boudoir. A more ob- sevitzky's long discontinued but legend- mono Angel version. Both Karajans jective complaint is that the third move- ' ary recording with the BBC Symphony. come with their respective Sixths. Of ment tempo poco vivace is far too Where Bernstein falls down is in the course, if you have Maazel's dynamic leaden -gaited. area of discipline: he permits his deeply Fifth you also have his flaccid Seventh.

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Because accuracy of reproduction is essential, AR -3a speaker systems are used by Connoisseur Society.

For their Vienna recording sessions with internationally distinguished Czech pianist Ivan Moravec, Connoisseur Society brought AR -3a speaker systems from their New York facility. Earlier recordings by Moravec on Connoisseur Society records have received awards fcr outstanding technical and musical excellence. The newest release in the series is record CS 2010, piano music of Debussy and Ravel. Acoustic Research makes AR speaker systems, amplifiers and turntables. All are de- scribed in our catalog, obtainable for the asking.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141 Overseas Inquiries: Write to AR International at above address CIRCLE 2 ON READER- SERVICE CARD NI AY 1969 61

www.americanradiohistory.com Viewed from a dollar and sense standpoint

You can't get a better buy for your new hi -fi system than a Shure cartridge, whether it's the renowned "Super Track" V -15 Type II at 667.50 or the new M91 E Easy -Mount "Hi- Track" at $49.95, made in the tradition of all fine Shure cairidges. If you're new to hi -fi, benefit from the published opinions of experts the world over: the Shure V-11 Typo II Super Track makes a decidedly hear - able difference. If you want to spend less. the M91 E is right for you. You can always "trade -up" to a V -15 Type II at a later date. Shure Brother:, Inc., 222 Hartrey Avenue, Evanston, Illinois 60204.

NEW! M9IE Hi -Track Elliptical Cartridge with optimized design parameters for traceability second only to the Incomparable V -1S Type II. Bl- radial .0002" o .0007" diamond stylus. 20-20,000 Hz Channel Separation more than 25 db @ 1 KHz. Tracking force range >Ja to 11 grams. Trackability specific..tions @ 1 gram: 20 cm /sec @ 400 Hz.; 28 cm /sec @ 1 KHz.; 25 cm /sec @ 5 KHz.; 18 cm /sec @ 10 KHz. $49.95. r0111111 SHIRK PROTHKRI. INC. CIRCLE 59 ON READER -SERVICE CARD 64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EQUIPMENT REPORTS THE CONSUMER'S GUIDE TO NEW AND IMPORTANT HIGH FIDELITY EQUIPMENT

FIRST COMPACT IN KIT FORM:

EASY TO BUILD AND LISTEN TO

THE EQUIPMENT: Heathklt AD -27, a compact stereo noyance has been taken care of; the arm in the 500A system (stereo receiver and automatic turntable less used in the Heath does descend at a suitably dignified speakers), housed in one cabinet. Dimensions: 22 by rate during automatic operation, and during manual 8 by 143,4 inches. Price (electronics in kit form, cabi- operation you can control it precisely by using the net factory-built and finished): $179.95. Manufacturer: built -in cueing lever. Heath Company, Benton Harbor, Mich. 49022. Supplied with the player is a Shure M44 cartridge. Though not Shure's newest, it still is a very good one COMMENT: In a world in which the "caveat emptor" that seems well suited for use in this system. Accord- warning seems to be called for increasingly, it is a ing to our tests of this pickup (August 1964), its coni- genuine joy to come across a product such as this cal stylus will trace both stereo and mono record new kit from Heath. It goes together easily and it grooves; its compliance is among the higher values performs, without the need for professional adjust- available; frequency response on either channel is ments or touchups, better than the manufacturer uniform within a few dB across the band; channel claims. What's more, it is genuinely attractive in its separation is ample; both harmonic and IM distortion walnut and black box, the kind with a rolling tambour are very low. lid that disappears into the back when you open it to We come now to the "strictly Heath" (and kit) part use the set. The only point which we could possibly of this package -the electronics that comprise a sweet find fault with would be in the location of the unit's little tuner /amplifier combination. And the package connecting terminals. Recessed or hidden as they are seems all the sweeter when you weigh its performance to preserve the unit's stylish look, they are fairly diffi- against its cost: in our view, the receiver alone is cult to get at; the screws for hooking up speaker lines worth the price of the entire system. The tuner sec- are especially hard to work with, and the antenna tion, to begin with, does not have the highest sensi- terminals are smack on the cabinet's underside and tivity available these days but it is low enough in dis- near the front. If you're using 300 -ohm ribbon lead -in, tortion, high enough in capture ratio, and good enough you can simply dress it under the cabinet, but if in signal -to -noise ratio to present clearly just about all you're feeding the set from a 75 -ohm line via a balun the stereo and mono FM available in any locale. The transformer, the location of the terminals translates test data accompanying this report documents the to: "Where do you put the balun except to let it dangle set's performance; note that it either meets or ex- out in front?" ceeds claimed performance. In our cable -FM test, the Having delivered ourselves of these criticisms, we AD -27 logged no less than forty -five stations, a num- now can dwell on the set's virtues which are mani- ber that compares favorably with the mark attained fold. For playing records, the AD -27 incorporates a by many sets costing much more than this one. BSR 500A automatic turntable. When we reported on The tuner section is complemented by a doughty an earlier version of this machine (the BSR 500, low- powered, low- distortion control amplifier that pro- May 1967) we found it had low rumble, better than vides better than 10 very clean watts per channel average speed accuracy for its price, negligible wow across an astonishingly wide range. Its low- output and flutter, and a well-balanced lightweight tone arm. level frequency response is uniform within a few deci- The only fault we found then was the too -rapid de- bels out to 100,000 Hz; IM remains low up to the scent of the arm which caused the pickup to land too set's rated output; signal -to -noise figures are very hard and bounce on the record. Apparently, this an- good; equalization is accurate. Tone -control response

Equipment reports are based cn laboratory measurements and controlled listening tests. Unless otherwise noted, test data and measurements are obtained by CBS Laboratories, Stamford, Connecticut, a division of Columbia Broadcasting System, Inc., one of the nation's leading research organizations. The choice of equipment to be REPORT POLICY tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to read reports in advance of publication, and no report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. All reports should be construed as applying to the specific samples tested; neither HIGH FIDELITY nor CBS Laboratories assumes responsibility for product performance or quality.

MAY 1969 65

www.americanradiohistory.com characteristics are unusually good. It won't, however, drive low -efficiency speakers to full output; but hook POWER DATA (8-ohm load; Channels individually it up to a pair of high -efficiency speakers and you'll Lett at be at what 10 clipping: 14.3 watts at 0.75% THD pleasantly surprised (clean, honest) Left for 1% THO: 15.1 watts watts per channel can do. Right at clipping: 13 waits at 0.35% THD Operating the AD -27 should prove easy enough for Right for 1% THO: 15.1 watts the most nontechnical householder. The FM dial is Channels simultaneously to the right of the record player; there's no signal - Left at clipping: 13.3 watts at 0.70% THD Right at clipping: 13.8 strength meter but there is a stereo indicator which watts at 0.37% THO lights up whenever a stereo station is tuned in. The channel dial is amply dimensioned and accurately cali- POWER BANDWIDTH FOR 1% THD: BELOW 10 TO 100 kHz brated, and the tuning knob's "feel" (like that of all ZERO dB = 10 WATTS the controls) definitely suggests higher priced gear. To the right of the FM dial are additional controls. There's a phase knob which helps you adjust the FM reception for maximum channel separation; a treble

tone control that handles both channels simultane- FREQUENCY RESPONSE, 1 -WATT LEVEL ously; a similar- acting bass tone control; a channel - -51 +0.75, -1.75 dB. 10 Hz to 40 kHz balance control; the volume control; and a selector 10 20 100 1K 10K 100K knob (phono, FM, auxiliary). Three rocker switches at FREQUENCY IN Hz the bottom handle power off /on, speakers off /on, and stereo /mono mode. The connections, except for the antenna terminals, are along the right -hand side of the unit, where there's also a stereo headphone jack 10 WATTS OUTPUT (live at all times). Left channel: <0.20 %, 20 Hz to 20 kHz - Right channel: <_0.22 %, 20 Hz to 20 kHz Taking its performance and features against its - -- cost, the AD -27 certainly impresses us as a best buy HARMONIC DISTORTION CURVES in stereo today. 5 WATTS OUTPUT Left channel: <0.14%, 20 Hz to 20 kHz - -- Right channel: <:0.14 %, 20 Hz to 20 kHz HOW IT WENT TOGETHER

The AD -27 comes with a very comprehensive 126 -page

instruction and service manual which covers every 20 50 100 300 500 1K 3K 5K l0K 20H phase of the unit's construction and maintenance. The FREQUENCY IN Hz fold -out pictorials, sectional blow -ups of circuit boards, and detailed drawings help make the construction sim- Pa +5 ple and trouble -free. The work of wiring the three printed circuit boards is especially well planned; possi- W Z -5 RIRA EQUALIZATION: +0, -4i . 20 Hz to 20 kHz ble problem areas are noted and explained as they ° arise. E2, 20 50 100 300 500 1K 3K 5K 10K 20K The extra wiring that is required to join the three FREQUENCY IN Hz circuit boards and other components of the unit is greatly simplified by the use of a wiring harness, which also makes for a neat, easy -to -trace wiring job. IM CHARACTERISTICS We recommend using a low -wattage soldering iron ó3 -- -4-ohm load: <1% to 12 watts output to wire the AD -27. We also note that the chassis is ó -8-ohm toed: <0.4% to 12 watts output made up of many individual sections screwed or bolted Ñ2 --16-ohm bed: <0.5% to 8 watts output together. Care should be taken to properly align all ° parts so that the finished unit is square and all sur- ZW 1 faces lie on the same plane. This prevents undue U pressure on circuit boards when they are installed in ------/ the unit. O1 2 3 4 5 10 20 30 100 When the tuner bracket assembly is put in place, POWER OUTPUT (WATTS) check the flywheel to make sure it clears the ampli- fier circuit board. If it doesn't clear, it could cause a á 0 short in the amplifier. The physical tolerance here is ó very close. 0 -10 One of the easier kits to build, the AD -27 took us IHF SENSITIVITY approximately thirteen hours to construct. No prob- ° -20 5.1 pV at 98 MHz; lems were encountered in the set's wiring or physical á 5.0 pV at 90 MHz: 6.0 pV at 106 MHz construction, and the AD -27 performed satisfactorily -30 5.1 pV on the first trial. s -40 CIRCLE 141 ON READER -SERVICE CARD -501 +20 ó 10 100 1K 10K 100K +15 TONE CONTROL RF INPUT (MICROVOLTS) CHARACTERISTICS F=9+10 +5 BASS BOOST Ñ 0 REPORTS IN PROGRESS R. -5 <,3 '&-10 BASS CUT Pioneer SX -1500T Receiver -15 TREBLE CUT -20 Revox A77 Tape Recorder 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN Hz

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Heathkit AD -27 Additional data Tuner Section

Capture ratio 3 dB S/N ratio 58.5 dB Square-wave rrslrunse ter .51) H:. left. rutti tte In All:. IM distortion 1.4°0

THD, mono 0.66°ó at 400 Hz; 0.80% at 40 Hz; 0.83 °o at 1 kHz +5 THD, stereo I ch 1.7 °ó at 400 Hz; 0.83°ó at o 40 Hz; 1.6% at 1 kHz MONO FM RESPONSE: +0.5, 2.5 de. 20 Hz to 15.5 kHz -5 r ch 0.84°ó at 400 Hz; 1.9 °.ó at 40 Hz; 1.0 °o at 1 kHz

STEREO FM RESPONSE 19 -kHz pilot -35 dB 38 -kHz subcarrier -58 dB -Left channel: +0. -5 dB, 20 Hz to 15 kHz -- -Right channel: +0. -5 dB, 20 Hz to 15 kHz Amplifier Section CHANNEL SEPARATION -15 Left X25 dB at mid -frequencies; >15 dB, 45 Hz to 8 kH Damping factor 56 >25 at B. to -20 >15d8,45Hzto9kHZ Input charocteristics Sensitivity S/N - 25 (for 10 watts output) 57 dB - 30 phono 4.8 mV auxiliary 300 mV 63 dB 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN Hz

KLH'S FIRST

AND ONLY RECEIVER

THE EQUIPMENT: KLH -27, AM /stereo FM receiver. Di- to indicate stereo FM broadcasts, and the input mensions: 133/8 by 41/4 (including rubber feet sup- signal selector (phono, FM, AM, auxiliary). plied) by 161/4 inches (including built-in AM antenna The speaker switches, combined with sets of out- and control knobs). Price: $299.95. Manufacturer: puts at the rear, permit you to run two separate KLH Research & Development Corp., 30 Cross St., pairs of stereo speakers and choose one, both, or Cambridge, Mass. 02139. neither. Also at the rear are the stereo input jacks corresponding to the front -panel selector, and a pair COMMENT: The one and only receiver from KLH has for feeding signals to a tape recorder. The phono that ad- arrived at last. For a compact, high -performing all - input is controlled by a two -position switch in -one in its price class, it was well worth waiting justs the input sensitivity (see accompanying data for. The set's distinctive appearance, styled around chart), while the auxiliary inputs feature a three - the two direct -drive vernier tuning knobs that have position gain switch. Two AC outlets (one switched) become KLH hallmarks, manages to combine a logical are provided. The set's three fuses (one for the power grouping of control functions with a unique, clubby line and one each for the amplifier output channels) sort of look. The receiver may be installed "as is" are fairly hidden behind the built -in AM loopstick an- in the walnut -sided case supplied, or-with its small tenna. There are also terminals for a Tong -wire AM rubber feet removed -fitted into a custom cut -out. antenna and for a 300 -ohm FM lead -in. A system The front panel contains four main groups of con- grounding post completes the picture here. trols. At the upper left is a row of push buttons for With its fairly high sensitivity and very low distor- stereo /mono mode, loudness contour, multiplex tion, the Model 27's FM section logged a respectably (stereo FM) filter, scratch filter, tape monitor, main high total of 48 stations in our cable -FM test, of which speakers off /on, extra speakers off /on. Below these 38 were deemed acceptable for long -term listening controls are four knobs: power off /on combined with or off -the -air taping. Interestingly, the set's FM per- the volume control, channel balance, bass, and treble formance actually improves on stereo: distortion gets (the last two regulating both channels simultaneously). lower and audio response becomes more linear than The large dials handle AM and FM tuning; above each, on mono. The multiplex filter reduces some high - a pilot lamp goes on when either AM or FM is selected. frequency hash on weaker stereo FM signals without Centered above them is a master pilot lamp; centered at the same time appreciably degrading the musical below is a stereo headphone jack, low impedance portion of the signal or lessening its channel separa- and live all the time. The narrow panel at the right tion. Both the AM and FM tuning dials are accurately contains a tuning meter (center of meter for FM; calibrated; the set's AM section, by the way, is better maximum deflection for AM), yet another pilot lamp than average. The tuning dial arrangement in KLH sets

MAY 1969 67

www.americanradiohistory.com POWER DATA, (8-ohm load) KLH -27 Additional data Channels individually Lett at clipping: 29.3 watts at 0.22% THD Tuner Section Left for 1.0% THD: 34.9 watts Right at clipping: 29.3 watts at 0.31% THD Performance Right for 1.0% THD: 36.6 watts characteristic Measurement Channels simultaneously THD, mono Left at clipping: 27.8 watts at 0.28% THD 0.75% at 400 Hz; 0.95% at Right at clipping: 26.6 watts at 0.23% THD 40 Hz; 0.71% at 1 kHz IM distortion 0.5% ./"

S'N ratio 66 dB

THD, stereo, I ch 0.38% at 400 Hz; 0.33% at

40 Hz; O.50°ó at 1 kHz Frequency response. 1 -watt output: r ch 0.32 °o at 400 Hz; 0.44% at +1.5, -2.75 dB, 10 Hz to 20 kHz -5 40 Hz; 0.36% at 1 kHz 10 20 50 100 200 500 1K 2K 5K 10K 20K 100K 19 -kHz suppression FREQUENCY IN Hz pilot -36 dB 38 -kHz subcarrier suppres- sion -45 dB Amplifier Section 5 Damping factor 44 4 IM CHARACTERISTICS Input characteristics Sensitivity S/N ratio For 30 watts output, ó 3 4-ohm load: 1% to 31.5 watts output - -- 8 -ohm load r.7) 8-ohm bad: <1% to 24 watts output mag. ---- -16ohm load: >_ 1% to 18 watts output phono, low 4.5 mV 64 dB mag. phono, high 1.6 mV 64 dB tape monitor 175 mV 87 dB auxiliary, low 1.4 o_WU I mV 65 dB medium 500 mV 66.5 dB high 140 mV 65.5 dB 0 1 2 3 4 5 10 20 30 40 50 100 POWER OUTPUT (WATTS)

+5 2 0 1 30 WATTS -5 MONO FM RESPONSE: = 3.5 dB. 42 Hz to 17.5 kHz ó0 Left channel: :1%, 41 Hz to 20 kHz v ó - Right channel: < 1 %, 47 Hz to 12 kHz -- STEREO FM RESPONSE s HARMONIC DISTORTION CURVES ti 0 -5 -Left channel: 3 dB, 38 Hz to 17 kHz / Right channel: "-3 dB, 38 Hz to 17 15 WATTS OUTPUT g - -- kHz yy.,-10 Left channel: ':0.53 %, 20 Hz to 20 kHz á 2 - CHANNEL SEPARATION - --Right channel: <0.76%. 20 Hz to 20 kHz -Left: X30 dB at mid -frequencies; >20 dB. 50 Hz to 10 kHz -20 Right: >30 dB at mid -frequencies; >20 dB, 50 Hz to 9.2 kHz 0 20 40 100 200 400 1K 2K 4K 10K 20K -25 FREQUENCY IN Hz -30

20 50 100 300 500 IK 3K 5K 10K 20K FREQUENCY IN Hz +20 +15 BASS BOOST m TREBLE BOOST +10 +5

", 0 LOUDNESS CONTOUR FILTER °--10 -5 ócc IHF SENSITIVITY BASS CUT 3.3pVat98 MHz; 2.6pVat90MHz-, -1010 -TONE CONTROLS E -20 -15 - -- LOUDNESS CONTOUR, 3.3 RV at 106 MHz VOL. CONTR. AT 9 O'CLOCK 3.3 pV. -20 TREBLE CUT --- SCRATCH FILTER E

20 50 100 300 500 1K 3K 5K 10K 20K -40 FREQUENCY IN Hz á-501 ó 10 100 1K 10K 100K RF INPUT (MICROVOLTS)

RIM EQUALIZATION: +1, -1.5 dB, 20 Hz to 20 kHz

50 100 3K 5K 1K 3K 5K 10K 20K .Syuure-ware rr.c/rnnsc 7o 50 Hz, left, rund lo l0 kHz. FREQUENCY IN Hz

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com -to in- is worth commenting on: it is offered by KLH as lower output levels. Signal -noise ratios for all moderately being more trouble -free than dial -cord, flywheel tuning; puts are very favorable; damping factor is good. The set and it certainly takes up less space behind the high, square -wave response, generally chassis. It also is very precise -a virtue that is best has accurate equalization, effective tone and filter lift realized by tuning very deliberately and slowly across controls, and an agreeable loudness contour the band lest you run right past a station. that could help some bass -shy speaker systems. The amplifier section of the Model 27 exceeds its As KLH's sole entry in the receiver class, the Model published power output claims and can provide better 27 stands as a lone competitor against all others. than 25 clean watts per channel. Distortion is low We think, at its price, it will do all right for itself. across most of the audio band at maximum output levels, and very low across the entire audio band at CIRCLE 142 ON READER -SERVICE CARD

LOW -COST DECK

BOASTS MANY FEATURES

Ampex 1450 Additional data Performance characteristic Measurement

?reAe' r u-ocy, 71/2 ips 105 VAC: 0.06 °0 slow THE EQUIPMENT: Ampex 1450, a quarter -track tape 120 VAC: 0.13 °o slow deck (with built -in preamps for playback and record- 127 VAC: 0.13 °o slow ing). Dimensions: 153/4 by 13 by 61/2 inches. Price: 334 ips 105 VAC: 0.10 °0 slow $299.95. Manufacturer: Ampex Corp., Elk Grove, Ill. 120 VAC: 0.13 °o slow 60007. 127 VAC: 0.10 °o slow 1'a ips 105 VAC: 0.16 °0 fast 120 VAC: 0.16°o fast COMMENT: The 1450 is a moderately priced stereo 127 VAC: 0.16 °o fast tape deck that offers an unusual number of per- formance features, including self- threading take -up Wow or d flutter, 71/2 ips playback: 0.07 °ó reel, automatic reverse on playback, and separate record/ playback: 0.10°ó recording and playback heads that permit direct 334 ips playback: 0.12 °c monitoring and sound -with -sound recording. The unit, record/ playback: 0.12 °ó which records and plays in mono or stereo at any 178 ips record playback: 0.55 °o of its three speeds (71/2, 33/4, and 1% ips), contains Rewind time, 7 -in.,

stereo preamps for recording and playback equaliza- 1,200 -ft. reel 1 min. .57 sec. tion and gain. It may be fed from the tape- output jacks on any normal amplifier or receiver, or from Fast forward time, reel 1 min. 50 sec. microphones. For playback, its line outputs must be same connected to an external amplifier and speakers. The S/N ratio (ref 0 VU, sound -with -sound feature lets you record two sound test tope) tracks separately: that is, you can record on one playback I ch: 53 dB r ch: 49 dB track, then play the signal back while recording new record/ playback I ch: 52.5 dB r ch: 48 dB can material onto another track. The composite then Erasure (400 Hz at normal level) 60 dB

+5 Crosstalk (400 Hz) o record left, playback right 62 dB 5 RIP RESPONSE (0 dB = -10 VU) record right, playback left 62.5 dB - 7! IRS m Left channel: +1. -7 dB, 28 Hz to 15 kHz Sensitivity (for 0 VU, record- ing level) line input I ch: 150 mV r ch: 120mV z+5 - -- Right channel: +5, -4 5 dB 28 Hz to 19 kHz mike input I ch: 2.2 mV r ch: 1.6 mV 0 -5 334 IPS \\1 Accuracy, built -in meters left: reads 1 dB high ° Left channel: +0.5, -6 dB, 40 Hz to 8.5 kHz right: reads 1 dB high W - Right channel: +2, -4 dB. 45 Hz to 9 kHz - -- IM distortion (record / play) +5 712 ips, 0 0 VU record level I ch: 10.5°ó r ch: 6.8% 5 i -- 11b-IPS -10 VU record level I ch: 3.6°ó r ch: 2.2°0 Left channel: +2, -5 dB. 36 Hz to 2 kHz 334 ips, 0 VU I ch: 9.6°ó r ch: 5.0% - r VU I ch: ch: 2.7% - -- Right channel: +03, -5 dB. 37 Hz to 3 kHz -10 3.9°o 20 50 100 300 500 1K 3K 5K 10K 20K Maximum output I ch: 2 volts r ch: 1.8 volts FREQUENCY IN Hz

MAY 1969 69

www.americanradiohistory.com 2 be played in stereo. The deck is quite compact and HARMONIC DISTORTION CURVES ( -10 VU) 1 should fit readily into the well, or on a shelf, of any 0 71 IPS modern standard -size stereo equipment cabinet. Alter- channel: 1%, Hz 2ó Either 50 to 10 kHz nately, you can install the 1450 in its own walnut 1ó housing which, together with a smoked -glass cover, costs extra. 0 314IPS $49.95 channel: <1.1 %, 50 Hz to Controls include a selector, tape z -Left 5 kHz speed movement -- -Righl channel: <0.8 %, 50 Hz to 5 kHz levers, press -to- record buttons, an equalization selec- lz/e IPS tor for the three speeds, individual level controls 2 Left channel: <1%, 50 Hz to 2.5 kHz for each channel, and dual- concentric knobs that --- Right channel: <0.8 %. 50 Hz to 2.5 kHz choose automatic reversing, tape repeat, stereo, mono, and so on. A separate button impresses a reversing 0 20 50 100 300 500 1K 3K 5K 10K 20K signal onto a tape. Two accurate VU meters indicate FREQUENCY IN Hz tape signal levels, and a three -digit counter with reset button serves as an index to tape usage. The transport section of the 1450 performs in above -average fashion for a machine in this price 7'fz IPS class: speed accuracy and wow and flutter all are -Left channel: +2.5, -1 dB, 50 Hz to 15 kHz very much within the outside limits for high quality ----Right channel: +3, -0 dB, 50 Hz to 15 kHz recording and playback. The 1450's electronics offer average performance in terms of frequency response, NAB PLAYBACK RESPONSE ( -10 VU) and somewhat better than average characteristics as 314 IPS regards low distortion. The self- threading feature - Left channel: +2, -0 dB, 50 Hz to 7.5 kHz combined with the automatic reverse should prove the - -- Right channel: +2, -0 dB, 50 Hz to 7.5 kHz answer to the prerecorded tape listener's prayers: you can hear a full opera on 33/4 -ips tape with one loading of tape and one manipulation of controls. 20 50 100 250 500 1K 2.5K 5K7.5K12K15K20K FREQUENCY IN Hz CIRCLE 143 ON READER -SERVICE CARD

ALTEC'S SMALLEST SPEAKER ing posts (our favorite kind: no fussing with screw SYSTEM HAS FAIRLY BIG VOICE drivers, no need for spade lugs, just strip the lead and insert it) marked for polarity. A three -position switch adjusts the treble range in steps of 3 dB to suit individual room acoustics and listening tastes. The 893A is conservatively rated by Altec to re- spond down to 50 Hz. Indeed, it responds to tones lower than this, albeit with increased doubling. At that, the effect is no more pronounced than in most speakers in this price range, and the Corona actually will growl back when fed with a 20 -Hz tone. At more than normal loudness levels in a large room, some doubling first became evident at 75 Hz although it was fairly slight in proportion to the speaker's funda- mental bass output. There's a very slight "fringe" on the tones from 75 Hz up to about 200 Hz; from here on up it's all clear, smooth, and strong. Directional THE EQUIPMENT: Altec Lansing 893A, a compact full - effects do not become really noticeable until 8 kHz range speaker system in enclosure. Dimensions: 121% and even at this high frequency they seem less pro- by 91/2 by 22 inches. Price: $89.75. Manufacturer: nounced than we've observed in some speaker sys- Altec Lansing, 1515 S. Manchester Ave., Anaheim, tems costing more than the Corona. A 9 -kHz tone is Calif. 92803. audible a full 180 degrees off axis (that is, from a point directly behind the speaker); 10 -kHz is audi- COMMENT: This lowest priced speaker system from ble about 120 degrees off axis; 11 -kHz, nearly 90 Altec demonstrates that a manufacturer long identi- degrees off axis, and so on up the scale. A 15 -kHz fied with large and fairly costly speaker systems can tone is audible faintly on axis, and from here the produce a very creditable compact system that can response dips toward inaudibility. White noise re- easily hold its own in the under -$100 price range. sponse is somewhat on the bright side when listen- A sealed direct -radiating system, the Model 893A, ing on axis; more subdued off axis. dubbed the "Corona," houses a long -throw (high - For a speaker in its price class, the 893A gives compliance) 10 -inch woofer, a 3 -inch hard -cone a very good account of itself on program material. tweeter, and a 2,500 -Hz dividing network within a If you doubt that its rated 50 -Hz bass limit is ade- neatly styled walnut enclosure that may be positioned quate for projecting a hefty amount of clean bass, vertically or horizontally. It sounds equally good either listen to a pair reproducing the 4th movement (March way and doesn't seem terribly critical of whether you to the Scaffold) of the Berlioz Symphonie fantastique place it on a shelf or on a low bench. Efficiency is on London CSA 2101; those opening drums and the higher than most sealed cabinet compacts but not guttiness of the string bass that follows are handled as high as Altec's floor- standing models. A rugged very competently. A pair of 893As should do very little beast, the Corona can take up to 40 watts per nicely for a modest, though decent, installation in channel of continuous power from an amplifier to fill a normal or small room, or as high -quality extension a large room with sound, although it does seem to speakers. They may be the babies of the Altec family, work with a bit less audible strain at lower power but they're definitely part of the breed. levels and in a normal -size room. Input impedance is 8 ohms. Connections are made to press -type bind- CIRCLE 144 ON READER -SERVICE CARD

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Why didn't you tell me you had a ROBERTS ?"

A warning to bachelors !

When she comes to dinner at your place ... be sure to hide the ROBERTS!

You see, the ROBERTS doesn't mean the same thing to her as it does to you. A man buys a unique ROBERTS 778X Stereo Tape Recorder because he can tape his own "Stereo 8" cartridges for his car stereo. The 778X is the 2 -in -1 unit that records and plays both reel -to -reel and 8 -track cartridges. It has the exclusive Cross Fieid Head and other fine professional features. It costs $429.95, and it's worth it.

But to her ...a ROBERTS means that you are a man of quality ...and taste...and discernment ...who can afford to buy the very best! And ... that's the kind of man a girl likes to marry! So ... take it from an ex- bachelor. The next time she comes to dinner ... be sure to hide the ROBERTS ... or the next dinner you attend may be your ast bachelor dinner!

The Pro Line ROE ._. Div. of Rheem Manufacturing Co. Los Angeles, California 90016 CIRCLE 56 ON READER -SERVICEU CARD

\i:w 1969 71

www.americanradiohistory.com Anyone who wants the best, and is worried about spending an extra $20, ought to have his ears examined.

Look at what you're getting The exclusive Miracord Finally, consider what the for the extra $20.00. pushbuttons -the gentlest leading experts are saying The Papst hysteresis touch is all that's needed to about the Miracord 50H. That motor for reduced noise and put the 50H into automatic play $20 bill looks pretty tiny now, rumble, unvarying speed (stacks of 10 or single records). doesn't it? Miracord 50H less accuracy. An exclusive Or you can start the turntable cartridge arm and base, feature of the Miracord 50H. and play single records $159.50. The Miracord 620 The cartridge insert with manually by simply lifting the ($99.50) and the Miracord 630 slotted lead screw for precise arm and placing it on the record. ($119.50) follow in the great stylus overhang adjustment. In addition to these tradition of the 50H. See what Without this Miracord exclusive, exclusive features, the we mean at your hi -fi dealer. your whole investment in Miracord 50H offers a metal Benjamin Electronic Sound Corp., a record -playing instrument cam (not plastic) for greater Farmingdale, N.Y. 11735. could go down the drain. reliability; piston- damped Available in Canada. Because if the stylus overhang cueing: effective anti -skate; a is incorrect, the finest cartridge dynamically balanced arm MIRACORD 50H will not track accurately. that tracks to 1/2 gram. another quality product from BENJAMIN. CIRCLE 9 ON READER -SERVICE CARD 74 HIGH ['WEI I IN MAGAZINE

www.americanradiohistory.com OPERA ORCHESTRAL CHAMBER INSTRUMENTAL VOCAL

THE NEW RELEASES c reviewed by ROYAL S. BROWN R. D. DARRELL PETER G. DAVIS SHIRLEY FLEMING ALFRED FRANKENSTEIN CLIFFORD F. GILMORE HARRIS GOLDSMITH DAVID HAMILTON PHILIP HART BERNARD JACOBSON PAUL HENRY LANG STEVEN LOWE ROBERT P. MORGAN GEORGE MOVSHON CONRAD L. OSBORNE H. C. ROBBINS LANDON SUSAN THIEMANN SOMMER

SOLOMON AS KING OF ENGLAND AND HANDEL'S ONLY CHRISTIAN ORATORIO by Paul Henry Lang

IIANDEL'S Solomon and Theodora offer The English. in their turn. were pleased by seeing the stories and the a marvelous brace of that composer's heroes of the highly personal creation. the English Bible, familiar to them from their daily oratorio. They represent the two poles reading, replace the stories and figures of his creative mind. the ceremonially of Greek and Roman legend and history magnificent. and the introspective. While with which they had little in common. the religious aura surrounding Handel's Furthermore. this new oratorio was in music is still very much present to many English. sung largely by native singers. listeners, some-and what is more im- and not in Italian and sung by those portant, the performers -are beginning "Italian capons" whom only those godless to realize that with the exception of and depraved Italian papists could have Messiah, the English oratorio is not inflicted upon the world. "sacred" music. much less church music. So the Biblical stories notwithstanding, but English music drama. Handel used the Handelian oratorio was music drama Biblical history for his own dramatic pur- made acceptable by its subject matter. poses. The elements of style, the recitative, The matter of nationality is most im- arioso. aria, were the same as in opera, portant too, because if we keep thinking as was the art of characterization in mu- one new was of Handel as a German, we shall con- sic. but important element tinue to make meaningless comparisons added: the chorus. However, this chorus between him and Bach, between English George Frederick Handel: two poles of his did not come from the choir loft of the oratorio and German Passion. The great creative mind-.Solomon and Theodora church but from the English theater, and difference is that unlike the Germans. it assumed the role it once played in the the English shared with the Jews a belief after the collapse of the order which for Attic tragedy; it was one of the protago- in theologically sanctioned history. The twenty years he so ardently helped to nists, the people. who could be onlookers. interchange of the profane and the reli- build in tracts and essays. turned past mid- commentators, or active participants. Al- gious. the Scriptural and the political. dle age to poetry and rose to the highest most all these oratorios are therefore was an altogether English quality not to spheres. so Handel, in his fifties. turned really theater pieces that should be be encountered in any other Protestant from opera, which had been his ardently staged, but the fact that the librettos country, and the German immigrant, who cultivated world for a whole generation, were paraphrases of stories from the Bi- was laid to rest among Britain's great in to the oratorio. and achieved an artistic ble forbade this, the "playhouse" being Westminster Abbey, made that quality eminence reached by few. This was not, morally tainted. This prohibition. origi- wholly his own. The English may oc- as has been assiduously maintained, a nated by the Bishop of London after the casionally behead one of their kings. but "religious conversion" making Handel in- staging of Handel's first oratorio, Esther, his office was transcendentalized until an to "the composer in ordinary of the Prot- was strictly observed for two centuries. almost independent royal liturgy devel- estant religion." but a sober artistic - Verdi's opera Nabucco, having an Old oped side by side with that of the Church. and business- decision that had nothing Testament theme, had to be changed for From the defeat of the Spanish Armada. to do with religion in general or Christi- England into Nino. Rossini's Moses in the English thought of themselves as the anity in particular. Handel did not really Egypt way acceptable as an oratorio, but new people chosen by God. the "new cease to compose operas. that is, dramatic in the opera house it became Pietro sacred people of promise." and the roots music, he only changed the framework l'eremite. Henry Chorley, the waspish of their institutions and destiny were and the subject matter to suit English critic, remarked in the 1860s that "we sought not in the profane evolution of tastes. In so doing he vastly increased English are not so hard. or so soft. as to Anglian, Saxon. and Norman history, but his freedom of action, because he was no be willing to see the personages of Holy in the sacred world of the Old Testament. longer bound by the conventions of the Writ sung in theatres." We might say that like Milton, who, Venetian -Neapolitan opera seria. Among the oratorios there are several

4-CIRCLE 9 ON READER -SERVICE CARD 75

www.americanradiohistory.com distinct types. There are the anthemlike an anthem- oratorio with direct quota- odora, but it is not the carnal aspects of works. Messiah or Israel in Egypt. the tions from the Bible, but a dramatized love that Handel, the erstwhile compos- dramatic oratorios. Saul or Belshazzar novel. Theodora, who refuses to wor- er of warm and erotic love music, was (the two great classical dramas Senule ship Jove and Caesar, is condemned by interested in; his protagonists are seeking and Hercules also belong in this class). Valens. the Governor of Antioch, to be- an answer to the purpose of life. And in there is even a comic opera hidden there, come a temple prostitute. She is loved the great choruses Handel wonders aloud .Susanna, and then the final two, Theo- by Didymus. a Roman soldier secretly about this same theme. The one ending dora and Jephcha, which are in a class converted to Christianity and shielded. the second act. "He saw the lovely by themselves. Solomon, the first of our out of compassion, by his immediate youth," which tells the story of the son two recordings under discussion. is some- superior, Septimus. Didymus exchanges of the widow of Nain whom the Lord where between the victory oratorios like clothes with Theodora so that she can es- called back to life, is the aging com- Judas Maccabaeus and the dramatic cape. but both are condemned to death poser's profession of faith, but a pro- ones. Except for one episode in the mid- after their final refusal to offer sacri- fession that was free of the stated arti- dle. it has no real drama because it is fice to Jove and the emperor. The Rever- cles of Christianity. This is the greatest an apotheosis of the ruling dynasty and end Morell's libretto does not amount to choral piece Handel ever composed; he the nation. Solomon is the King of Eng- much. but Handel found it congenial and himself considered it so. and Theodora land not very elaborately disguised. and exploited its smallest particles. This is was his favorite oratorio. the oratorio extols his virtues (a fact a work by a man gorged upon introspec- Most of the arias. and even some of which George II did not fail to appre- tion -and that is a Handel his contempo- the choruses. are of a controlled simplic- ciate) and the richness and beauty of the raries did not know, nor do we. To his ity, which is the best sort of magnifi- land over which he rules. The last act audience a story of Christian faith and cence. The reserve which delineates true presents a masque in honor of the visit- self -sacrifice was not fashionable; they power once more constitutes a trap for ing Queen of Sheba, which is sheer en- wanted trumpeting hallelujahs, "Jehovah the performers, and once more the con- grossing entertainment. All this Handel with thunder arm'd," and they wanted to ducter. Johannes Somary this time, does translates into magnificent eight -part Bettmann Archive not altogether escape it. Unlike Solomon's choruses and noble, beautifully turned world, that of Theodora and Didymus arias. The librettist, with an eye for the is small, but in this world everything is appropriate compliment. shows Solomon felt deeply and intensely and the shadow as a guileless man of high moral charac- of tragedy that falls over it grips the lis- ter. radiating not only the traditional wis- tener. dom. but modesty. becoming expansive Stephen Simon gives .Solomon a good, only when praising the beauties of his if at times a bit four -square. performance. domain. (Of course. all his concubines The orchestra plays well, the crisp string were dismissed.) His Queen has no sound is nicely aerated by the oboes and marked personality either. but she is a bassoons. The tempos are excellent and young woman in love; her uninhibited the "church tone" is avoided, though the ardor caused much discomfort to the Vic- piece -ending rallentandos are at times torians. The Queen of Sheba is not the clumsy and display the usual annoying enchantress into which fiction has made hesitation before the last chord. But then her; in this oratorio she remains the cos) Jan tulle; the idea that all "old mu- visiting monarch who has come to pay sic" ends like a watery hymn is so firm- tribute to the wise king and to see how ly ingrained that even excellent musi- a kingdom should be administered. She is cians succumb to it. Simon deserves par- decorous. not amorous. and the relation- ticular credit for making a German cho- ship between the two rulers is polite and rus sing well in an idiom which is as "official." Then there is Zadok. the High strange to them as is the English language Priest, sentimental and unctuous; Handel they were obliged to use. In the madri- obviously did not care for his "sacred galesque pieces they are engagingly prick- raptures" but gave him some fine music, ly and bouncy, valiantly echoing English as Mozart did to Don Ottavio. speech rhythm. The conductor is solici- But Solomon is not made up solely of tous about balances. and deals with the guilele.s.s, of moral char- wreaths of laurel; there are also the fra- Solomon. high continuo far better than does Somary. He acter a certain king of England? grant posies of wayside and woodland. -like has a first -class harpsichordist in Martin Handel pours out all his pantheistic love see the great Biblical heroes triumph lsepp, who is in evidence most of the of nature when Solomon sings of his over adversity. Theodora was a total time, though still not as much as he land, and as to the glorification of love- failure. But at this stage of his career, should he. But Simon, a good musician, making al fresco. the tender bucolic when Judas Maccabaeu.s or Alexander's is not a good showman, as indeed neither charm of the "Nightingale Chorus" is un- Feast would invariably fill the house, of these excellent conductors is a man exampled in the entire choral literature. Handel showed a magnificent and philo- of the theater. Yet this is theater mu- The only danger this rich and poetic ora- sophical indifference to fashions, even to sic, which means that it must be flexible, torio presents to the conductor is that its success. which formerly was so impor- free, and dynamically varied. The great peculiarly English glow may be taken for tant to this exalted showman. He now trio in the judgment scene does not come high tea and crumpets felicity -and Ste- wrestled with his own feelings; indeed he off well. The Second Harlot is a little phen Simon does not altogether escape it. now struggled to arrive at a religious con- arch, the King seems to be bored and he This is really the first recording of the viction on his own terms. He took the re- wobbles a bit. and only the plaint of the great work. It has been done before by ligious drama but did not subject it to the true mother rings genuine. A stronger Sir Thomas Beecham. but the peppery expected a posteriori symbolization; in- operatic hand could have made this mar- baronet, a musical autocrat equal in gran- stead. sometimes disregarding the literal velous scene more convincing. deur to the original King Solomon. com- meaning of Morell's libretto, he im- It was an excellent idea to substitute a pletely butchered the oratorio, leaving mersed himself in the spiritual problems baritone for the alto part of Solomon, out about one third, including the pivot- of one nearing the end of his life. This and John Shirley- Quirk, though not ex- al judgment scene, rearranging helter- is extremely difficult for us to grasp, for actly brimming with temperament. gives a skelter the rest, and noting, with smug music divorced from the actual meaning good account of it; the pastoral arias are satisfaction, that "the entire score has of the text cannot convey such complex delivered with a smooth, mellifluous been reorchestrated by me." sentiments, except to its composer. Yet voice. Saramae Endich takes two of the Theodora is the only oratorio with a this probing into his own soul is ever principal parts. She is a fine artist, but Christian subject. It is not. like Messiah, present in Theodora. Didymus loves The- her voice-which can soar -is a dramatic

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com soprano, really a very high mezzo. better fairly authoritative Valens, though his continuo is disconcerting; aria after aria suited for the dramatic role of the First voice is a little unsteady. is sung superbly but without proper har- Harlot than for that of the cooing in- Somary demonstrates remarkable mu- monic support. Except for the recita- genue that is the Queen. Alexander sicianship, a fine feeling for tempo, tives, one would hardly guess that there Young is excellent as Zadok, and Patri- mood, and expression. Unfortunately, he is a harpsichord in the ensemble. Finally, cia Brooks takes care of the dual role of was severely handicapped by the quality there is a good deal of pre -echo, especial- Second Harlot and Queen of Sheba satis- of the recording. The minute the chorus ly annoying in the dramatic pauses. But factorily. goes above mezzo forte all distinction is when the chorus sings gently it can be Johannes Somary has a more uniformly lost, and in the fortes the treble is near beautiful, and many of the solo pieces excellent cast, all of whom enunciate distortion. Simon's engineers. who had a come through nicely to save the day and with the utmost clarity, but he too should much more difficult task with the widely give a good idea of the richness of this have transferred Didymus' part to a spaced eight -part choruses in Solomon, profound score. male singer. Maureen Forrester is a great managed to avoid the haze that envelops artist whose phrasing and articulation are Vanguard's choral forces. Somary com- HANDEL: Solomon matchless and whose magnificent voice is mendably tried to reflect the intimate and the music, and most unwaveringly on pitch. Still hers is a par- inward character of Saramae Endich (s), Patricia Brooks (s), ticularly "nutty" dark alto, too matronly of the time he is successful. but at others Alexander Young (t), John Shirley -Quirk is pale and filtered. feminine, and with an unmistakable touch the sound he gets (b); Martin Isepp, harpsichord; Vienna she coals vocal soloists fare well, but the of the "churchly." When pours The Jeunesse Chorus; Vienna Volksoper Or- on low al- are often a little distant and lus- that velvety dark register (all strings chestra, Stephen Simon, cond. RCA RED tos like to do the terless, especially when they try to be that), dramatic confron- SEAL LSC 6187, $17.94 (three discs). tation suffers because all plausibility of too self-effacing in the accompaniments. the impersonation of a male character is The conductor made some substitutions lost. Heather Harper's Theodora is su- that are somewhat questionable. When HANDEL: Theodora perb; her voice has many shades and she Handel demands violini unisoni e bassi never fails to rise to the dramatic de- he did not expect a solo fiddle and a Heather Harper (s), Maureen Forrester mands. Maureen Lehane (Irene) is solo cello. Even more surprising-well, a (c), Maureen Lehane (c), Alexander equally impressive, except that some of little grotesque -is the use of a single Young (t), Edgar Fleet (t), John Law - her recitatives are a little too subdued. violin and one bassoon, the latter partic- renson (b); Amor Artis Chorale; Eng- Alexander Young shows an ability to dis- ularly mournful as it ambles along with- lish Chamber Orchestra, Johannes Som- pose of coloraturas that any soprano out any support from the harpsichord. ary, cond. CARDINAL. VCS 10050/52, could envy, and John Lawrenson is a This absence of an always clearly audible $10.50 (three discs).

TWO PROKOFIEV SYMPHONIES -A LOGICAL SECOND AND A LYRICAL FIFTH by Philip Hart

NO ONE CONDUCTOR has yet recorded less formidable than it must have over an integral set of Prokofiev's seven sym- forty years ago, when its unfavorably phonies, but collectors may now assemble received first performance virtually con- their own complete package by choosing signed the work to oblivion. The two - from various projects more or less offi- movement symphony, modeled on Bee- cially under way. Leinsdorf's planned thoven's last piano sonata, is certainly comprehensive survey of the orchestral straightforward enough: a violently en- Prokofiev now includes Symphonies Nos. ergetic yet classically developed sonata 2, 3, 5, and 6. Rozhdestvenskÿ s series form followed by a series of variations of new performances on Melodiya /Angel on a lyrical theme. Erich Leinsdorf presently offers Nos. 1, 4, 6, and 7. And Leinsdorf presents the first movement there are, of course, numerous other in the most intelligible reading it has recordings of Prokofiev symphonies - yet enjoyed on disc. His direction, the Nos. 1 and 5 in particular are available playing of the Boston Symphony, and in many different versions -from which the fine reproduction, all contribute to to select a representative survey of one the clarification of an extremely dense of the century's most important sym- texture. Moreover, Leinsdorf discovers phonic masters. more coherent expression, musical logic, ( Each of these new releases merits and subtle dynamic variation in this more than passing interest: Leinsdorf's problematical music than any previous because it offers the first thoroughly ad- conductor on records. The same elements equate recording of Prokofiev's least - are strongly evident in the long variation known symphony; and Karajan's because movement. it offers a highly individual and superbly The conductor is somewhat less suc- engineered version of a major contem- cessful in finding the proper satiric bite porary work. and folklike quality of the Lieutenant Long regarded as the most difficult of tj Kijc; Suite. Other conductors, notably the seven (even by the composer him- - Reiner and Ormandy. achieve happier self), the Second sounds considerably 2- results with this lighthearted score. To Herbert von Karajan

MAY 1969 77

www.americanradiohistory.com Leinsdorfs credit. however, one must note that he includes the optional (but certainly preferable) vocal parts in two of the Suite's movements. David Clat- worthy. a fine -sounding young baritone. sings these in what seems to he good but not completely idiomatic Russian. There are several ways of interpreting the Prokofiev Fifth Symphony. Karajan quite predictably opts for the lyric ap- proach, and no conductor today can match him when it comes to conjuring up long. expressive orchestral lines. This luminous performance and recording immediately takes its place among the best versions of Prokofiev's most popular large -scale symphony. Karajan's song- fulness is totally antithetical to the equally valid epical approaches taken by Ormandy, in a still viable though tubbily recorded performance, and more recently by Bernstein, where energy and sonority Ruggiero Leoncavallo sometimes overcome orchestral precision. The recording that comes closest to Karajan's interpretation is the version by the late Ernest Ansermet, who often A excelled in the twentieth -century Russian CASE FOR THE "OTHER" LA BOHEME repertoire. Prokofiev in particular. An- sermet projects his lyricism with more in- tensity than Karajan, and he favors a by Conrad L. Osborne richer, more generalized sonority. But Karajan draws a far finer, more ex- traordinarily subtle orchestral sound and THOSE READERS WHO have been collect- from negligible. It does not have the texture from the Berlin Philharmonic. ing records since the early days of LP flashes of melodic illumination, the stick - By refining the typically warm. rich will understand what I mean when I to- the -ribs arias or ensembles that would sound of his brass and lower strings. and say that one must approach this release guarantee it a spot in the repertory. Nor by his incredible control of the intona- in the spirit with which one approached does it have the balanced, almost pat tion and vibrato of the upper strings. many of the Cetra opera albums of that structure that helps make the Puccini so Karajan achieves a texture comparable time. I don't mean the good ones. the workable. Yet the oddities of the struc- to the luminescence one associates with characteristic representations of decent, ture are among the fascinations of the good string quartet playing. At the same idiomatic performances (like the Rigo- piece. The first two acts are extremely time, this refined sonic medium is made leNo, the Don Carlo, the Puccini ha -ha, very heavy on the joie de la vie to complement a musical conception in Boheme), but the really bad ones -like do Bohème. The writing is by no means which the lyrical line and phrase are de- the Lui.se! Miller or / Lombardi -which without interest -vigorous, colorful stuff veloped in a most sophisticated manner. just happened to be (in some cases. still not unlike the "busy" music in Andrea One may or may not care for Karajan's are) the only commercial recordings of Chénier, though a bit lighter and more treatment of Prokofiev, but it is impos- the works. transparent. Scattered throughout this sible to deny the perfection with which In this case. we have the only ac- portion of the opera are little songs. in every detail is executed. To my mind the quaintance most of us are ever likely to a couple of instances drawn from Alfred lyric is certainly one very valid approach acquire with a major effort by one of de Musset. There is. for example, a to Prokofiev. especially here in the Fifth those several verists who have come to lilting piece for Mimi, "Musette svaria Symphony. be known as "one- opera" composers. Of voila bocca viva." But the two characters course. Finally. I must compliment DGG's en- Leoncavallo is often enough to emerge most strongly in these two gineers and producers for the beautifully sneered at even for his one stunning acts are Musette and Schaunard. The balanced stereo ambience, the ungim- success. I Pagliacci. But how absurd that former has a charming chanson, "Mimi micked recording. and the tasteful fidel- judgment is: Pagliacci is not only popu- Pinson la biondinetta." which verges on ity with which the orchestra's dynamics lar and workable. it is a brilliant piece the memorable. while the latter acts as and tone color have been reproduced. of writing. Few operas go so directly and a sort of master of the revels. with at This is everything that an orchestral re- compellingly to the hearts of their char- least two fine solos -the first an intro- cord should be and nowadays so seldom acters. and few have structures so ex- ductory ticking off of his companions Is. pertly crafted to the demands of the and himself, the second a lovely Ros- content. sinian parody ( remember. this is Paris Leoncavallo turned out two other in the 1830s). PROKOFIEV: Symphony No. 2. in pieces that held at least some claim to So there are many interesting moments. D minor, Op. 40: Lieutenant Kijé: attention in their day: La Bohème and the only problem being that sustained Suite. Op. 60 7_aza. The Boheme, of course, has never gaiety and charm always threaten bore- emerged from the shadow of Puccini's. dom. Then. the opera suddenly turns. David Clatworthy, baritone (in the and doubtless never will. This is some- The relationships which had been con- Lieutenant Kijé): Boston Symphony Or- thing that must have gnawed at Leon - vivial and a hit superficial become dark chestra, Erich Leinsdorf, cond. RCA cavallo. The opera was his idea -he and real, the music changes to more Rin SEAL LSC 3061, $5.98. broached Puccini with it. When Puccini typical veris,mo outcry. Some of it is indicated disinterest, Leoncavallo went quite powerful: some of it, in fact, is PROKOFIEV: Symphony No. 5, in B ahead with his own setting of the idea. high drama. The separation of Musette flat, Op. 100 But Puccini. without a nod toward the and Marcel is full of rage and pain: in other composer, proceeded to make ar- contrast with the Puccini treatment, there Berlin Philharmonic Orchestra, Herbert rangements for another libretto and is no hint that these two might ever von Karajan. cond. DEUTSCHE GRAnt- plunged ahead with his own opera, come together again. Rodolfo, who fig- ntOPHON 139040. $5.79. Tape: f1 scoring triumphs long before Leonca- ures only in a very minor way in the C9040. 71/2 ips, $7.95; ® M89040, valló s ever saw the light of day. first two acts. gives us a sample of his $6.95. And the Leoncavallo setting is far poetry at the opening of Act IV -it is a

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com bit pompous, and is full of ugliness and list -in certain respects it even outclasses death. Throughout these two acts, there all the others. The conductor recognizes is an interesting acknowledgement of the CLASSICAL that the entire work is a dramatic recita- fact that these people are in fact miser- tion of the Passion story with appropria- able, that they lead squalid and despair- tely spaced interruptions for reflective ing existences, that the gaiety is a hysteri- solo arias and contemplative chorales and to life in which nothing AMY: Diaphonies; Inventions -See he always manages to strike an excellent cal response a Pieces for Orchestra, really works. I rather like the way the Webern. Five balance between the dramatic and the piece comes to grips with this truth; it is Op. 10. meditative. His handling of the chorales as if Leoncavallo had determined to show is particularly satisfying: each one is us first the illusion of the irresponsible, ARNE: Concerto for Harpsichord varied in tempo and mood to reflect the in G minor; asocial life, and then to show us that it and Orchestra, No. 5, meaning of the words, which are never No. 1, in is really filled with hate and hopelessness. Sonata for Harpsichord, overinterpreted and always retain the get away with an F; Overture No. 1, in E minor character of "congregational" singing. You can sometimes B finally you cannot get a tBach, C.P.E.: Symphony No. 2, in The South German Madrigal Choir is unpaid bill, but d'Es- doctor when you need one. And I like flat; Variations on "Folies a moderate -sized group that sings in a work, its accept- pagne," for Harpsichord; Concerto very smooth, clean, precise manner. Their the atmosphere of the in ance of the spirit of Murger and De for Harpsichord and Orchestra, approach differs considerably from the Musset, and of the episodic nature of C minor bright, detach- style preferred by Karl these tableaux. The libretto is not the Richter on the fine Archive recording. harpsichord; Academy f- work of a dummy. George Malcolm, but they achieve results of almost equal -in- the -Fields, Neville Mar - My suspicion is that, given a group of of St. Martin clarity while producing a rather warmer, juicy, Italianate voices and a director riner, cond. ARGO ZRG 577, $5.95. richer choral tone. who meant business, this La Bohème In terms of sheer vocal quality, Theo solo works are the could amount to a moving evening in the The two harpsichord Altmeyer's Evangelist is perhaps the best on this unusually attractive theater. Unfortunately, the performance prize items on discs. His voice sounds younger and has only a certain basic liveliness to disc. The Arne is noble. rather Handelian more immediately attractive than either bright and pranc- recommend it. The orchestra is adequate, in its first movement, Pears (who sings in both the in its Peter sometimes even rather sharp. The two ing, full of sparkling fingerwork Angel and in bag of Klemperer performance on singers who emerge with some honor are second. The Bach is a positive 4-the Münchinger version for London) or is adventurous in al- the American mezzo Nedda Casei (who tricks; Carl Philipp Archive's Ernst Häfliger; and while he but give him the performs the lighter parts of Musette's most any circumstances, may not project all the dramatic nuances of into a set of music with considerable grace and, opportunity launching of his predecessors, Altmeyer's clear, un- can match him. These though lightweight for the heavier de- variations, and few forced tenor and his sensitive approach to in, through, and around mands of the third act, still sings se- twelve excursions text are very much in his favor. melody (the same the curely and attractively) and Orazio Gual- the Folies d'Espagne Prey and Nicolai Gedda are make a kaleidoscope Hermann tieri (whose plump, warm baritone and La Folia of Corelli) In the arioso "Am sonorities, and reg- quite outstanding. musicality would make him a fine artist of varying textures, kiihle war" the follow- of angular melodic con- Abend da es and if only he had more technical ability in ister- interplay, dich," Prey reaches sev- independence of hands. ing aria, "Mache approaching the top). Mazzini, the Ro- tours and notable eral peaks of moving eloquence. Gedda is superb; he will bring dolfo, has a dark baritone that is some- George Malcolm makes an even better effect here than he times impressive but not often beautiful. you to the edge of your chair. Harpsichord Concerto did on the Klemperer recording, partly He more or less assaults the music. Arne's delightful more comfortable with the soloist plenty to work with because he sounds Antonio Annaloro has plenty of tem- also gives tempos, which are much (the orchestra is exceedingly polite in the Gönnenwein's perament and a sufficient range, but in more realistic than Klemperer's prepos- movement, and the second is for the terms of beauty of tone or line, he is first terous -dragging. The two ladies are soloist alone); even in the Overture the foot not easy to listen to. Miss Medici hardly more than satisfactory, but one might passes professional muster. harpsichord continuo manages to break occasional flourishes during the wish for a bit more warmth and involve- In short, no one is truly first -line, and out in ment from Franz Crass's Jesus. final movement. Elsewhere in this work in a couple of instances the listener must If ever a work demands the ultimate Arne's lively turn of mind and the crisp, exercise patience and imagination in effort from recording technicians, it is clean phrasing of the St. Martin players hearing out the score. Everest's libretto the St. Matthew: a poorly engineered job is a fat help: a synopsis of the Puccini keep affairs moving briskly. Bach's Sym- phony boasts not only unexpected shifts would render the complex texture of three version (very different), plus an Italian - independent choirs and two independent only text. The sound is middling -not of melodic idea but a lively independence of parts, and the setting of one orchestral orchestras totally unintelligible. London enough depth or space, everything a bit its section against another is the work of a gets top honors here for spectacular overmiked and /or overcut (stereo, it antiphonal effects and generally rich and is master hand. I found his Harpsichord says). But, though the performance lush sound, but Angel has done a fine Concerto, despite its unusually forward - obviously drawn from the production job with its new version in to looking form, less interesting. S.F. terms of given at San Remo in 1963, it seems stereo separation and definition of indi- be a studio product. vidual lines. It must have been recorded the piece to I am happy to commend in a large, spacious hall, but the rever- As for the perform- BACH: St. Matthew Passion, S. 244 anyone's attention. beration is not excessive and never mud- ance, what choice have you got? Teresa Zylis -Gara (s); Julia Hamari (c); Theo Altmeyer (t), Evangelist; Nicolai Hermann Prey (b); Franz LEONCAVALLO: La Bohème Gedda (t); TAPE FORMAT KEY Crass (bs), Jesus; South German Madri- Antonietta Mazza Medici (s), Mimi; gal Choir and Boys Choir; Consortium The following symbols indicate the Nedda Casei (ms), Musette; Anna Lia Musicum, Wolfgang Gönnenwein, cond. format of new releases available on ANGEL S 3735, $23.16 (four discs). Bazzani (ms), Eufemmia; Antonio An- prerecorded tape. naloro (t), Marcello; Ottorino Begali (t), Gaudenzio; Cesare Masini Sperti (t), Any new recording of the St. Matthew till OPEN REEL Durand; Guido Mazzini (b), Rodolfo; Passion automatically faces stiff compe- Orazio Gualtieri (b), Schaunard; Giulio tition from a number of fine versions 4 -TRACK CARTRIDGE Colline; Bruno Cioni (bs), currently listed in Schwann. Angel's latest Montano (b), ® 8 -TRACK CARTRIDGE Barbemuche. Chorus of Teatro Com- entry brings the total of complete per- munale, Bologna; San Remo Philhar- formances to an even dozen, and Gönnen- ® CASSETTE monic Orchestra, Alberto Zedda, cond. wein's solid, traditional interpretation EVEREST S 462/3, $8.94 (three discs). takes a place very near the top of the

MAY 1969 79

www.americanradiohistory.com dies the sound. All in all, this performance stein might have taken the truly crucial A Marvelous certainly ranks as one of the top three, second- section repeat in the Ninth's and for its own special attributes I would Scherzo -all the more so since this is a Beethoven's have no hesitation in recommending it as three -sided version. Its omission here is Fourth a possible alternative to either the excel- a serious blemish.) The Adagio fares lent Münchinger and Richter recordings. best of all. Bernstein's interpretation is Piano C.F.G. completely original without being in the least eccentric. He gives the music a Concerto yearning, BACH, C.P.E.: Symphony No. 2, in almost Mahlerian intensity quite far removed from both the polished B flat; Variations on "Folies d'Es- impersonality of Toscanini's recording ANY RECORDING OF BEETHOVEN'S pagne"; Concerto for Harpsichord and the effusive romanticism heard in the Fourth Concerto to enter the sweep- and Orchestra, in C minor -See typical Furtwängler /Walter stakes at this late date -particularly Arne: Concerto for Harpsichord approach. The choral finale is the least successful one spread over two sides of a full - and 5, Orchestra, No. in G minor. portion of priced disc have to be quite Bernstein's account: I find his -would direction there exceptional to merit a recommen- a bit heavy and over- stressed. dation. This one is. BEETHOVEN: Symphony No. 9, in Which brings me to the D minor, 125 chief flaws of If this concerto's extravagant Op. ( "Choral"); Fan- the present release. tasia for Piano, Chorus, and Or- For one thing, the format were to bring a murmur recorded sound strikes me as thoroughly chestra, in C minor, Op. 80 of protest, it would immediately unpleasant. It is harshly reverberant, be silenced by the superbly rich, hectoring, and Martina Arroyo (s); Regina Sarfaty generally overmiked. Why, live recorded sound. Although the for instance, must the (ms); Nicholas di Virgilio Norman orchestral reci- volume level is high, the instru- (t); tativo following the Scott (bs); Juilliard Chorus (in the Sym- reprise of the Scherzo ments breathe with expansive res- in the last movement phony); Rudolf Serkin, piano; West- be accompanied by onance and all problems of bal- so much grainy tone minster Choir (in the Fantasia); and such horrible ance and dynamics are solved with New scrunching of York Philharmonic, Leonard Bernstein, bows on strings? This great skill and imagination. Is- rasping quality and lack of a true cond. COLUMBIA M2S 794, $11.96 (two pianis- tomin's interpretation too is mar- simo is evident throughout the discs). Tape: NO M2Q 1065, 71/2 perform- velously wrought. The American ance, and the overly ips, $11.98. extroverted acousti- pianist has tremendous facility and cal ambience is hardly flattering to the cultivation, and he uses his beauti- vocal quartet. Interesting though it to the ful, pellucid tone to emphasize the may be hear While this Ninth Symphony in juxtaposition with its Ninth is far from being the music's underlying harmonic struc- worst version in the catalogue, stylistic precursor, I'm afraid that Co- it is also ture. And yet the interpretation is far from the best. Those lumbia's lamentable "public -be-damned" by Toscanini completely natural and unforced. (Victrola), Monteux (Westminster), It is, in short, a traditional per- policy of recoupling already available Schmidt -Isserstedt (London), material sounds a sour note right at the and An- formance in the best sense: while sermet (London) are my recommenda- nothing is outset: this is the third appearance of the eccentric, every note is tions. H.G. shaped and colored with rapt con- Serkin /Bernstein Choral Fantasia -a per- cern for its part in the totality. Of formance which ought to have been re- the two jected in the first place. Although its ex- cadenzas that Beethoven BERG: Sonata for Piano, Op. I wrote for the first movement, Is- pansion to a full twelve -inch side (prior incarnations only took half that space), tSchoenberg: Piano Pieces, Opp. ll. tomin opts for the second -to my 19, 23 mind the more suitable one -and does, in fairness, unscramble some of the earlier releases' confused acoustics, the tWebern: Variations for Piano, Op. similarly inserts the composer's 27 only extant cadenza in the finale. insensitivity and lack of unanimity be- At measure 138 in the first move- tween pianist and orchestra are still, un- Beveridge ment's recapitulation, the pianist fortunately, very much in evidence. The Webster, piano. Do 'I :R HCRST 5285, favors the original text (in com- present rendition is indeed a very poor $2.00. pany with Rudolf Serkin and virtu- caricature ,of the magnificent perform- ally no one else). I rather like the ances Serkin gives of the Fantasia every This record was evidently planned with effect of the 'altered right hand summer at the close of the Marlboro a keen eye for the lacunae and lapses of part. It lends a bit of diversity to season. Since there are fine tapes in that the current catalogue; Webster gives us the corresponding section in the festival's archives of last year's account the only current domestic version of the exposition. (with Casals conducting), perhaps Co- Berg Sonata and the only Webern Varia- tions Ormandy is a sympathetic part- lumbia may eventually be coaxed into outside of the complete -works set, plus ner here. His approach is generally releasing them. But quite aside from the the three sets of Schoenberg piano robust, strong -limbed, and detailed. goodness or badness of the performance pieces not presently available in adequate The orchestral unisons at the start in question, why must collectors be duped recordings. (The remaining Schoenberg of the Andante con moto sound into purchasing the selfsame recorded pieces, Opp. 25 and 33, will be found on downright fierce, which provides a performance more than once in order to Epic BC 1140 in superior readings by contrast to Istomin's melting re- acquire something else that might inter- Charles Rosen.) sponses. est them? Berg's single- movement sonata, corn- The performance of the Ninth Sym- posed in 1907 and 1908, predates any of If this performance is typical of phony is a considerable improvement his teacher's works for solo piano. Istomin's work these days, let The us over the Choral Fantasia. Bernstein of- twenty- three -year -old student retained the by all means hear more from him! fers an . intelligent, tightly knit, strongly traditional outlines of sonata- movement I can think of no greater compli- phrased, and occasionally crass reading. form (complete with literal repeat of ment than to say that his G major The first movement maintains a good, the exposition, which Webster plays), but is spiritually on a par with Schna- solid basic pulse at a moderate -fast the hyperchromatic harmonies bel's. -to and the HARRIS GOLDSMITH tempo virtually identical with that heard elliptical rhythmic development speak in the fine Monteux version on West- forth here more loudly and individually Beethoven: Concerto for Piano minster. The Scherzo crackles with ten- than the voice of tradition. Webster's and Orchestra, No. 4, in G, sion, and almost (but never quite) gets reading is quite satisfactory -perhaps not Op. 58 out of hand in its relentless, breakneck as impressively projected as Glenn speed. (After subscribing to such rarely Gould's now deleted version, but also Eugene Istomin, piano; Philadel- observed repeats as those in the First not as wayward. phia Orchestra, Eugene Ormandy, Symphony's Andante, the Eroica's first Each of the three very different cond. COLUMBIA MS 7199, $5.98. movement, and the Fifth's finale, Bern- Schoenberg groups stands as a milestone

80 CIRCLE 43 ON READER -SERVICE CARD -- .

www.americanradiohistory.com There's more to the new Marantz speaker system than meets the eye.

(Lend an ear.)

Today, Marantz once again expands its reputation for smart, walnut cabinet with a hand -rubbed French lacquer audiophonic excellence with the introduction of a new finish and is priced at $299.00. The elegant Imperial II, concept in speaker systems. hand -crafted from selected hardwoods and After years of experimentation, Marantz' finished in distressed antique, features a first two Imperial Speaker Systems are now ,.., stunning hand -carved wood grille. It's yours ready to be enjoyed by discriminating + W. for $369.00. Both possess a beauty of ****W****j; +;1 y ;i connoisseurs. ***`**++**j;+ ÿ 4 cabinetry equalled only by the beauty of Technically, both feature a three -way ****j*****j*******i their sound. design incorporating five speakers in an W**+***MM.*****43:4 When you hear, when you see these enclosure only slightly larger than a stand- ,i.* * magnificent speakers, only then can you *******;*** *** what goes into making a ard book shelf speaker. Yet, the power and **, *** á fully appreciate quality of the sound they deliver are compa- ***************..********1*** Marantz a Marantz. Your local franchised rable to theatre speaker systems not only ************** Marantz dealer will be pleased to furnisì twice their size but many times their cost. *******.** you with complete details and a demonstra- ****:.',*** make up your mind. The sleek, contemporary Imperial I has a tion. Then let your ears

E +ia S Zf Z. THE SOUND OF MUSIC AT ITS VERY BEST.

INC P 99A SUN VALLEY CALIFORNIA 91352 SEND FOR FREE CATALOG C MAFANTZ CO INC 1969 MARANTZ IS A SUBSIDIARY OF SUPERSCOPE 0 BOR

www.americanradiohistory.com in music history: Op. 11 marks the af- of this record -but the title is only par- firmation of the contextual, nontonal or- tially non RED SEAL correct. Certainly, Busoni's set of STEPEO ganization adumbrated at the end of the Chopin variations is not an improvisa- The Second String Quartet: the miniatures of tion. but a work as ingeniously devised Baritone Voice rIt> Op. 19 are the closest Schoenberg came as Rachmaninoff's essay on a theme by SHERRILL MILNES to the kind of writing we associate with Corelli Indeed, there is more than a An. Is Ilnndrl Mnhwr Webern: and Op. 23 contains the first mere suggestion of Rachmaninoff here. IOn,uo 1\.11nrmlelI rem'. Allrhr twelve -tone piece (there is some doubt not only in the three ultrachromatic Wapner Innnhu.m, !Irene. 1IUmIN about absolute priority; at any rate, it Busoni studies, but also in the Liszt I I.,.nM, h fhe rules n IIUIIInnnn lsrrh Inhnnn Ihshnn was the first such piece to he published) Simon Boccanecra Fantasy. This work. T hmhnr sh, 15un lhrmr by Pee 11 luhrm In a way, it's too bad that these pieces the way, was the last in the composer's Less Ishneseng e,n ernes r:lwln are always played (and recorded) in series of adventurous paraphrases. It is New Phiih.nnonia (hchnMn Anton Guadagno their original groupings, for they stand a late (1882) composition and quite on their own quite well, and might he without the obvious bravura effects one easier to approach as pieces if they expects from this genre. weren't always programmed as "monu- Ogdon plays with magnificent panache. ments." Of course, the Op. 19 miniatures He intentionally roughs tip the edges a are too short to stand alone. but Schoen- hit. for it is clearly his intent to give berg is working in a long tradition of us an unvarnished, "composer's work- n his debut recital recording which en- compasses more than two solo piano pieces: I sometimes think that bench" view rather than that of a flashy centuries of music for the baritone voice, Mr. Milnes if Schoenberg had given them titles, virtuoso. Yet make no mistake. the Brit- demonstrates that he is "the most elo- Moment ish pianist has they would he more popular: colossal technique His quent baritone now before the public" MIL)icul (say, Op. 19/1), Nocturne (Op. interlocking octaves are hair -raising. and (The New Yorker). 11/2), Intermezzo (Op. 11/1), Capriccio his fingerwork varies from almost an in- (Op. 23/I). And 1 promise to contrive audible delicacy to torrential fortissimo some very special award for the first clangor. His account of the Busoni RED SEAL pianist to offer Op. 11/3 as an encore Carmen Sonatina is particularly wel- ncn Berlioz instead of the Sixth Hungoricmr Rlmpcody come. for that piece. when presented HAROLD IN ITALY wit These are very difficult pieces to play, without such encompassing ease and sar- 0p IA and to date only the late Edward Steuer- castic humor. can sound like cocktail WALTER TRAMPLER music. The Liszt Don Juan Fantasy. as mañn's recording has done them complete London Symphony Orchestra justice -a recommendation that will he Ogdon plays it here. is basically the com- of no value to you, since Columbia has poser's original, although it has been GEORGES PRÊTRE seen fit to delete Steuermann's record in spruced up here and there by some of favor of Glenn Gould's astonishingly Busoni's editorial emmendations. perverse (mis) readings. Websters honest. Chalk up this disc as a well -recorded, accurate, and musical playing goes a long thoroughly engaging bargain. H.G. way toward filling the gap, but for all his accuracy in detail, the utterly con- vincing way in which Steuermann "spoke" CATALANI: ¡a, Wally the phrases and molded them into longer lines still eludes Webster (as does some Renata Tehaldi (s). Wally: Lydia Marim- of the wit, especially in the Op. 23 pietri (s), Walter: Stefania Malagù (ms). Waltz). Afra: Mario Del Monaco (t). Hagenbach: Berlioz' Byronic symphony suggests a Piero Cappuccilli (b). Gellner: Justin() musical vision to which the whole of the Webern's concise and transparent Vari- revolutionary movement as- Diaz (bs). Stromminger; Alfredo Romantic ations (composed in 1936) are also well Mariotti pired. Trampler lbs), An Old Soldier: and Prêtre brilliantly salute played, if without as much precise dy- Coro Lirico of the Berlioz centenary. namic shading as would seem desirable. Turin: Monte Carlo Opera Orchestra. Throughout, the recorded sound is Fausto Cleva. cond. LONDON OSA 1392. good- indeed. good enough to reveal $17.37 (three discs). Tape: A T some distracting pedal noises (especially 9(1150. 71/2 ips. $17.95. in the Webern) and to show that the piano is not quite In perfect tune (Op. Like any composer of high purpose. indi- 19/6). Eric Salzman's informative notes vidual vision. and less than first -class are allowed to expand over three pages talent. Alfredo Catalani fascinates the of an inserted leaflet, as well as being specialist and disappoints the public. reprinted in digest form on the sleeve. La Wall', premiered in 1892 a year and D.H. a half before the composer's death at thirty -nine, stands well outside the main- stream of Italian opera: it neither looks BERWALD: Septet for Strings and back to the robust. straightforward swash- Winds, in B fiat -See Nielsen: bucklers of middle- period Verdi (as does Quintet for Winds, Op. 43. Ponchielli's La Gioconda, for instance). nor does it indicate that Catalani had much musical sympathy with the kind BUSONI: Sonatina for Piano, No. 6 of supercharged, slightly lurid fare being (Chamber Fantasy on Bizet's "Car- dished up at the time by young rerisnu, men"); Tnrandot's Boudoir (Frau- types such as Mascagni. No, Catalani Seiji Ozawa, whose "star has become engemach- Greensleeres); Nine Vari- was very much his own man and the fixed in the firmament of master conduc- ations on a Chopin Prelude elegant music of La Wally defies easy tors" (Chicago- American), is possibly the ¡Liszt: Réminiscences de Don Juan; categorization. best example of the new generation of Réminiscences de Simon Bocca- There is certainly nothing particularly maestros.' negra remarkable about the libretto, a conven- -Available on RCA Stereo 8 Cartridge Tape tional melodrama of thwarted love and John Ogdon, piano. SERAPHIM S 60088, ultimate disaster in the Austrian Tyrol. $2.49. Wally (soprano), a headstrong village girl, loves the intrepid young hunter "John Ogdon plays Liszt and Busoni im- Hagenbach (tenor). Stromminger (bass), provisations" proclaims the album cover a wealthy landowner and Wally's father, 82 HIGH FIDELITY MAGAZINE Ren

www.americanradiohistory.com Dear reader, you need only one thing to appreciate the music of these artists.

CIRCLE 53 ON READER-SERVICE CARD MAY 1969 83

www.americanradiohistory.com favors a match b tween his daughter and Hagenbach's music. The actual quality with the more subjective freedom of the his bailiff. the surly Gellner (baritone). of the voice is still fairly vibrant and traditional Slavic manner. While for the The details of the plot are presented in secure, but such constant fortissimo bray- most part his interpretations are tasteful a logical, theatrically viable fashion. but ing and musical insensitivity make this and pleasing, there are two areas that tend they hardly tell us more about characters performance very wearing on the ear. to put me off. Otte limitation has to do than the above sketch. Let it suffice that Tebaldi's honest. forthright approach to with piano technique: Entremont gets Wally and Hagenbach surmount all ob- Wally works well with the character, and over quite a bit of the treacherous writing stacle's to their love and. as they are about she can ,tiil manage some nice effects with considerable facility, though his long to embark upon a new life together, are as long as the music remains in the mid- runs and passagework rarely have the buried under an Alpine avalanche. dle of her voice. Insecurity and strain up glistening. unlabored fluency of some The libretto may be very ordinary but top seem to have dis.racted her during other keyboard lapidarians. The occa- the music has considerable appeal and the two major arias. however. neither of sional uneven notes and overpedaled ar- never settles for commonplace or banal which possesses the kind of delicate ticulation contes close to belaboring mu- solutions. As William Weaver points out phrasing and vocal freedom evident on a sic that (to borrow Mozart's favorite in his sympathetic notes to this record- London r_cital disc of over a decade ago. phrase) must flow like oil. My other res- ing. Catalani's aristocratically sculpted, The minor parts are exceptionally well ervation is more personal, and thus hard- febrile melodic style reminds one strongly cast: Piero Cappuccilli. a much under- er to document: in the slower, lyrical of Bellini. Wally's lovely long- lined. mel- valued baritone, makes a fine sound as episodes, I simply feel that Entrenont's ancholy aria "Ehben' ... Ne andrò lon- Gellner: Justino Diaz's _grumpy Strom - instinct for rubato is not completely nat- unto" has a distinctly. delicate Bellinian minger is a very positive contribution to ural. He tends to produce a stop -go effect flavor to it. But this sort of thing, Act I: and Lydia Marimpietri's attractive, fragmenting the musical line. I also take stretched over four acts. does tend to sweet -toned soubrette suits the trousers exception to what sounds like excessive give the whole opera something of a role of Walter very nicely. Fausto Cleva's use of the soft pedal. As most pianists sick -roost aroma and. while still appre- headlong tempos cause him to miss some know, that device cannot merely make ciating the score's sensitive chromatic of the score's finer poetical points. but at things "softer" but is actually a muting touches and atmospheric instrumenta- least his reading is always vital and in- apparatus: and I attribute the frequent tion, one occasionally longs for more volved. London's sonics are up to stand- pallor here (or, if you prefer, the sec vigorous characterizations. Jealous rages, ard -the avalanche of snow on Side 6 quality) to its indiscriminate use. In fair- passionate love. and personal intrigues may send you running for cover. De- ness to Entremont, however, it should were simply not this elegiac composer's spite the disappointing work by Tebaldi be pointed out that the tonal constriction long suit. and Del Monaco. I would recommend could be a fault of the recorded sound- Fortunately, when he got to Act Four this recording to anyone who has en- certainly some of his quiet playing is of La Wally, Catalani found precisely the joyed the arias from La Walls' and is ravishing in its low -keyed subtle col- situation he needed to bring out his very now curious to hear the opera in its oration. best: two despairing. doomed lovers sur- entirety. You may well find a soft spot The Chopin Waltzes are now available rounded and threatened by mighty natural for Catalani's flawed yet oddly haunting in so many first -rate editions that choice forces. Having spent some time in the score. P.G.D. among them becomes a matter of per- town of Sölden and the neighboring sonal taste. My own particular favorites mountains where the opera takes place, are the aforementioned Lipatti /Angel and I feel that Catalani has written an un- CHOPIN: Waltzes (14) Haas /Wing. but the Entremont is a %sel- cannily accurate musical description of come addition to a distinguished circle. these icy, desolate. snow -laden peaks in Philippe Entremont, piano. COLUsIBlA I.C. his evocative prelude to the opera's final MS 7196. $5.98. scene. This polished little tone poem per- fectly sets the stood for the unhappy Entremont opts for a middle- ground ap- COPLAND: Short Symphony; Dance events to follow: Wally's touching fare- proach to the standard Chopin Waltzes. Symphony. well to her companion. the young hallad His playing combines the light- textured /Angel singer Walter: her ' isionary monologue salon elegance of the Lipatti and London Symphony Orchestra. Aaron Werner Haas /Epic in which she identifies with the legendary (now Wing) editions Copland, cond. Cot_uSIltiA MS 7223, maiden from !den. stranded on the $5.98. mountain slopes. blanketed by snow. and ßa transformed into edelweiss: the subse- Copland's Short Symphony, written in quent appearance of Hagenbach and his 1933, is one of the focal pieces of the confession of love: and finally the dra- composer's output, and it is good that matic double death in the snow slide. we now (finally!) have a recorded ver- The music of this entire act sustains a sion. Written in the austere, noncom - level of tragic nobility quite unlike any- promising style of the roughly contempo- thing else in Italian opera at the time. rary and better -known Piano Variations, Toscanini. who named two of his chil- the work has had a somewhat checkered dren after characters in La Wally. valued performance career. Shortly after its Catalani as a personal friend. and while completion. the symphony was cancelled, he probably recognized the composers after being scheduled by both the Phila- limitations. there is no question that the delphia and Boston orchestras, due to its two men shared the same uncompromis- difficulty. It consequently did not re- ing artistic ideals. ceive its U.S. premiere until 1944 and London's recording reunites the two has not been performed too frequently stars of La Scala's 1953/54 production since. In fact the work is best known in celebrating Catalanis centenary. Fifteen a chamber version (the Sextet for Clari- years can be a long time in a singer's net, Piano, and String Quartet). appar- life and Tebaldi and Del Monaco are ently made by the composer when he not especially successful in disguising began to despair over the Symphony's the fact that they are both well past their difficulty for a large ensemble. prime. Since it appears very unlikely we Listening to this work today, it is diffi- shall have another recording of this opera cult to understand what caused all the in the near future, it's a shame that the trouble. Granted, it is rhythmically quite two leading roles are sung with so much tricky in places, but certainly no worse strain and effort. There's not much than numerous scores by Stravinsky or pleasure to he had from Del Monaco, Philippe Entremont -his Chopin Waltzes Bartók from the same period. I suspect who quite literally yells his way through are right tep there with the very best. that the problem was not only execu-

84 CIRCLE 22 ON READER -SERVICE CARD -p.

www.americanradiohistory.com What impressed the professionals most when they tested the new X79.50 Dual?

Tonearm balance and design: "The arm is fully balanced... just as it is on the other Duals." (American Record Guide) "Arm friction, laterally and vertically, was negligible at less than 10 milligrams each. The arm needed less than 25 milligrams to trip the automatic change mechanism, which bespeaks excellent balance and design in this area." (High Fidelity)

Tracking settings: "The built -in stylus force adjustment proved absolutely accurate." (High Fidelity) "...anti-skating force adjustment ... really works, as we verified by observing that the cartridge output waveform on high velocity records was clipped symmetrically on both channels." (Stereo Review)

Cueing: "...you can use the cue control fora very gentle lowering of the pickup onto the record. You Can also interrupt play at any portion of the record and resume play as you please." (High Fidelity)

Speed Accuracy: itIt is quite Variable pitch control: "... each Tracking ability: "Significantly, Total Performance: "...compatible immune to normal voltage speed is adjustable by means of the Dual 1212 went through its with the finest amplifiers and changes affecting its speed..." a 'pitch control' knob so that paces fitted with the Shure V -15 speakers, as well as the most (American Record Guide) you can get on- the -nose speed Type II, and it proved perfectly compliant cartridges available accuracy (or slight deviations capable of handling a cartridge today..." (Stereo Review) from it for special purposes)." of this high quality." (High You may be equally impressed (High Fidelity) Fidelity) when you read the complete test reports. Write to United Audio, 535 Madison Avenue. New York, N.Y. 10022. Dual

www.americanradiohistory.com tional, but an inability to understand the Mother Courage, blared out in the trom- score in a more general sense as well. bones and accompanied by various coun- The piece is sparse from a textural point terpointing melodies in the other instru- of view: there is absolutely no padding ments, all of which, according to the whatsoever. As a result, the piece has notes, is meant to symbolize the contra- little surface appeal. Once one gets into diction at the center of Brecht's play. the work a bit, however, it becomes ap- Be that as it may, it's a musical disaster. parent that this is one of Copland's Also problematic, if more provocative, strongest and most original compositions. are the Bach Variations, written in 1963. The symphony does require a first -rate The work is based not on a single theme performance to be completely compre- but on several. One by C. P. E. Bach and hensible, however, and I'm afraid that two by J. S. Bach. The C. P. E. Bach this performance has some shortcomings. theme (a country dance) is stated first, The problem is difficult to analyze: Cop - after a short introduction, in a straight land's own deficiencies as a conductor, brass setting; then the point is that the whether English musicians are unable to other themes (which, unlike the first, are "feel" the kind of rhythmic relationships never presented in their original forms) in the score, or simply insufficient re- should grow out of the first. It is an in- hearsal time. The answer may lie in a teresting idea and the piece starts very combination of all three factors. In any well, with the first few variations gradu- case, there is a sense of insecurity in the ally undermining the harmonic -rhythmic performance -particularly in the outer structure of the original theme. But then over-all ef- movements -that mars the A bouquet of genre pieces by François things seem to lose their way, and the fect. It is a pity, now that a version of Couperin performed by Sylvia Marlowe. work degenerates into a series of stylistic the piece has finally materialized, that parodies, ranging from baroque figuration the performance hasn't been put together down the rules of the game in a fine through nineteenth -century schmaltz to more successfully. treatise. The danger is that more is the popular song Blue Moon. In the last The Dance Symphony isn't really a read into the music than is really there. analysis it comes out as little more than symphony at all but rather a symphonic Marlowe is discriminating and avoids all a pops concert potpourri. arrangement of sections of Copland's eccentricity, and while occasionally the Finally, the performances do not help early (1922) ballet, Crohg. The piece is agogic accents are perhaps a trifle dis- the situation. The Gewandhaus Orchestra effective, rather in the manner of Music ruptive, she never fails to find a thorough- of Leipzig plays so carelessly- attacks For the Theater, has been widely per- ly musicianly solution. Fine sound. P.H.L. are ragged and generally speaking the formed, and there are several recorded ensemble is very shaky -that one can versions available. I would recommend only wonder if this can be the local this version for those interested in Cop- CRUMB: Eleven Echoes of Autumn, standard. Fortunately, however, I have to the is no land, due coupling -there 1965 -See Wolpe: Trio. reason to believe that this is not the case: the Short Symphony. other recording of I recently reviewed a recording by the Additionally, the performance is consider- same orchestra under Hans Werner here, perhaps because the ably better DESSAU: In Memoriam Bertolt Henze on which the performance was ex- score is so much less complicated, or be- Brecht; Bach Variations cellent. R.P.M. cause it was recorded some two years later than the Short Symphony. The point Gewandhaus Orchestra (Leipzig), Paul is, these things get easier every year! Dessau, cond. PHILIPS PHS 900208, LAZAROF: Structures sonores -See R.P.M. $5.79. Varèse: Ecuatorial; Nocturnal.

Since the death of Hans Eisler in 1962, LEONCAVALLO: COUPERIN, FRANCOIS: Music for Paul Dessau (born in 1894) remains un- La Bohème Harpsichord challenged as the leading composer of Soloists; Chorus of Teatro Communale, East Germany and survives as the last Bologna; San Remo Philharmonic Sylvia Marlowe, harpsichord. DECCA DL of that small group of musicians, includ- Or- J chestra, Alberto Zedda, cond. 710161, $5.79. ing Eisler and Kurt Weill, who were once closely associated with Bertolt For a feature review of the recording, Sylvia Marlowe follows her fine record- Brecht. For these reasons Dessau is a see page 78. ing of Couperin's Apothéoses with a particularly interesting figure, especially bouquet of genre pieces showing the at a time when cultural contact with East astonishing range of this French master, Germany is so limited. The present disc, LISZT: Late Piano Works who deservedly earned the sobriquet "le containing two works written in the past Grand." Some of these are delicate dance ten years, serves a valuable function in Csárdás; Csárdás obstiné; Csárdás ma- pieces, others whimsical "portraits," but giving us some idea of what is at present cabre; Abschied; En Rêve; Nuages gris; Couperin can be majestic in the grave happening there compositionally, at least Preludio funèbre; R.W.-Venezia; Mephis- overture style or drive relentlessly a in regard to the older generation. to Waltzes: No. 3; No. 4; Schlaflos! large -scale passacaglia to its climax. The Unfortunately, I can't report that there Frage und Antwort. days are past when all these clavecin are any exciting revelations. One hears, in pieces were played like bonbons; the ex- fact, just about what one would expect: Ernö Szegedi, piano. QUALITON LPX cellent notes by H. M. Schott rightly straight -faced neoclassicism of an overly 11340, $5.79. stress that Couperin's keyboard writing serious cast, gray in color and cheerless was as idiomatic in the French way as in character. This is particularly true of This collection, labeled Volume II in was Domenico Scarlatti's in the Italian. the In Memoriam, a work which is in- a series that presumably will include In other words, it is virtuoso music that tended to be both a sort of requiem for all of Liszt's piano music, will prob- requires virtuoso interpretation -and this Brecht and a musical depiction of the ably interest more listeners than it gets in full measure from Sylvia Mar- character of his thought. The requiem Volume I, most of which was tied down lowe. She plays the slow movements aspect is focused on the two outside to the rather static "Hungarian Histori- with quiet intimacy, and the brilliant movements, a "Lamento" and "Epitaph," cal Portraits." Here, the literature is fast ones with crisp vigor. Our able and both of which make frequent use of the decidedly more striking, whether in the musicologically enlightened harpsichord- traditional musical symbol for mourning, distant beauty of En Rêve, the near -im- ists experiment much these days with a descending minor second. The middle pressionism of Nuages gris, or the trans- baroque performance practices. They are movement consists of a seemingly endless of course right; Couperin himself laid tune from Dessau's score for Brecht's Continued on page 89

86 CIRCLE 43 ON READER -SERVICE CARD-4

www.americanradiohistory.com Our competition builds some pretty good stereo receivers.

(We just happen to build a great one.)

Let's not kid around. At 700 bucks plus tax, a Marantz The Marantz Model 18 is the only stereo receiver in the Model 18 Stereophonic FM Receiver isn't for everyone. world with a Butterworth filter. Let alone four of them. But, if you'd like to own the best solid -state stereo- The result: Marantz IF stages never need realigning. phonic receiver made anywhere in the world, this is it. Marantz station selectivity is superior so strong stations Here are just a few of the reasons why. don't crowd out adjacent weaker stations. And stereo The Marantz Model 18 is the only receiver in the world separation is so outstanding that for the first time you that contains its own built -in oscilloscope. That means can enjoy true concert -hall realism at home. Moreover, you can tell a lot more about the distortion is virtually non -existent. signal a station is putting out But there is much more that besides its strength or whether or goes into making a Marantz a not its stereo. Like if they're try - Marantz. That's why your local ing to put one over on you by franchised Marantz dealer will broadcasting a monaural be pleased to furnish you with recording in stereo. Or causing complete details together with distortion by overmodulating. a demonstration. Then let your (It's nice to know its their fault.) ears make up your mind.

THE SOUND OF MUSIC AT ITS VERY BEST.

SENO FOR FREE CATALOG. c MARANT2 CO. l'IC 1968 MARANTZ IS A SUBSIDIARY OF SUPERSCOPE. lNC P 0 BOR 99A SUN VALLEY. CALIFORNIA 91352 www.americanradiohistory.com the vpernhaus in Bayrcurh, built 1745.48, Germany's only large baroque :heater pre erred :n its original condition. You can tell it's the Markgräfliches Opernhaus The ultimate test of a stereo cartridge isn't the The acoustical characteristics that distinguish one hall sound of the music. from another, or any hall from your listening room, represent the It's the sound of the hall. subtlest frequency and phase components of the recorded waveform. Many of today's smoother, better -tracking cartridges can They end up as extremely fine undulations of the record groove, reproduce instrumental and vocal timbres with considerable even finer than the higher harmonics of most instruments. naturalism. But something is often missing. That nice, undistorted When a cartridge reproduces these undulations with the utmost sound seems to be coming from the speakers, or from nowhere in precision, you can hear the specific acoustics of the Markgräfliches particular, rather than from the concert hall or opera stage. Opernhaus in Bayreuth, or of any other hall. If it doesn't, you can't. It's easy to blame the recording, but often it's the cartridge. The Stanton does.

www.americanradiohistory.com Continued from page 86 The Quartets, on the other hand, try to figured bravura of the three Cstirdds be learned and come off being dull. Of pieces. in his last years, Liszt -never one course the E flat ought to be exempt to bypass an unusual- sounding harmony from criticism: it was composed when -became truly mesmerized by the Mendelssohn was fourteen, and bows to sounds of the augmented triad and the Haydn (it is touching to hear the first "The tracking was whole -tone scale. violin undertake all that activity in the excellent and distinctly This music is highly cryptic and would opening movement, and even more better in this respect than sound so under any auspices. Neverthe- touching to reach the fugue finale. it la any other cartridge we have tested ... less. I could envision its being projected Papa's Opus 20). The No. 6 came much The frequency response of more acutely, with more. if you will, of later. and many listeners hear in it a the Stanton 681EE was the "the performer's Art." Szegedi, obviously lamentation over the death of Mendels- flattest of the cartridges a fine musician (he studied with Leo sohn's sister a few months before it was tested, within ±1dB over most Weiner and Ernö Dohnányi and current- written. It is different, certainly, but the the Budapest Academy of unquartetish first subject strikes me as of the audio range." ly teaches at Hirsch -Houck Laboratories, Music), sometimes fails to show an in- extremely unsettling, and the rest is more Hi Fi/ Stereo Review, July, 1968. stinct for timing and is apt to italicize conscientious than interesting. Perhaps in a rather schoolmasterish fashion. This part of the poor impression here is the characteristic is most noticeable in works fault of the performance: the European The specifications.* like the Csárdas macabre and the late Quartet is a rather lackluster group, and Frequency response, from Mephisto Waltzes, which- however late - the first violinist slides into notes and 10 Hz to 10kHz, ±' /s dB. still require some Lisztian panache. I phrases as if the bases were loaded at From 10kHz to 20kHz, also felt that the very solid. warmly the top of the ninth. individually calibrated. resonant, and somewhat unyielding sound Performances on the first two discs Nominal output, 0.7mV /cm /sec. of the piano he uses here (which would are better. The Trio Bell'Arte meets the Nominal channel separation, 35dB. be ideal for Brahms tends to bring big Brahmsian climaxes with a will and Load resistance, 47K ohms. Nuages gris down to a pretty earthbound achieves an appropriately light touch in the fast movements; the appeal is oc- Cable capacitance, 275 pF. level even for low -lying clouds. On the casionally marred, though, by the thin DC resistance, 1K ohms. other hand. Szegedi delivers a remarkably where and rather querulous tone of the violin. Inductance, 500mH. sensitive account of En Réi.e. all the surprising harmonic felicities are con- The cello works are small -scaled and Stylus tip, .0002 "x .0009 "elliptical. summately prepared, and where a long, sometimes verge on the merely respect- force,3 /4 to gm. Tracking l' /: shimmering trill is unraveled with silken ful, but they are fluid and musically Cartridge weight, 5.5 gm. finesse. sensitive. S.F. Brush weight (self- supporting),1 gm. Qualiton gives us its typical closely miked, plangent, slightly bass -heavy *Each Stanton 681 is and mostly quiet surfaces MENDELSSOHN: Symphonies: No. measured against the piano sound tested and (a little crackle here and there). H.G. 1, in C minor, Op. I I; No. 2, in B laboratory standard for frequency flat, Op. 52 ( "Lobgesang ") response, channel separation, output, etc. The results are LISZT: Réminiscences de Don Juan; Helen Donath, soprano; Rotraud Hans - written by hand on the Réminiscences de Simon Bocca- mann, soprano; Waldemar Kmentt, tenor; specifications enclosed with negra -See Busoni: Sonatina for V1 New Philharmonia Chorus and Orches- every cartridge. Piano, No. 6 (Chamber Fantasy tra, Wolfgang Sawallisch. cond. PHILIPS The 681EE, with elliptical on Bizet's "Carmen "). PHS 2 -904, $1 1.58 (two discs). stylus and the "Longhair" brush that cleans record grooves before they reach the stylus, MENDELSSOHN: Chamber Music In future centuries. critics will probably costs $60. The 681T, identical still continue comparing Mendelssohn's Piano: No. 1, in but with interchangeable Sonatas for Cello and Lobgesang (Hymn of Praise) Symphony Op. 45; No. 2. in D. Op. 58. elliptical and conical styli B flat. unfavorably to Beethoven's Ninth. The Variations concertantes for Cello and Lobgesang is. to be sure. a "choral" both included, costs $75. Piano. Op 17. Song Without Words, in symphony whose three movements literature, write first For free D, Op. 109. Trios for Piano, Violin, and are instrumental and whose finale con- to Stanton Magnetics, Inc., Cello: No. I. in D minor. Op. 49; No. 2. tains parts for solo voices and chorus. Plainview, L.i., N.Y. 11803. in C minor, Op. 66. Quartets for Strings: Any similarity to Beethoven's Ninth stops in E flat (Jugendgtcartett); No. 6, in F here. however. Where the orientation of minor, Op. 80. the Beethoven work is almost totally in- terior. that of Mendelssohn's Hymn of Joseph Schuster, cello; Artur Balsam, Praise is exterior and religious. This is piano (in the works for cello and piano); not to imply that the Lobgesang is a Trio Bell'Arte: European String Quartet. flawless piece, even when considered Vox SVBX 582, $9.95 (three discs). purely on its own qualities. The work is a kind of hybrid symphony /cantata Mendelssohn fans have been struggling whose opening instrumental three move- for years to cut off the fatal "Felix" ments (symphony) and concluding choral tag -that implication of the happy, finale (cantata) do not forni a particu- pampered personality who sailed on larly convincing whole. in spite of cer- smooth waters while the sun shone al- tain motives that show up in a rather ways overhead. Well. this set isn't going perfunctory fashion throughout the work. to help much, because the best things in The latter part of the first movement when you it -the Trios -are just the kind of free - and the entire second movement. how- flowing fountains of melody that created ever. are more than worthy of anything the image. So too are the Cello Sonatas. in the last three symphonies, and occa- listen with a , though they are less convincing, being sionally Mendelssohn achieves some har- more predictable and more rhetorical. monic nuances of extraordinary subtlety The fact is that Mendelssohn could pour and beauty. Both the third movement Stanton. out melody like a baroque composer and much of the "cantata." on the other whittling chord figurations. and we hand. seem lacking in inspiration -the might as well enjoy it. aria where the tenor sings the question. CIRCLE 67 ON READER -SERVICE CARD MAY 1969 89

www.americanradiohistory.com "Hüter, ist die Nacht bald hin ?" is just If much of the music on this set is this respect only, I prefer the Adler per - about the only high point in a movement gratifying, the recording of it is doublyi "' formance of the Second, with its fuller whose musical material otherwise re- so. This is the first stereo version ofb choral sound (not to mention the superior mains on a fairly superficial level. either work; the performances of the German pronunciation). In every other Like the Lobgesang, the First Sym- First by Desarzens on Concert Hall andl way, however, the Sawallisch perform- phony, written when Mendelssohn was Van Hoogstraten on Renaissance have ances are far superior, and this current only fifteen, is an uneven work. The been out of print for many years, as has recording represents a valuable addition transitions in particular seem rather the Adler version of the Second on Uni- , to the Mendelssohn listings. R.S.B. gratuitous, as they are not handled skill- corn. The alert and precise playing, the fully enough to be entirely convincing well- balanced voicing, and the striking nor poorly enough to be considered radi- dynamic nuances that Sawallisch obtains MOZART: Concertos for Piano and cal. But in its rhythmic vitality, its crys- from the New Philharmonia Orchestra I tal -clear orchestration, and its original are perfectly suited to the Mendelssohn Orchestra: No. 20, in D minor, K. 466; No. 21, in C, K. 467; No. 23, harmonic language, the work is unmistak- works, while the recorded sound, neither I ably Mendelssohn, especially in the first overly reverberant nor uncomfortably in A, K. 488; No. 26, in D, K. 537 and third movements. Even so, the com- close, does full justice to the efforts of ( "Coronation ") poser was evidently unsure of the work Sawallisch and his forces, in spite of and substituted an obvious showstopper- some noisy surfaces here and there. Only Ingrid Haebler, piano; London Symphony an orchestrated version of the Scherzo the chorus in the Lobgesang suffers from, Orchestra, Witold Rowicki, cond. (in from the Octet, Op. 20-for the third bad miking -one has the impression of a Nos. 21, 23, and 26); Alceo Galliera, movement when he conducted the work handful of men and women singing in a cond. (in No. 20). PHILIPS PHS 2 -906, in London. closed room somewhere off -stage. In $11.58 (two discs). Tape (Nos. 21 and 23 only) : ® PC 8- 900 -203, $6.95; PCR 4- 900 -203, $5.95.

Virtually everything goes wrong with this set of Mozart piano concertos. Miss Music for Piano - Haebler's pianism stands as an ideal definition of pedestrianism: her tonal But Not for Pianist pallette is generally restricted to varying shades of gray, her phrasing is uncom- monly Conlon Nancarrow is one of those almost total rhythmic independ- literal and without much individu- ality or profile. Philips mavericks of twentieth- century ence to each part which is quite And has pro- vided similarly undistinguished music who has gone his own way effective, particularly since the sound - the is and done his own thing to the pieces employ a kind of jazzy piano presented as an instrument total ignorance of of middle tones only, lacking a sparkling almost every- pitch vocabulary that enables (in- top or one, including his own colleagues. deed, forces) one to concentrate clearly defined bass. In the three The United States has had more almost exclusively on the rhythmic concertos led by Rowicki the LSO than its share of such people, and relationships. plays with a modicum of pre- cision and manages to convince the lis- in the past few years several of The main problem is the sound tener that they them have begun to emerge from of the instrument itself. Despite an would like to care. No. 20, though, is a shapeless blob, obscurity. We seem to live in an attempt to change the tone color from Galliera's flabby handling - age in which people who have through various kinds of altera- of the tension filled opening measures of the bucked the system all the way are tions of the instrument itself, it first move- ment to his spiritless, somnambulatory much admired, and it may well all sounds much the same. This is finale. Appropriately, the sound in turn out that Nancarrow will particularly noticeable in these this -at concerto is the worst of the set (though least temporarily- become a hero pieces, where the textural concep- it typifies the sonic ambience of the for our time. tion is almost always essentially al- bum as a whole). On top of Nancarrow's "thing" -which he the same: the combination of two everything else, there is the aggravating has been doing exclusively since or more voices moving in different surface noise that seems to be afflicting many recent 1948 to write music for a tempos, note values, etc. This con- -is domestic Philips releases. In fact, the player piano. This is not quite as cept is, of course, not a new idea opening notes of the finale are rendered ridiculous as it may at first sound. and has been used, as a matter of fact extensively, completely inaudible by violent, splut- The degree of precision with which by Charles Ives tering distortion. a piano roll can be punched and and Elliott Carter, to name two If there is one performance which thus programmed for musical per- other Americans, but in their case does approach relevance it is No. is such compositional technique is 21- formance remarkably high, and al- the Elvira Madigan Concerto -where composers (notably Stravinsky) most indistinguishable from a more Miss Haebler experiences her first en- have long been aware that it is a basic instrumental conception: the counter with the kind of songful lyricism valuable means of preserving one's motion of different instruments - upon which her reputation has been musical conceptions in an audible or groups of instruments -inde- established. Rowicki sets a comfortable form. But so far as I know, no pendently and in interaction with gait in the opening Allegro Maestoso- one before Nancarrow ever seri- one another. But here, where not as virile as one would hope, but ously considered using the player everything takes place on the thankfully suggestive of movement. Miss as the final same instrument and in piano itself medium such an Haebler achieves an occasional lovely for the music's performance. obviously mechanical manner, the legato in keeping with Rowicki's ideas who have effect is ultimately self- destructive. Readers seen Merce and it all makes for a fairly convincing Still, over a short Cunningham's choreographic work span there is statement. The remaining are some fun to movements Crises have heard Nancarrow's be had here. As Co- less successful. lumbia says on its jacket: music -the score consists of a Un- The performances 23 believable of Nos. and 26 suite of his pieces arranged in Sounds! are fixed at some point between the by will ROBERT P. MORGAN order John Cage. They partially successful 21 and the complete- remember the striking rhythmic ly unsuccessful 20. Both are taken at effects achieved and the truly / Nancarrow: Studies for Player middling tempos that fail to propel the dazzling virtuosity of the player J Piano music either in terms of strongly focused piano (this instrument can play in- accents or by melodic suppleness. The finitely faster than any other Ampico Player Piano. COLUMBIA prevailing characteristic is one of stolid- manned by a human). There is an MS 7222, $5.98. ity. Philips has packaged the two discs in

90 CIRCLE 4 ON READER -SERVICE CARD

www.americanradiohistory.com Altec audio controls are also used extensively in Bell Sound Studios' new consult:. If the sound is good enough for him

The man at the console is an audio Miller to the decibelic blare of acid Nothing has been compromised. engineer at Bell Sound Studio in rock. Perfectly. The only difference is the decorative Hollywood. Here they record com- The basic secret is the 15" LF solid walnut enclosure. Because it mercials: the full range. You've heard speaker and the 18" massive cast looks nicer in your living room. a lot of them. It's an exciting business aluminum sectoral horn. Only Altec Altec "The Voice of the Theatre *" and a competitive one. So they've got speakers have them. The same speak- systems, in several styles, are at your to be right. ers you'd find at Paramount Pictures, Altec dealer. The Bell Studio has over half a Columbia Records, Disney Studios, Altec Lansing, 1515 South Man- dozen of our "The Voice of the Cinerama Theatres. And you get chester Ave., Anaheim, Calif. 92803. Theatre' speaker systems. The Bell those same "The Voice of the engineers know their Altec speakers Theatre ' components in the Valen- Flamenco speaker systems ALTE[ can take anything that's shoved at cia and LANSING- them from the quietness of Marvin shown below.

is it good enough for you?

www.americanradiohistory.com an undistinguished box and erroneously from Idomeneo, "Padre, Germani, addio." Song of the Flea; Is It Proper That a lists Alceo Galliera's first name as Alec. The recitative has a dramatic hue and Young Man Weave Flax ?; The Classicist; A small point, perhaps, but one which the tender farewell song caught the so- The Seminarist. reflects an across -the -board lack of at- prano's sympathy. Neville Marriner's or- tention and involvement in this disap- chestral support is first -class, and the Kim Borg, bass; Prague Radio Symphony pointing album, S.L. recorded sound excellent. P.H.L. Orchestra, Alois Klima, cond. (in the Songs and Dances of Death) ; Prague National Theater Orchestra, Zdenék MOZART: Exsultate jubilate, K. 165; MUSSORGSKY: Boris Godunov Chalabala, cond.; Alfred Holaek, pi- Mass No. 18, in C minor, K. 427: (highlights) ano (in the last three songs). NONESUCH Et incarnatus est; Il Re pastore: H 71215, $2.98. L'Amero; ldomeneo: Se il padre; Anna Leskaya (s), The Hostess; Ilya Padre, Germani, addio Tamarin (t), Shuisky; Alexander Kipnis Since Mussorgsky is a composer whose (bs), Boris and Varlaam. Victor Sym- musical style is predominantly lyrical in Erna Spoorenberg, soprano; Academy of phony Chorus and Orchestra, Nicolai conception and vocal in essence, it is St. Martin-in- the -Fields, Neville Marriner, Berezowsky, cond. RCA VICTROLA VIC not surprising that his songs hold such a cond. ARGO ZRG 524, $5.95. 1396, $2.50 (mono only, from originals central position in his over -all output. recorded in 1945-46). What is surprising is that so little of this Rare indeed has been the Roman Catho- literature is available in recorded form. lic church outside of Austria that would I am not sure that a service is rendered At one time Angel offered Boris Christoff permit the first two of the pieces listed by the release of this disc. There are singing the complete songs on four discs; above to be sung within its sacred pre- other highlights versions available in more one record has survived from this collec- cincts. Both have been considered horri- up -to -date sound, and Kipnis, who was tion and it has been reissued by Sera- ble examples of masquerading opera mu- no doubt vocally stupendous in the title phim. Netania Davrath also sang a gen- sic that should not be allowed to enter role a decade earlier, was past the point erous selection on a Vanguard mono - God's house in disguise. Since Vatican of doing himself or the music justice only release, but it too has been deleted II almost anything goes- rock -and -roll, when these post -war recordings were from the catalogue. In fact, the only guitar, and "folk" Masses -but Mozart's made. stereo version of any of the songs is the church music still is suspect. This is not The basic caliber and color of the Columbia recording of the Songs and the place to hold forth on the varying voice are present, and by intelligent ma- Dances of Death with George London. concepts of church music; suffice it to nipulation he even renders the Mono- As you can see, it's a wide -open field, say that we should never judge Southern logue in the high key -a heavy demand and all Mussorgsky enthusiasts should be on a true bass He is this Latin Catholic church music of the eight - of Kipnis' sort. also grateful for new Kim Borg recital eenth century by Northern Protestant extremely effective in the Varlaam se- from Prague. As to the quality of the standards of the nineteenth. Yes, in Mo- quence (both the Town of Kazan song disc itself, my reactions are generally, zart's time opera and church music were and the succeeding scene), where he can though not unqualifiedly, favorable. practically interchangeable, but it was just cut loose. First of all, the choice is excellent, in- But elsewhere, we cluding as it does the Songs Dances not for the first time that sacred and secu- can only observe and that the right type of voice is operating, of Death the composer's finest lar music were intertwined -nor for the -surely to intermittent effect. The problems are set of songs well as a wide variety last; therefore let us just examine the -as music. particularly noticeable in the numerous of other songs. These latter range from passages demanding use of the mezza- the simple lyricism of Where Are You, Mozart wrote Exsultate jubilate, called voce, or controlled "line" singing. The Little Star ?, Mussorgsky's earliest song a motet but really a dramatic solo can- sound produced is often beautiful, the (written when he was nineteen) to the tata, in 1773, when on an operatic junket phrasing poetic the pitch, alas, er- parodistic style of The Classicist and the to Italy. It was composed for the brilliant -but rant. There is nothing quite so destruc- humorous setting of Mephistopheles' song castrato who was to sing the lead role tive of even the most carefully conceived from the cellar scene of Goethe's Faust. in his new opera, Lucio Silla. It is a fine phrase as the sensation of the voice drag - Thus the record serves as an excellent piece, regardless its of composer's youth, ing and struggling to attain the proper general introduction to this aspect of showing the selfishness subtle of the altitude; it makes enjoyment and in- Mussorgsky's work and also makes for artist and a the unsubdued simplicity of his volvement almost impossible. nicely balanced program from the lis- music. Erna Spoorenberg sings well, with If the interpretation were of the in- tener's point of view. voice a good open quite pleasant to listen tonation-be- damned, sock- it- to -'em va- As to Borg's interpretations, a lot de- to, but it is not a colorful voice, as is riety, indulgence might be easier. But it pends here on one's general views on particularly evident in her messa di voce. has the singer's usual qualities: musical- vocal performance. There is certainly no She shows no abundance of temperament, ity, intelligence, care. In fact, it is some- question that Borg has a firm grasp of but the coloraturas are neatly and ac- what calculated and lacking in spon- the material and knows exactly what to curately sung. This is refined but too taneity, so that the vocal problems are do with it. Nor is there any doubt that genteel music making; what is missing is always to the fore. he achieves his aims. For my taste, how- a little more involvement and excitement. Tamarin barely slips by as Shuisky, and ever, he emphasizes the drama of the The "Et incarnatus est," from the certainly doesn't make a sound appropri- pieces to the detriment of their musical great unfinished Mass in C minor, is one ate to Dimitri's lines in the Inn Scene. qualities (in this respect he is similar to of Mozart's most elusive moments. There In addition to the standard sequence of Christoff). Such an approach often leads is in it an element of abandon amounting Boris' scenes and the Varlaam excerpts, him into a literal misreading of Mus- to a true surrender in Mozart's yielding the disc includes the Shuisky /Boris in- sorgsky's pitches and rhythms. One won- to a vision of beauty. Or perhaps it is terview and the opening chorus of the ders if he hasn't sung all of these works the calm and serenity of the expression, Prologue. over too long a period without returning the Mediterranean -and hence "pagan" - Altogether, I should say that if one to restudy just what has been notated by roundedness and balance of form and wants Boris excerpts, one of the current the composer. The accompaniments are content which troubles modern listeners highlights discs is the better bet. And if adequate, although one could wish for a to church music, but which created in one wants vintage Kipnis, then Sera- bit more precision in the orchestral ver- the composer a blissful enchantment. Too phim's excellent selection is the choice. sions, particularly in the Songs and bad that "sensuality," which used to be C.L.O. Dances of Death. a good word, has become a nasty one, None of these songs was orchestrated for this is exactly what is missing in MUSSORGSKY: Songs by Mussorgsky himself (with the possible Spoorenberg's delivery of this glorifica- exception of Where Are You, Little Star? tion of the singing human voice. Of the Songs and Dances of Death; Where Are -there seems to be some disagreement rest -and of the whole recording -the You, Little Star ?; Old Man's Song; The on this), although the composer ex- best performed is the recitative and aria Garden by the Don; Mephistopheles' pressed the intention of orchestrating

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com It's taken you only a year to make Pioneer one of the Why don't you put us on? And make an enormous fastest selling headsets in America today! sound discovery for yourself -right between the ears! Take our SE -50 (so many of you have!), its quality Insist on a Pioneer demonstration - only at fine high literally speaks for tself. We've miniaturized Big fidelity dealers. Or write Pioneer for full details on Speaker System design and sound into each of its the entire Pioneer component line and the name of lightweight, comfortable, vinyl covered earcups. It your nearest franchised Pioneer dealer. features cone -type woofers and mylar -diaphragmed tweeters, resulting in extraordinarily smooth response from 20 Hz to 20 kHz. The SE -50's performance and features, at only $49.95 are in a class by themselves. That sounds astounding, but so does the SE -50! The Pioneer SE -20 ($19.95) and the Pioneer SE -30 ($29.95) equal and surpass the performance of head- sets far more costly; and every Pioneer headset is supplied complete with its own permanent storage case. Pioneer has a reputation to live up to, and these headsets are fine examples of how we go about it. SE-30 SE-20 SE-50

PIONEER . CD ... More Value All -Ways!

PIONEER ELECTRONICS U.S.A. CORP., 140 Smith Street, Farmingdale, L.I., New York 11735 (516) 694 -7720 CIRCLE 48 ON READER -SERVICE CARD MAY 1969 93

www.americanradiohistory.com the Berwald Septet is not inferior to performance and the sound of Nina the finest essays of the period." is Well, that they are adequate. One is sorry maybe the man was speaking exclusively to be unenthusiastic about such a release, but of septets, but this seems unlikely -and if we are going to have the Schubert Paisiello operas, Octet, you may recall, then we must have works of dates from just four years the stature earlier. of the Barber of Seville as scintillatingly Still, it would be unfair to beat Ber- performed as that Ricordi set was. wald with as big a Other- stick as Schubert. wise, the game is just not worth This is an enjoyable if slightly the hum- candle. H.C.R.L. drum piece, and it is beautifully played. The wind instruments again sound fine, but the recording of the strings on this side is a trifle harsh. PALESTRINA: ilfissa sine nomine. The second side of the Lyrichord rec- Motets: Confitemini domino; Ador- ord contains some agreeable but incon- amus te; Gloriosi principes terrore; sequential Nielsen chamber pieces. so Alma redemptoris mater; Ave Re- couplings are no great help. Over -all, I gina; Salve Regina; Ave Maria; think I would probably go for the new Sub tuum praesidium; Pueri he- Melos version of Nielsen's Quintet, but braeorum: Surrezit pastor bonus; the ideal solution would be to own the Haec dies 6 %, Lark performance too. B.J. Modest Mussorgsky -a composer whose Women's Choir of the Music High talents range from lyrical to parodistic School, Györ. Miklós Szabó, cond. PAISIELLO: Nina, ovvero la pazza QuAtITON LPX 11328, $5.79. per amore several of them. There is an oft -used or- PALESTRINA: Missa Pupae Marcelli chestral version of the Songs and Dances Dora Gatta (s), Angiola Vercelli (s), J tVictoria: Motets: Vere languores of Deat/t by Glazunov and Rimsky -Kor- Salvatore Gioia (t), Alfredo Nobile (t), nostros; Ecce quomodo moritur; O sakov. Curiously, however, this is not Giuseppe Zecchillo (b), Agostino Ferrin magnum mysterium the one used here, but no credit is given (bs); Chorus and Orchestra of the Cetra to the orchestrator, nor do the notes Opera Company, Ennio Gerelli, cond. Roger Wagner Chorale, Roger Wagner, clarify where the other orchestral ver- EVEREST S 467/3, $8.94 (three discs, re- cond. ANGEL S 36022, $5.79. sions come from. English translations channeled stereo only). (but not the original Russian in which PALESTRINA: Madrigals: Il tempo the songs are sung) are provided. R.P.M. It is hard for us to realize that Giovanni vola; Se fra quest'erbe in fiore; Ahi Paisiello (1740 -1816) was, in the 1780s, che quest'occhi; Vestiva i colli; Il a much more famous operatic composer dolce sonno; Da cosi dotta man: Io NIELSEN: Quintet for Winds, Op. than Mozart. Paisiello's comic operas son ferito. Ricercari ed esercizii 43 held the stage throughout Europe, from 1 Berwald: Septet for Strings and London to Naples and from Vienna to Regensburger Domchor, Hans Schrems, Winds, in B flat St. Petersburg, where for many years he cond. (in the Madrigals); Ensemble Mu- was the favorite of Catherine the Great sica Antiqua, René Clemenéi2, cond. (in The Melos Ensemble. ANGEL S 36538, (she called him her "sorcerer "). Rossini the Ricercari). ARCHIVE 198434, $5.79. $ 5.79. was thought presumptuous when he wrote the Barber of Seville, because Perhaps the best -known composer of his This is a good record, though not per- Paisiello had written a smash hit on that day -certainly the one figure from the haps one of the outright winners we subject. Indeed, when Paisiello passed late Renaissance to remain honored have come to expect from the Melos through Vienna in the 1780s, Mozart ar- throughout the centuries after his death - Ensemble. ranged a chamber music party to honor Palestrina owes his eminence to the fact The major work, Nielsen's witty and the famous Italian composer. that he was unique among his contem- characterful Wind Quintet, is given a Once a very popular opera, Nina poraries. His works follow patterns of remarkably polished performance, with ovvero la pazza per amore (Nina or perfect consonance so unvarying, that particularly notable contributions from Mad for Love) is now completely for- a whole doctrine of counterpoint can be flutist Richard Adeney and clarinettist gotten outside Italy, where it is occa- derived from them. The beautiful tran- Gervase de Peyer. At some points in sionally revived. The overture used to quillity that emerges from the play of the score, the Lark Wind Quintet's per- be one of Beecham's `lollipops," though his ever -interlocking motives is like a formance on Lyrichord LL 155 /LEST it is hard to understand why the great Chinese puzzle made up of oddly shaped 7155 digs deeper below the surface of conductor should have attached his af- pieces, which, when assembled correctly, the music: one such moment is the fections to such a dreary, conventional form a perfect sphere. The contradictory variation for solo horn in the finale, little piece (is there perhaps a significant phenomenon of Palestrina, so apparently where William Brown's playing is more story in the fact that so many Beecham simple to the ear and yet so amazingly atmospheric than Neill Sanders' on the "lollipops" are not quite first- quality complex, is difficult to describe in new release. (I refuse, by the way, to music ?). Altogether, unless you are a words. Intellectually, of course, one can slight the independence of the horn by collector of eighteenth-century music or take apart the pieces and admire Pales- talking about "woodwind" quintets.) very interested in Italian settecento opera, trina's constructive skill; but the total But though I wouldn't want to be with- it would be hard to recommend Nina; it effect is so highly polished that the in- out the Lark performance, the Melos is neither first -rate music nor is it the genious joints reveal themselves only after one has the advantage of even clearer best that Paisiello can offer us. His the closest scrutiny. textures, abetted by a recording of ex- Barber of Seville, magnificently recorded Palestrina's classicism is particularly emplary quality. for the publishing firm of Ricordi under suited to the Mass, an unchanging liturgy Even for Berwald addicts, among J the direction of Renato Fasano, has re- whose dramatic elements have been whom I count myself, the Septet on the cently been reissued (also by Everest), smoothed out by centuries of daily repe- other side of the disc will hardly come and that really is a treasure- trove. tition. It is no accident that Palestrina's as a revelation. It is an early piece, This recording was first issued in Italy greatest compositions are Masses and that written in 1828 when Berwald was some twenty years ago by Cetra. an some of the greatest Masses ever written thirty -two. This fact no doubt explains Italian firm, whose resuscitations of little - are by Palestrina. Motets and madrigals, the comparatively unindividual nature known Italian operas have often proved however, with texts that offer scope for of the music; it also casts a droll light very rewarding. Cetra performances are contrasting and conflicting emotions, on a judgment quoted in the rather not generally of top international quality, reach greater heights in the hands of a messy liner notes: "For all its neglect, and the best one can say about both the Victoria or a Monteverdi.

94 CIRCLE 58 ON READER -SERVICE CARD

www.americanradiohistory.com if you know the name... SANSU4

you know the quality.

and quai ty is wt at we Euild int, every Sansui c_mponerrt. Our latest AM/ FM _t -ereo Receiver, tie Santo 800 bings an enti-ely new performance standard to the rredium power rance. Tie Sansei 800 features 70 Watts of Music Power (IHF), 20- 40,0)) Hz power bardwidlh .tA d stortior of less than 0.= °; fequen :y response of '5- 50,000 Hz, chaniei separat on of be:ter than 35 db. T-e Sansui 800 has a newly developed noise canceler, shcrt -proo= speaker terminals plus extra long tuning dials tc compli- ment its years ahead styling One lock and cne listen to the new Sansui 8)0 will convince you why we aic voir dealer believe tiat the 300 is one of the truly treat receiver va aes at $2=9.95. AM /FM Stereo Receiters: Sanau 5000 180 watt $449.95 Sansui 2000 103 watts $299.95 Sansui £0) 70 watts $259.95 Sansui 350 46 watts $199.95. Integrated Stereo Anp- Feamp: SacsJi AJ -777 70 watts $279.95. San_s-mig SANSUI ELECTRONICS CORPORATION, 34 -43 STH ST. WOODSIDE, NEW YORK 11377 Sansui Electric Co, Ltd., - ok:o, Japan Europea- Office Frankfurt a.M., West Ge-nany

www.americanradiohistory.com Qualiton's new release of the Missa number of the pieces, including the Mass, critics have called the Chorale's sound sine nomine coupled with a selection of to suit his forces -the sopranos, who "dry," but I like their echo -free purity in the composer's motets for equal voices occasionally sing with that white, hard this particular music. It makes the illustrates this point very well. The Mass tone that I associate with bad boy so- Chinese puzzle transparent, revealing the -which is one of several Sine nomines pranos, are apparently happiest in a mid- workmanship without sacrificing the by the composer and, as far as I can as- dle range. Luckily the altos cope magnifi- beauty of the whole. The more dramatic certain, not previously recorded -is con- cently as surrogate basses. Victoria motets that fill out the disc, sistently fresh and interesting, while the I wore out the old Capitol recording however, don't fare as well when treated motets, though lovely in themselves, be- of the Pope Marcellus Mass by the Roger with such dry choral purity. gin to pall after a few hearings. Miklós Wagner Chorale many years ago. The new The madrigals on Archive's disc are Szabó, a choral conductor of considerable version, in stylish stereo and improved performed by a chorus rather than solo- talent, leads the Women's Choir of the sound, is very similar to the old one: Mr. ists and this only emphasizes their statuF Music High School in Györ, Hungary, in Wagner's concept of the piece hasn't in Palestrina's oeuvre as second -class mo- an expressive and spirited performance changed much, nor has the sound of his tets. The Regensburger Domchor's stilted on this disc. Both the Mass and the mo- Chorale. I remember the old sopranos interpretation and earnest tone hardly tets are scored for four voices: three high as a little flutier, but perhaps modern help to make them more exciting. As for choral lines and a lower one which func- recording techniques have simply given the nine Ricercari on Side 2, a variety of tions as a bass. Szabó has transposed a them a little more presence. Several weighty authorities question their very authenticity. Certainly these little con- trapuntal exercises are of no particular interest in themselves. The sprightly per- formances on a variety of early baroque instruments, however, lend them sur- 12th century or 20th prising distinction. Decidedly un- Pales- A new, exciting look. trinian, but fun. S.T.S. PROKOFIEV: Symphony No. 2, in On Vanguard: D minor, O. 40; Lieutenant Kije: Suite THE OPEN WINDOW An adventurous new chamber rock group of David Clatworthy, baritone (in the Lieu- diverse parts. tenant Kije); Boston Symphony Orches- Composer -Performers: tra, Erich Leinsdorf, cond. Peter Schickele PROKOFIEV: Symphony No. 5, in B Robert Dennis flat, Op. 100 Stanley Walden VSD 6515 Stereo $4.98 Berlin Philharmonic Orchestra, Herbert On Cardinal: von Karajan, cond. Medieval fun music: For a feature review of these recordings, THE JOLLY MINSTRELS see page 77. Minstrel tunes, songs and dances of the Middle Ages Gerald English, Tenor RACHMANINOFF: The Bells, Op. with the Jaye Consort of Medieval Instruments 35 VCS 10049 As modern as tomorrow: Soloists; Moscow State Philharmonic Chorus and Orchestra, Kiril Kondrashin, SAHL: A Mitzvah For The Dead for Violin and Tape cond. EVEREST S 3251, $4.98. RANDALL: Lyric Variations for Violin and Computer Paul Zukofsky, Violin VCS 10057 Sergei Rachmaninoff is no longer a pop- ular composer in this country. No doubt, Another in this acclaimed series: like a few other composers, he was best BEETHOVEN: Quartet No. 12 in E flat, Op. 127 known for some of his second -rate works Yale Quartet -the Prelude in C sharp minor and the VCS 10054 Second Piano Concerto. But Rachmani- Recorded with the Dolby System noff wrote many more profound and in- Two unrecorded masterpieces: teresting compositions, not least among them such tone poems as the Isle of the PURCELL: Two Odes: Dead and The Bells. The composer him- Celestial Music self said on several occasions that The Now Does The Glorious Day Appear Bells was his favorite, and indeed it is a Soloists, Chorus and Orchestra of the work thoroughly representative not only of Rachmaninoff. but also of that ex- Accademia Monteverdiana traordinary and heady period in Russia Dennis Stevens, Conductor VCS 10053 just prior to World War I -a similar ten-minutes-to-twelve-o'clock atmosphere A fresh look: has often been remarked in connection CHOPIN: Polonaises with the last years of the Austro -Hun- Alfred Brendel, Piano VCS 10058 garian Empire; I believe it could be equally well applied to the last years of Cardinal recordings -Stereo -$3.98 Tsarist Russia. Something of this opu- lent, degenerate, and fascinating period is VANGUARD certainly conjured up by The Bells, written in Rome in 1913, and first per- RECORDINGS FOR THE CONNOISSEUR formed, with great success, in Moscow a year later. CIRCLE 75 ON READER -SERVICE CARD 96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Why tweeters CROSSOVERS

If you have heard the BOSE 901 Direct/Reflecting" Equally important, the directionality (dispersion) of a speaker syste- or if you have read the unprecedented speaker varies with its diameter. Therefore, the spatial series of rave reviews in the high fidelity publications, characteristics of the sound can change sharply in the you already know that the 901 is the longest step forward crossover region as the radiation :lifts from rie large in speaker design in perhaps two decades. Since the woofer to the small tweeter. "This spatial proper y of superiority of the 901 (covered by patents issued and the sound incident upon a listener is a paramate- pending) derives from an interrelated group of advances, ranking in importance with the frequency spectrum ... for each depend ng on the others for its full potential. we the subjective appreciation of music. " hope you will be interested in a fuller The principal reason which had been put forth explanation Ilan is possible in a in favor of the use of crossovers was the single issue. Thies discussion is reduction of possible doppler d stortion. one of a series on the technical (When a high frequency mote is emitted basis of the perfo-mance from a speaker core which is 'slowly' of the BOSE &01. moo moving toward or away Isom the listener In other issues ae while it is also rearoducing a bass describe ho,,, a note. is the frequency of the higher note multiplicity of sarne- affected audibly ?) Measurements and size, acoustically cot led computations in support of this -typothesis speakers elirr hates have been based 3n sine Naes on one axis, audible resonances and, in an anechoic environmen:. No in addition, makes pssible correlation has been establ shed between the unprecedented bass these numbers and what we heal with music performances of the and speech signals, in a room n another BOSE 901 Direct /Ref ecting issue. on the subject of DIST)RTION, speaker system. But we shall explain now we were there is yet another vital OFER able to prove (ir ar experiment benefit from this ac .ance CROSSOVER which is reprocuc ble by - the elimina km of crossovers. 0 D LISTENER wnich The best answer m had previously teen D found, for reproduc ng the full audio spectrum SPEAKER with dynamic speakers. INPUT m was the use of a large for the bass frequencies and Block Diagram of speaker C Conventior al Sp raker smaller speakers for Ile higher frequencies. System Enplbying with crossove- networks routing the TWEETER Woofers. Tweeters appropriate frequencies to the appropriate CROSSOVER and Cresscvers. speakers. (see fig) Crossover networks. whether they are passive in the speakers anyone who is sufficiently interested) that the or electronic in amplifiers, are generally BOSE 901, and many other good speakers fo- that designed so the- the sum of the voltages to the matter, do not produce audible doppler at 'B' and 'C' is proportional distortion on music or speech. speaker itput signal at 'A'. This would be adequate only if the speakers were themselves If you would like to hear the performance of a speaker perfect for than we might have an acoustical signal at with no woofers, tweeters or crossovers (and several 'D' which bore a close relation to the speaker input 'A'. other major advances). ask your franchised BOSE dealer However, woofers and tweeters are far from ideal. They for an A B comparison of the BO3E 901 with the best exhibit both chase and amplitude irregularities in the conventional speakers he carries- regardless o. crossover region. Phase differences between the woofer and their size or price. tweeter, for exsmple, can cause the cone of the woofer From 'ON THE DESIGN, MEASUREMENT AN) EVALUATION to advance en le the cone of the tweeter is retreating. OF LOUDSPEAKERS', Dr. A. G. Bore. a paper The result is sound coloration caused by the fact that presented at the 1968 convention cf the Audic Ergineering the sum of Ile output of the woofers and tweeters is Society. Copies of the complete paper are avyila31e widely varying in the region of the crossover frequencies. from the Bose Corp. for fifty cents.

You can hear the difference now. THE ALSIX77-wi East Natick Industrial Park, Natick, Massachusetts 01760

BOSE 901 DIRECT /REFLECTINGTM Speaker System - $476 the Stereo Pair, including Active Equalizer. Slightly higher in the west and southwest. Pedestal base extra. CIRCLE 10 ON READER -SERVICE CARD MAY 1969 97

www.americanradiohistory.com If Rachmaninoff has been steadily ing and a useful reminder of Soviet Rus- been recorded here in that language. losing popularity in this country, he sia's gigantic strides in the technical as- The jacket gives Poe's original and it is has recently been returned to a state of pects of recording during the last decade. not difficult to match up the Russian grace in Soviet Russia after his spectacu- For those of us brought up on the gritty text with the English, even if you do lar fall there in 1931; and, interestingly surfaces of opaque Soviet recordings not speak or understand Russian. enough, it was after a performance of which flooded the Eastern European I would draw particular attention to The Bells in a Moscow concert during market ten or fifteen years ago, the the beautiful English horn playing at that latter year that Pravda launched sheer technical excellence of this stereo the beginning of the final movement the vicious attack on Rachmaninoff, disc must come as a distinct surprise. (second half of Side 2). Altogether. this which resulted in a virtual ban on his The stereo balance is well achieved, and is a most enjoyable record and should works in Soviet Russia. Can it he that the recording, obviously made in a large win many friends for this now neglected they thought the luscious atmosphere of hall, is realistic, with a wide dynamic Russian composer. H.C.R.L. Tsarist Russia was too nostalgically, too range. faithfully, and especially too attractively Rachmaninoff's The Bells is, of course, portrayed in the land Stalin's based poems drab of on by America's famous SCHOENBERG: Piano Pieces, Opp. workers' paradise? horror -poet, Edgar Allan Poe. Rach- 11, 19, 23 Berg: Sonata for Thus it is welcome to have this new maninoff naturally wrote his score using -See Piano, Op. 1. release of The Bells. It is a fine record- a Russian translation, and they have

SHOSTAKOVICH: Quintet in G mi- nor, Op. 57 tStravinsky: Three Pieces for String Quartet

Lyubov Edlina, piano (in the Shosta- kovich); Borodin Quartet. MELODIYA/ The Philips ANGEL SR 40085, $5.79.

Except for one reservation, I find this One World Music recording one of Melodiya /Angel's best of date. efforts to The sensitive and beauti- fully balanced performance of the Shosta- kovich Quintet far surpasses other re- OHAYDN: THE SEASONS cordings of this work, including the Harper, Davies, Shirley- Quirk, version by the Beethoven Quartet with Shostakovich himself at the piano on a BBC Chorus and Symphony /Colin Davis deleted Vanguard disc (this performance PHS 3 -911 is now listed on Bruno). Particularly outstanding on this release is the playing of Lyubov Edlina. To begin with, her BEETHOVEN: DIABELLI VARIATIONS piano tone here is a perfect complement Stephen Bishop, pno. to the "sound" of the Borodin Quartet. This is partially due, of course, to the PHS 900 -220 instrument itself and to the brilliantly clear sound obtained by the engineers. But a good deal of credit must also be TCHAIKOVSKY: SYMPHONIES 1, 3 and 6 given to Miss Edlina, who accomplishes London Symphony /Markevitch the difficult task of giving individuality PHS 900 -223, 224, 225 to her playing without ever destroying the balance of the ensemble. The many nuances that she brings to the shading BACH: BRANDENBURG CONCERTOS and phrasing are quite remarkable and give the piano part a depth I have sel- I Musici dom heard in other performances. My PHS 2 -912 one reservation concerns the Scherzo, which suffers somewhat from deliberate pacing and inner -groove distortion, al- BEETHOVEN: STRING TRIOS, OP. 9, NOS. 1 & 3 though even here the lilt given to the Grumiaux Trio piano part is marvelously suited to the movement. PHS 900 -226 If one considers only the musical ele- ments, the Shostakovich Quintet might appear rather embarrassing when corn- BEETHOVEN: SERENADES, OP. 8 & 25 pared to the Stravinsky Three Pieces that Grumiaux Trio, Larrieux, fl. fill out Side 2. In these vignettes, written PHS 900 -227 more than twenty -five years before the Shostakovich work, Stravinsky takes some deliberately banal material and gives it profundity in an extraordinarily rich mu- sical context. Conversely, Shostakovich tends to use profound ideas in a rather A product of Mercury Record Productions, Inc., diaphanous musical setting that occa- 35 E. Wacker Drive, Chicago, Illinois 60601 sionally borders on banality. But, of course, the intentions are entirely dif- ferent for each work. In the Stravinsky, utmost attention is paid at each instant to harmonic and rhythmic detail, and the sounds that the composer obtains from the string quartet are strikingly varied CIRCLE 46 ON READER- SERVICE CARD 98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scherzo of No. 6 is, for once, the yet never gratuitous. Shostakovich, on the Poco Vivace it ought to be. Perhaps a the other hand. sacrifices painstaking de- and atmosphere vanish with tail to the over-all dramatic movement bit of repose tempos, but on each rehearing I get the the work. It can be argued that this the fast of more comfortable with sort of approach is not entirely suited find myself views. to chamber music, but I find the Quintet Maazel's reproduction has depth, one of Shostakovich's more effective London's razor -sharpness, and aurally soothing NEWS pieces. well. H.G. The Stravinsky Three Pieces are also richness as excellently recorded and are played with great vitality by the Borodin group. I might add that, for some reason, the re- STRAUSS, RICHARD: Ein Helden- FREE! cording plays a bit sharp, although not leben, Op. 40; Also sprach Zara- enough to be particularly distracting. thustra, Op. 30 R.S.B. The new McIntosh 36 page cat- Los Angeles Philharmonic Orchestra, you al the details Zubin Mehta, cond. LONDON CS 6608/09, alog gives SIBELIUS: Symphonies: No. 3, in C, $5.79 (each of two discs). Tape: Oil on the nsw Mclrto;h solid state Op. 52; No. 4, in A minor, Op. 63; 80209, $7.95, 71/2 ips. equipme it. In ad iition, you'll re- JNo. 6, in D minor, Op. 104; Tapi- ceive absolutly Ires a complete ola, Op. 112 Those who rather like music "full of sound and fury, signifying nothing" may up- to -da:e FM Station Directory. Vienna Philharmonic Orchestra, Lorin well enjoy these Zubin Mehta readings Maazel, cond. LONDON CS 6591/92, of Strauss tone poems. In its exuberant $5.79 (each of two discs). drive, heedless of obstacles or subtleties (and finding its appropriate complement With this pair of records, Maazel com- in London's brassy, bassy, and resonant pletes the third stereo cycle of the recording), Mehta's approach to Strauss Seven Sibelius Symphonies. All the evi- is the complete antithesis of that of Fritz dence now being in, I can say that he Reiner and other conductors who have scores over his colleagues Bernstein (Co- sought to clarify, balance, and bring into lumbia) and Watanabe (Epic) on two structural unity the composer's musical grounds. For one thing, while all three ideas. cycles are five -discs sets, Maazel's is the In Eu t Heldealeben, in particular, only one to provide a bonus to the sym- Mehta frequently lets the torrent of com- phonies: in addition to Tapiola (which plex orchestral sound carry him along - shares the space left over from the or rather, more precisely, he propels this Fourth Symphony), Maazel's earlier re- surging sound. But the force of this pro- room for careful leased Symphony No. 1 included the pulsion leaves little Karelia Suite for good measure. Sec- balance of instrumental lines or blending ondly, with the exception of Bernstein's of timbres, moving from one passage to Fifth, Maazel's readings are the only ones the next with little concern for their available in single -disc format. musical connection. In Also sprach Zara- I am pleased to say that almost every- thustra Mehta provides more music and thing on these latest records is good - fewer sound effects, but even so the per- often, indeed, superb. The stylistic un- formance never rises above the intrinsic certainty, the theatrical heaving and Langw eiligkeit of the score. Zarathustra hauling that marred some of Maazel's justifies itself only in the hands of a very earlier Sibelius readings are nowhere to dedicated Straussian of the order of be found in these sober, ultrastructural a Reiner or Ormandy, surviving only interpretations. The only place where because such conductors really put more Maazel sounds even slightly mismatched into the score than is probably there. with the Viennese Orchestra is in the Regretfully, I must report that neither Fourth Symphony, where a bland cello Mehta nor his Los Angeles Philharmonic soloist slightly devitalizes the conductor's here produces in any consistent manner well-judged reading. In that work, by the kind of first -class orchestral perform- FREE the way, Maazel takes the composer's ance that should be the sine qua non "Glocken" instruction in the finale to for these scores. Again, this is more ap- mean little bells. Both Karajan and parent in Ein Heldenleben than in Zara- SEND TODAY Watanabe shared his views on that thustra. In the former, there are a num- matter; Ansermet favored chimes; Bern- ber of passages in which the attack of stein, both bells and chimes -which the lower strings, especially the basses, seems right to me. anticipates the beat, and the balance of Tapiola gets a stark, grim, ultrady- timbre in the woodwinds is extremely namic statement from Maazel, something variable in ways not called for by on the order of Karajan's but with the Strauss's detailed markings. orchestral timbres dressed in chrome in- London's recording technique may be N stead of copper. Though it's a very close responsible for the frequently heavy contest, I prefer Maazel's version not sound of the horns, trombones, and only to Karajan's but also to Beecham's tubas (or this may be simply the kind splendid but less monumental interpreta- of sound Mehta likes in a Strauss per- tion (Seraphim). formance). In any event, the tone The two shorter symphonies receive spreads too much, frequently to the tightly organized, undeviating perform- point of losing the distinctive quality of ances, and both are structurally more the instruments themselves. Having fre- cogent than any I have ever encountered. quently lamented that the latest orchestral The first movement of No. 3, as Maazel recordings sound less and less like real > does it, is bubbling, vivacious, and de- orchestras, I can only reiterate the com- z v lightfully crisp in its articulation, while plaint here. P.H. CIRCLE 45 ON READER -SERVICE CARD MAY 1969 99

www.americanradiohistory.com STRAVINSKY: Three Pieces for ance) and continues with some of the String Quartet -See Shostakovich: sketched material not already used. The Quintet for Piano and Strings, in text is drawn from Anaïs Nin's House G minor, op. 57. of Incest, and the forces called for in- clude soprano solo, chorus of basses, piccolo, flute, oboe, two clarinets, bas- TAKEMITSU: Coral Island; Water soon, horn, two trumpets, three trom- Music; Ai bones, six percussion players, piano, and strings. In general, the performers are Mutsumi Masuda, soprano (in Coral Is- more successful here (especially the land); Yomiuri Nippon Symphony Or- chorus), although I am not entirely con- chestra, Hiroshi Wakasugi, cond. RCA vinced of Mr. Abravanel's control of VICTROLA VICS 1334, $2.50. tempos. On the reverse, the adventurous Utah Move over, gentlemen, a genius! Toru Symphony gives us the first recording of Takemitsu is, to be sure, far from un- a large (nearly thirty minutes) orches- known to American audiences, but this tral work by the thirty- six -year -old Bul- is the most important recording of his garian -born Henri Lazarof, who has music to reach our shores to date. lived in the United States since 1957 and Coral Island is a short symphony in now teaches at UCLA. Structures so- five movements. The first, third, and nores, completed in 1966 and first per- fifth are for orchestra alone and are The late Edgard Varese -his unfini./ud formed by Zubin Mehta in Los Angeles, called "accumulations." The second and Nocturnal reaches disc by way of Utah. is clearly the work of a proficient com- fourth are songs based on the elegant, poser, very resourceful in handling his elusive lyric poems by Makoto Ohka. Good Friday Procession in Verges (a orchestral forces. This is not, perhaps, a The idiom is very much of the Sixties: tape sequence made for a film by work that seizes the imagination, but it high, chiming. tingling sounds à la Varèse's friend Thomas Bouchard) re- follows clear lines of musical develop- Boulez; a grand atomistic rush of string main to be issued on discs. The impor- ment as the several movements explore and wind sounds à la Xenakis; a tortu- tance of Varèse's music is immense, both a variety of textural possibilities. The per- ous, disjunctive vocal line à la everybody for its own value and for its growing in- formance is proficient, although a couple -but it all adds up to some of the most fluence on contemporary music; if previ- of movements are somewhat below tem- moving and instantly communicative mu- ous history is any guide, the proliferation po; this is really a work for a virtuoso sic of recent years. The performance is of these recordings, whatever their inade- ensemble. superb and so is the recording. quacies, will further increase the aware- Everything is well recorded, save for Island Coral fills one side. The other ness, among musicians and listeners, of some patches of distortion on the Varèse side is filled with two tape pieces. Water the possibilities that Varèse opened up. side. Texts and translations are pro- Music is based entirely on sounds of It should also encourage the study and vided. D.H. water in various transformations: some understanding of how Varèse's music of the sounds are percussive, some "works" no comparable body of fricative, -for some just plain watery. There music from the first half of our century are dramatic silences in the VICTORIA: Motets: Vere languores music, and has been granted so little critical and the whole nostros; Ecce quomodo moritur; O has a solemn urgency and analytical scrutiny. That the best of it power much in the magnum mysterium -See Pales- spirit of gagaku, the does "work" is attested by its enormous ancient, trina: Alissa Papae Marcelli. ceremonial court music of Japan. influence and its increasing acceptance A major delight of the work is the way into the repertory-but an adequate lan- in which the sound volleys from speaker guage for its description has only begun to speaker, and one can almost WEBER: Der Freischlitz feel it to be developed. This music is like noth- falling into deep space as well. ing else: its sounds, its techniques of con- Claire Watson Ai is the Japanese word for love. (s), Agathe; Lotte Schädle tinuity and relationship are unique, and (s), Aennchen; Rudolf Schock Takemitsu's piece is based entirely on (t), Max; they extend the range of what music Claudio Nicolai (b), Ottokar; that word as spoken in various inflec- Klaus Lang can be, both for the composer and for (b), Kilian; Gottlob Frick (bs), tions by male and female voices. Some Caspar; the listener. Kurt Böhme (bs), Hermit; Fritz 011en - of their intonations convey a sense of Ecuatorial falls between Ionisation and dorff (bs), Cuno. Chorus and utmost anxiety, not to say terror, but the Orchestra Density 21.5 in the chronological se- of the Deutsche Oper, Berlin, Lovro von transformations worked here are as re- quence of Varèse's music; it was written Matacic, cond. EVEREST S 468/3, $8.94 markable as those in Water Music, if less in 1933 a Spanish extreme. -34, to translation of (three discs). a Mayan text, and is scored for bass All in all, this disc brings us one of voices, four trumpets, four trombones, Every country the most meaningfully inventive musical has its unexportable cul- piano, organ, fifteen percussion instru- ture. While scarcely a week passes with- minds of the decade. It may well prove ments, and two Theremins (later rewrit- out a performance to be a major milestone in the musical of Der Freischütz ten for two Ondes Martenots). The history of our time. A.F. somewhere in Germany, the opera has Ondes, which could fulfill Varèse's de- never enjoyed wide international popu- sire for continuous curves of sound, add larity (the Met's production next season a rather special color to the sound pic- will be that company's VARESE: Ecuatorial; Nocturnal first in over forty ture, which is full of shifting instrumental years). This is a shame for Freischlitz is Lazarof: Structures sonores i and choral doublings. The work's clean, one of early romanticism's freshest and hard -edged force is, unfortunately, not most original expressions, containing Ariel Bybee, soprano (in Nocturnal); fully realized in this performance -most page after page of spontaneous melody bass ensemble of the University -Civic notably by the chorus, which is ragged in and superb musical craftsmanship. Per- Chorale, Salt Lake City (in both Varèse pitch and ensemble (it might have been haps the libretto's provincialism has works); Utah Symphony Orchestra, Mau- preferable to use a solo voice, as has turned off the rest of the world, for, un- rice Abravanel, CARDINAL cond. VCS been done on past occasions, including like Wagner, Weber's intense German - 10047, $3.50. the premiere). ness is very localized and his characters Nocturnal is the composer's last, un- add up to little more than a collection of With this coupling, virtually all the ex- finished work. An incomplete version generalized Teutonic types. Be that as it tant music of Edgard Varèse is now on was performed in 1961, and the "per- may, the opera is still good theater and records, albeit in performances of vary- forming edition" prepared by his disciple its real protagonist- nature as both a ing degrees of effectiveness; only the Chou Wen -chung includes that portion sinister and benign force -has been bril- 1947 Etude pour espace and the 1956 (as revised by Varèse after the perform- liantly portrayed in music redolent with

100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com works the atmosphere of cool, green, piney - logue is not a vital point, by all means This selection of Webern (of which scented yet slightly threatening German pick up Seraphim's budget -priced abridge- only Op. 10 is otherwise available out- forests. ment of the Odeon performance which side of the complete set, or in stereo) is Although Freischütz fans may have does contain all the music. For less ex- an interesting one, illustrating three dif- The had little opportunity to see the opera in acting tastes, this Everest recording of- ferent phases of his development. this country, recordings have always been fers more than a reasonable compromise. highly concentrated orchestral pieces plentiful. The early LPs gave us four P.G.D. (1911-13) exhibit maximum economy performances albeit unsatisfactory: a and disjunction of surface. With the songs drastically abridged rendition on DGG/ of Opp. 12 -15, composed in overlapping sequence during the years 1914 -22, We- Decca, a poorly sung edition by some WEBERN: Five Pieces for Orchestra, major singers on London (recently reis- Op. lO; Four Songs, Op. 13; Con- bern -like Schoenberg before him -re- lied upon words to form the basis of sued by Richmond), and two decent but certo for Nine Instruments, Op. 24 rather routine readings on Remington fAmy: Diaphonies; Inventions larger (relatively speaking) forms. Final- ly, the Concerto of 1934, dedicated to and Urania. After the arrival of stereo, Schoenberg on his sixtieth shows the quality improved with the near - Liliana Poli, soprano (in the Webern birthday, the Webern Schoen - simultaneous release of two recommend- Four Songs); Domaine Musical Ensem- special approach to method, here used in such a way able versions from Odeon (now available ble, Gilbert Amy, cond. EVEREST 3232, berg's as virtually a -note domestically, but without the spoken $4.98. to constitute "three dialogue, on Seraphim) and DGG. Ever- est has further complicated the choice by issuing the current very fine perform- ance originating from the German Eu- rodisc label. feature of Beecham Not the least attractive Berry Everest's Freischütz is its completeness - Brain (now only the imported Odeon recording Callas virtually impossible to locate) offered Cluytens as much dialogue -an important con- Davis sideration if the opera is to make any De los Angeles dramatic sense. Furthermore, stereo has Dorati been used imaginatively and there is Fischer-Dieskau a real sense of a live performance -the Flagstad devilish doings in the Wolf's Glen scene, Furtwängler for instance, are given the works: spooky Gedda echo effects, a pack of howling hounds, Gieseking stamping horses, a braying wild boar, Gigli and some frenzied shrieks from Samiel. Giulini Unfortunately, the potentially full, rich Horowitz sound itself is badly sabotaged by the Kipnis bass-heavy, overreverberant acoustic. Lehmann The singers are basically respectable. Lipatti Rudolf Schock repeats his Max from the Ludwig Odeon /Seraphim set almost note for Moore note: this is robust, forthright singing, Rothenberger but rather beefy at times and not ter- ribly elegant. Frick is a swaggering. snarl- ing villain -the role of Caspar suits his big black bass beautifully and he has Sargent enough flexibility for a reasonably clean Schuricht articulation of the treacherous runs in Schwarzkopf the "Schweig', schweig'," aria. The ladies Serafin are good, though not quite the equals of Stokowski Odeon /Seraphim's Elisabeth Grümmer Tauber and Lisa Otto. Claire Watson, American Toscanini though she may be, possesses precisely Wunderlich the kind of white, pure -toned soprano that Germans seem to find so attractive for their virginal operatic heroines; she brings a delicate femininity to Agathe This month your favorite record dealer occasion. Appealingly varied in and sings her two arias with much sen- is of genuine is offering the very heart of the repertoire, each album sitivity and lovely tone. Lotte Schädle Seraphim catalog at an uncommonly COMMAND PERFORMANCE sounds like dozens of other rather thin - . .. far caliber; outstanding in performance, voiced Central- European soubrettes and attractive extra special price* and presentation. During this she is neither one of the best nor the below the already budget- pleasing recording you can afford to worst. Her brightly sung Aennchen un- $2.49 per disc. limited -time program, them all. Rare is the derplays the cuteness of it all, which is Thirty -four of the series' most consider a her The other to enlarge your classical at least point in favor. distinguished opera, song, instrumental opportunity singers are competent, although one collection at such a remarkable saving. and orchestral albums featuring forty would like a more rock -steady basso than names Kurt Böhme's for the Hermit's solemn of world music's most illustrious ( ) Price program optional with dealer. pronouncements. Lovro von Matacic con- have been specially assembled for the ducts leisurely but purposefully with spe- cial attention to Weber's atmospheric or- chestral timbres. Which Freischütz to buy? If money SERAPHIM were no object, I would search out or .- 04 th ceder- special -order the Odeon, still the best - sounding, best -sung, and most complete of the entire lot. If the German dia-

MAY 1969 101

www.americanradiohistory.com system." This last work has a bracing Wolpe's later style, of which the Trio, clarity far removed from the very tenuous for flute, piano, and cello, composed in RECENT progression of the earlier works. 1963, is a representative example. Unfortunately, none of these perform- Since there is nothing instrumentally ances represents any significant im- spectacular about Wolpe's writing, it pre- provement on those in the Craft set; in sents a decidedly austere surface. The RELEASES fact, the Op. 13 songs are distinctly less progress of each movement is by discrete, good, both vocally and instrumentally. generally brief gestures, their most im- on Op. 24 sounds somewhat offhand, and mediately graspable continuity deriving the climax of Op. 10, No. 2 is marred by from the rotation of groups of pitches. ugly distortion. This music is drawn on As these "cells" expand and change in ZO9O{ such a small scale, and the place of content, the rhythmic configurations also RECORDS every element is so crucial, that only vary, and the totality of the gestures be- the very best performances can do it comes cumulatively more Catalani: LA WALLY complex and justice. Despite the omission (at least intense. Wolpe's conception of musical Renata Tebaldi: Mario del Monaco; Piero in early pressings) of the opening notes movement is distinctly individual, Cappuccilli; Justino Diaz and and other soloists. of Op. 24, Craft's set remains indispensa- often very Coro Lirico di Torino. L'Orchestre National convincing; there is never any ble. doubt about his de L'Opéra de Monte -Carlo - Fausto Cleva. command of this highly So, for that matter, do its annotations personal idiom. OSA 1392 In the Trio, as in some and translations, a department that Ever- (3 records) other pieces, I find the rhythmic aspect est often manages to botch up. No trans- of his language less developed, and less Delibes: LAKMÉ lations are given for the songs, which are interesting, than the pitch- and -interval listed as Joan Sutherland; Alain Vanzo; Gabriel Bac - "Op. 14" in several prominent structures, and this disparity prevents quier and other soloists. Monte -Carlo Opera places on liner and label. And Op. 24 is the work from being completely success- Chorus. L'Orchestre National de L'Opéra de a Concerto, not a "Concert "-obviously ful. However, CRI is to be commended Monte -Carlo - Richard Bonynge. a result of slavish dictionary translation for allowing us repeated hearings and OSA 1391 from the original French jacket. Most of closer acquaintance with this music, es- (3 records) the liner is given over to a 1968 Time pecially as so well performed by Harvey story on Webern, COVENT GARDEN OPERA complete with an as- Sollberger, Charles Wuorinen, and Joel ANNIVERSARY ALBUM terisk presumably referring to an omit- Krosnik. ted footnote -and so on. Excerpts from Carmen; The Daughter of the George Crumb is another composer The two works by Regiment; Les Troyens à Carthage; Boris Gilbert Amy, who whose music presents an unmistakable Godunov; The Marriage of Figaro; Otello; now conducts the Domaine Musical con- surface: a sound of resonances, rustlings, Falstaff; La Boheme; A Midsummer Night's certs founded by Boulez (from the latter's knockings, harmonics, of faint vibrations Dream; Billy Budd; King Priam; Troilus and prominence on the liner and labels, you and -as the title of this work (and Cressida; Fidelio; Der Rosenkavalier; Elek- might suppose that he had something others) suggests -of echoes. The present tra; Das Rheingold. Sung by 25 artists in- to do with this record, but this is sheer piece, composed in 1966, comprises cluding Joan Sutherland, Gwyneth Jones, press -agentry), demonstrate a certain ear eleven sections, each exploring Marie Collier, Peter Pears, Tito different Gobbi and for pretty sonorities -especially the Geraint Evans. The In- timbral effects from the ensemble of conductors include ventions, for flute, piano Georg Solti, Richard Bonynge, Rafael Kube- and celesta, violin, flute, clarinet, and piano. A motto harp, vibraphone, lik and Sir William Walton. and marimba. Like so phrase (from García Lorca's Gacela de much of the work of Boulez' OSA 1276 epigones, la terrible presencia) is whispered before however, it (2 records) sounds as if composed by the the solo cadenzas that form the central yard, with little audible rationale for the sections. This is very accessible music if MARILYN HORNE: BACH AND HANDEL ARIAS succession of events; the Inventions have approached without preconceptions; while Bach: Magnificat in D - Et Exultavit: Esu- a couple of "movable" sections, but the its composer is exploring a new range of rientes. Christmas Oratorio - Schlafe whole affair would make just as much possibilities, he is not carried away with mein Liebster. St. Matthew Passion - sense if the same procedure were applied novelty for its own sake, and there is a Erbarme dich mein Gott. Bist du bei mir. throughout. And the double- orchestra clear logic in his use of these very dis- Handel: Messiah I - 0 thou that tellest; set -up in Diaphonies sounds quite know that my Redeemer liveth. Rodelinda- trivial tinctive sonorities. The recording cap- by comparison with, say, Scacciata dal suo nido; Dove sei; Vivi ti- Elliott Carter's tures the clouds of sympathetic vibra- use such ranno. The Vienna Cantata Orchestra - of an arrangement in his Double tions and the other timbral effects with Henry Lewis. Concerto. great success. If you have not previously These OS -26067 performances seem quite good; encountered Crumb's work (his Night on several hearings with scores, I detected Music I is on CRI 218), this is an ex- Mozart: PIANO CONCERTO NO. 20 (K. 466); a few missing stitches but no major disas- cellent place to start. D.H. PIANO CONCERTO NO. 6 (K. 238). Vladimir ters. D.H. Ashkenazy - The London Symphony Or- chestra - Hans Schmidt- Isserstedt. CS -6579 WEBERN: Variations for Piano, Op. XENAKIS: Atrée, Hommage à Pascal; Aforisma-Amorisma; St/ 4-1.080262; Sibelius: SYMPHONY No. 3 IN C MAJOR; 27 -See Berg: Sonata for Piano, Nomos Alpha SYMPHONY No. 6 IN D MINOR - The Vienna Op. 1. Philharmonic Orchestra - Lorin Maazel. CS6591 Various instrumentalists. ANGEL S 36560. WOLPE: Trio $5.79. tCrumb: Eleven Echoes of Autumn, and on 1965 The music of lannis Xenakis always comes with the same literary baggage: RICHMOND Trio of the Group for Contemporary obscure titles and notes full of learned Music at Columbia OPERA Treasur9 SERIES University (in the references to Probability Theory, the laws Wolpe); Aeolian Chamber Players (in of great numbers, the theory of groups, now available in Stereo the Crumb). COMPOSERS RECORDINGS and all such, with the implication that Strauss: DIE FRAU OHNE SCHATTEN CRI 233, $5.95. you haven't heard the half of it. Maybe Leonie Rysanek; Elisabeth Hongen; Christel Xenakis needs this kind of mumbo Goltz; Hans Hopf; Paul Schoeftler and other The paucity of works by Stefan Wolpe jumbo to stimulate his musical imagina- soloists. The Vienna Philharmonic Orches- available on records may be on its way tion; he actually does possess a first -rate tra - Karl Bohm. toward correction at last; certainly few musical imagination, as witness the four SRS 64503 composers of equivalent influence have compositions on this record. (4 records) been so poorly represented in Schwann. The most remarkable of them is the This is especially true with respect to last one on the disc, Nomos Alpha, an CIRCLE 42 ON READER -SERVICE CARD 102 CIRCLE 16 ON READER -SERVICE CARD -3

www.americanradiohistory.com Have a heart-to-heart with yóur ears. They'll probably tell you a lot of things you'll like to hear. Like how they can't tell the difference - the difference between the Craig 2405 Stereo Tape Deck with auto -reverse and the X400 super deck with auto reverse. That's nice. Because in addition to having lots of power and a wide, wide frequency response, the Craig 2405 is $110 less than the super deck. Music to your ears. The 2405

rom =Alm . $290.

:tst 15th Street, Los Angeles, California 90021

www.americanradiohistory.com eighteen- minute piece for solo cello that This is one of the most enjoyable col- exploits every conceivable effect of color lections to come my way in quite a of which that most colorful of instruments while. The works of the five composers is capable -bowed and struck, plucked represented here, whose lives span more and stroked; sul ponticello, col legno, than a century and a half, present a clear and (this effect was invented by Charles picture of the development of the church Ives for his Second String Quartet) con cantata or motet from the early seven- fistiswatto. You name it; if it can be teenth century to the time Bach assimi- played on a cello, it's in this piece, plus lated the various trends and continued a grand passion and drive. The work the development to its ultimate conclu- leaves you exhausted but happy, thanks sion. It is interesting to note the specific as much to the fabulous virtuosity of ties between Bach and each of the corn - ROBERT the performer, Pierre Penassou, as to posers on this disc: Buxtehude (1637- the music itself. 1707) was certainly one of the strongest Morisma -Amorisma, which seems to influences on Bach's early organ works mean "the fated and the free," is a fine and his first few cantatas. Franz Tunder ILOSFALVY piece for piano, cello, and double bass, (1614 -67) was Buxtehude's father -in- making much of the quiet, mysterious, law and predecessor at St. Mary's Church OPERA RECITAL detached tones that Morton Feldman in Lübeck. When Bach first came to St. manages to write so effectively in re- Blasius Church in Mühlhausen, he suc- SLPX 11312 sponse only to the promptings of his ceeded Johann Georg Ahle, who in turn erudite musical ear. Atrées is a somewhat had succeeded his father, Johann Rudolf similar work for (1625 -73); and while he was "A particular magic of tone ten instruments, in- in Mühl- cluding brass and woodwinds; it is full hausen, he became acquainted with the that crops up only once or of wonderful sonorities, but for me it Kapellmeister at the nearby court of twice in a generation of sing- goes on a little too long. Both Atrées Rudolstadt, Philipp Heinrich Erlebach ers, with a Gigli, a Bjoerling, and Morisma -Amorisma are recorded (1657- 1714). Bach was most closely as- a Wunderlich . a sheerly (superbly) by the Paris Instrumental sociated with, but least influenced by, beautiful tenor voice.... The Ensemble for Contemporary Music under his long -time colleague in Leipzig, Tele- voice rolls over into a clear, the direction of Konstantin Simonovich. mann (1681 -1767). Aside from their juicy ring with spin and ex- The title St /4- 1.080262 is partly ex- musicological value plained in in shedding light on Bach's early work, citement. . . Harry Neville's jacket notes. These versions each of the compositions here is well are ranked with the best re- St stands for "stochastic," which is Xenakis' favorite word. worth hearing for its own sake. I was corded since the war." According to the Oxford English Dictionary, it means particularly attracted by the light- Conrad L. Osborne "pertaining to chance" and was last hearted and festive nature of Erlebach's HIGH FIDELITY MAGAZINE heard of in 1662; Xenakis obviously cantata for soprano, alto, and tenor solo- means it to cover controlled chance of ists, and four -part chorus, accompanied many kinds. The 4 means that the piece by two trumpets, bassoons, strings, and continuo. Ahle's "The voice that comes across is a string quartet, the 1 that it is Xenakis' delightful little work, first work for that medium. The whose six sections are each based on the this excellently engineered disk other familiar numerals stand for February 8, 1962, Luther chorale Vom Himmel is a slender, gleaming tenor. hoch, the day on which Xenakis completed the should win instant acceptance. Per- . . . The standard of singing computer calculations on which the music haps the best work here, and the least ranges from superb to good. is based. obscure, is Buxtehude's modest cantata Like for four -part chorus ... Fritz Wunderlich and Like Nomos accompanied only Alpha, the work is an by strings and continuo. Least impressive Jussi Bjoerling, Ilosfalvy's style all but exhaustive anthology of special is Telemann's rather routine work, Lobt and taste are immaculate... . effects for its medium; it is also very Gott; however, the pure sonic grandeur H'e sounds as if he might be intense, aggressive, and concentrated in of five trumpets and drums, with strings the up- and -coming tenor its thirteen of minutes' playing time and it and continuo, and the spirited ought to make antiphonal the next decade." an enormous hit with the singing from two four-part choruses popular audience. Robert T. Jones It certainly must do should guarantee a welcome. so with the audiences THE NEW YORK TIMES of the Bernède The first -rate performances are thor- Quartet, which has made the perfect recording. oughly satisfying-soloists, choir, and in- A.F. strumentalists project an irresistibly in- "Ilosfalvy's voice is a bright fectious enthusiasm for the festive music. and ringing instrument, strong Jacket notes include complete texts on top, and freely produced. and translations, and the recorded sound is rich, full, and very ... This is a major artist, and RECITALS clean. C.F.G. he may well be headed for a spectacular career." MISCELLANY NELSON FRIERE: "Romantic Piano George Jellinek Music" STEREO REVIEW BAROQUE CHRISTMAS CANTA- TAS Schumann: Concerto for Piano and Or- chestra, in A minor, Op. 54. Grieg: Con- This record is available at your local dealer or by sending $5.00 Tunder: Hosianna dem Sohne David. certo for Piano and Orchestra, in A to: Ahle: Merk auf mein Herz. Buxtehude: minor, Op. 16. Liszt: Totentanz for Das neugeborne Kindelein. Erlebach: Piano and Orchestra. Tchaikovsky: Con- QUALITON RECORDS LTD. Siehe, ich verkundige, euch grosse certo for Piano and Orchestra, No. 1, in 39 -38 58th Street Freude. Telemann: Lobt Gott, ihr Chris- B Flat minor, Op. 23. Woodside, N.Y. 11377 ten allzugleich. Nelson Friere, piano; Munich Philhar- Ask for our catalogue of other Hedy Graf, soprano; Dorothea Brink - monic Orchestra, Rudolf Kempe, cond. excellent opera recordings fea- mann, COLUMBIA M2S 798, (two discs). turing contralto; Klaus Schmidt, tenor; $7.98 Robert Ilosfalvy, Karola Wilhelm Pommerien, Agay of the Met, Contralto Erzse- bass; Freiburg Stu- bet Komlossy, etc. dent Choir; instrumentalists, Klaus Knall, It might, on the face of it, be pleasant cond. CARDINAL VCS 10045, $3.50. if Columbia had launched "a new star CIRCLE 51 ON READER -SERVICE CARD 104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Which of these comparably priced, top -quality speakers utilizes the new principle of electronic suspension?

only LWE.

AR-3a $500'

For years now inverse (negative) feedback has been used in Hi -Fi amplifiers to improve performance. Recently LWE re- search has uniquely adapted the same principle to control the speaker cone electronically at all times - resulting in dramati- cally improved speaker performance. No resonant mechanical or acoustic mass -spring system can in- fluence low frequency response. Tran- sient response is unrivaled. Room Gain Control is provided to compensate for LWE room acoustics.

LWE speakers are available in four basic sizes to meet the power and space requirements of any room. You choose from a wide variety of woods and finishes. as well as unfinished kits. LWE prices range from $75 to $3.000 and include LWE's standard five year speaker guarantee. Hear the LWE at your dealer or write for LWE's "Sound of Excellence" Brochure. ACOUSTRON CORPORATION 24-8 EARTLETT STREET; HOUSTON. TEXAS 77006. PHONE (713) 523 -7007

'Manufacturer's suggested retail price for twin speakers and "Equalizer." Manufacturer's suggested retail pr ce for twin speakers. Single speaker is $250.

CIRCLE 31 ON READER- SERVICE CARD %lati 1969 105

www.americanradiohistory.com in the pianistic heaven" with more than pattern for the entire performance. The sive. The only place where Kempe annoys the mere assurance that he is one, but big ritornello at the end of the exposi- me significantly in this work is that spot C'est la vie with this groovy industry! A tion section, for example, sounds like in the finale where the second theme little luck and perseverance brought me something dragged (literally) from Von enters. It is a conductor's Trap in the the additional, though hardly extensive, Billow's family attic, and the orchestral first place, and with Kempe so intent on information that Friere is South Ameri- prelude to the slow movement is miser- "sophisticated" phrasing that it is next can and that he studied with Stefan ably replete with overfinicky details of to impossible to determine what the Askenase. He has a pearly, nuanced tone, phrasing and instrumental balance. At the rhythmic pulse is at this point. I must also a big technique, and a relaxed, nonper- least little excuse (and sometimes with say that the Munich Philharmonic's husky cussive approach to his instrument. no excuse at all) the music stops to solo oboe and its rather boxy, leaden He also, in the Grieg at least, is bur- sniff at some hydrant. In its pretentious sonority in tuttis do not exactly win me dened with a "World Celebrity Conduc- way, it is excellently done, I guess -but over either. Otherwise, thanks to Friere, tor" whose intent is plainly to rule or give me a straight, artistic reading like who plays nimbly and well, it is a fine ruin. Friere begins his opening flourish Lipatti's (Odyssey) or Solomon's (Pick- performance. in that concerto with a refreshingly un- wick) any day, or at least the ham 'n The Liszt and Tchaikovsky, where the affected, straightforward feel for the eggs showmanship of the Cliburn and echt Deutsch approach might have been phrasing, but as soon as Kempe gets his Rubinstein (RCA) versions. especially deleterious, are happily quite thumb into the pie, one is made aware In the Schumann, Kempe displays free of it. The Tchaikovsky benefits from of all sorts of dreadful little "signifi- many of the same tendencies but some- rapid, tautly drawn tempos (in the tradi- cances" and this tug of war is, alas, the how manages to make them less obtru- tion of Horowitz and Toscanini -but without quite so much vodka), while the Liszt warhorse flails and clatters through its course with impressive pyrotechnics. idiomatic is her way with the Ital- Columbia is marketing these record- Satirical ian words of Rossini's Venetian ings as a two -disc album; in Great Brit- lass: the pronunciation is accurate ain, the Grieg and Tchaikovsky have just enough, but the vowels are stub- been released on a single record, with Condiments the bornly German and closed. So the other two works presumably still to trio of songs doesn't entirely come come. H.G. Prepared off, despite her verve and musical- ity. by the Walter Berry enjoys his work I MUSICI: Music for String Orches- thoroughly and does especially tra well in the closing Hugo Wolf Berrys group. Each song is a caper, a sur- Martin: Etudes. Hindemith: Trauermu- realist joke, a parody. And each sik for Viola and String Orchestra. Rous- MANY LIEDER SINGERS keep a col- complements the other. sel: S'infonietta, Op. 52. Nielsen: Little lection of "light relief" items, songs You will have gathered that the Suite, Op. 1. with a funny or satirical situation, singers are skilled and entirely as- for use as condiments: applied sured. So is Gerald Moore, whose I Musici. PHILIPS PHS 900138, $5.79. sparingly they may help to season contribution draws a word not the texture of a recital or prevent easily applied to music: this is The most substantial and rewarding its content from becoming too witty piano playing, and as pol- work on this record, Frank Martin's lugubrious. But what happens if ished as can be. Etudes, is also available in an Ansermet- you take all these change -of -pace The stereo is natural and the conducted performance (London CS items and devise a whole program recording acoustic warm and clear. 6241), where it is coupled with a crack- from the mixture? Theoretically, Seraphim has been very careful in ing account of the Concerto for seven such a protein deficiency meal past vocal issues to provide full winds. Comparison of Ansermet's read- should spell death. In practice, texts in both the sung language and ing with the new one by I Musici yields when served up by this resource- English. It is a pity to find on this fascinating results. The music itself ful and engaging trio of artists, it occasion -when the words are so sounds quite different. This is most is both varied and satisfying. This important -that they have chick- strikingly the case in the pizzicato study, record is a bargain and a delight. ened out. We get no sung language where Ansermet's massed strings evoke Do not expect too violent a bout at all, and only sketchy prose sum- an effect of controlled yet almost fright- of comedy from the material - maries in English. ening power. With I Musici's eleven -man most of the songs will raise a smile GEORGE MOVSHON string band, the piece sounds much rather than a laugh. In fact, the friendlier, with the power of the music only item that regularly draws Christa Ludwig and Walter subordinated to its equally distinguished yocks in public performance is Berry: "A Most Unusual wit. Both approaches seem to me legiti- Rossini's backyard duet for two Song Recital" mate, and I recommend every reader cats. It is here given with high with an interest in performing style to feline breeding evident in every Beethoven: Der Kuss; Der Flail. explore for himself the contrast between miaow. Haydn's In Praise of Lazi- Haydn: Lob der Faulheit. Rossini: Ansermet's broadly conceived dramatic ness is a slim joke, overlong for La Regata Veneziana; Ductto buffo effects and I Musici's pointed precision. its content. Beethoven's Flea is a di due gatti. Brahms: We koom ich Nielsen's Opus 1 is also very well done setting of the same Goethe lines dann de Pooz erenn ?; Och, Moder, here, and, again, wit is emphasized rather used in the Mussorgsky song that ich well en Ding lían; Vergebliches than the romanticism brought out in Chaliapin made famous. Stündchen. Reger: Der Brief; Wald - Garaguly's more heavily accented per- The first two Brahms songs einsamkiet. Strauss, R.: Schlecht- formance on Turnabout 34149. The come from a folk song collection es Wetter; Ach, weh mir unglück- shorter works by Hindemith and Roussel and each is intended to be sung in haftent Mann. Wolf: Zur Warn- add to the attractiveness of this well -en- an appropriate regional dialect. ung; Auftrag; Bei einer Trauung; gineered disc. and, in the Hindemith My ear is inexpert in such matters, Selbstgestiindnis; Abschied. Trauermusik, Cino Ghedin is an elo- but Miss Ludwig seems to have quent viola soloist. caught splendidly the near -Dutch Christa Ludwig, mezzo; Walter For once, Philips has provided decent dialect of Cologne, which is where Berry, baritone; Gerald Moore, pressings. The presentation of this rec- Och Moder comes from. Not so piano. SERAPHIM S 60087, $2.49. ord, on the other hand, is poor. The liner notes are badly written and full of ques- tionable judgments -find me a "classi-

106 CIRCLE 70 ON READER -SERVICE CARD-

www.americanradiohistory.com on o 0

Fly me to the statusphere.

Maybe you're not quite ready If you don't run a radio station grown perfectionist. And what's for this trip. The A -7030 stereo or recording studio, you don't wrong with a handy home living tape deck is a professional really need it. But this deck is room sound studio? It's bound to machine, just out this month. bound to appeal to the home- be tie first one on your block.

Unsurpassed sound reproduction at 15 or 71..S ips Tape tension adjustment for reels up to 101/2 inches Dual -speed hysteresis synchronous motor A_7030 for capstan drive, with un,que electrical speed change - Two exclJsive eddy -current outer rotor motors for reel drive Effortless operation with solenoid control system - remote control, pause control, cueing button Inst ant off- the -tape monitoring without interruption of recording Sound on- sound, sound -with- sound, echo, and built-ir- mike -line mixer Automatic rewind and shutoff.

TEAC TEAG Corporation of America 2000 Colorado Avenue Santa Monica, California 90404

www.americanradiohistory.com cal key -scheme" in any of Nielsen's sym- is-he plays a number of additional orna- be the first time it has ever been re- phonies. No movement breakdown is ments, which is fine, but leaves out some corded, for it was omitted from the given for the Martin work: purchasers explicit ones, which seems odd. "complete" Glyndebourne set of 1958 may like to know that the five pieces are The Purcell Consort is not quite what (Angel 3565, mono, now deleted), pre- Ouverture; Etude 1: Pour l'enchaînement it was in the days when Barbara Elsy sumably because it was so difficult to des traits ("connection of links," roughly was its first soprano. The polyphonic sing with accuracy. Treigle is accurate speaking); Etude 2: Pour le pizzicato; lines are not always perfectly clear. And enough, but it is hard to understand why Etude 3: Pour l'expression et le "Soste- in Dowland's Welcome black night the he chose to record in Italian this aria nuto"; Etude 4: Pour le style fugué. members really ought to have come to from an opera written to a French text Finally, a record company really ought some agreement the on pronunciation of -particularly when the other French - the names its the to understand of perform- word "deity." Nevertheless, these per- language items here show him to have an ing groups. "I Musici" means "the formances simply are still above average. Among entirely adequate (if not faultless) com- musicians," so that the title "I Musici the solos, there is some firm singing by mand of the Gallic tongue. plays works by ..." inevitably provokes baritone Geoffrey Shaw, and a wonder- Treigle is to sing his first Don the retort "Does they ?" fully fluent performance of What if I Quichotte this year and it may well turn But let me end never speed not on a sour note. by tenor Ian Partridge. out to be a role tailor -made for him, The record is splendid. B.J. B.J. vocally and physically. Certainly this re- cording of the death scene is most mov- ingly conceived and recorded, and does METAPHYSICAL TOBACCO: Songs NORMAN TREIGLE: "Operatic He- not wilt even in comparison with the and Dances by Dowland, East, and roes and Villains" legacy of Vanni Marcoux and Chaliapin. Holborne Treigle also sings Sancho Panza's inter- Offenbach: Les Contes d'Hoffmann: C'est polated lamentations from the left chan- moi Coppelius. Dowland: Sorrow, sorrow stay; Pavan; Massenet: Manou: Epouse nel- rather disturbing, this, for the quelque brave fille; What if I never speed; Gailliard "Can she Don Quichotte: Death voices sound too much alike -but the Scene. Charpentier: excuse "; In Nis trembling shadow; Lasso Louise: Les pauvres scene reminds us of the viability of this gens. Rossini: Le Ory: Vegliar vita min; M. Thomas Collier his Gal - Comte very worthwhile opera which has waited mai sempre. Verdi: Attila: liard; Away with these self -loving lads; Mentre gon- many years for a Treigle to restore it to Pipers Gaillard; Welcome black night. fiarsi l'anima; Ernani: Infelice! e tuo activity. credevi. Boito: Mefistofele: Ave East: Poor is the Life; Weep not dear Signor; If the foregoing has seemed dwell Ecco to love; Your shining eyes; O Metaphysical il mondo. on this artist's dramatic insight- rather Tobacco. Holborne: The Honie Suckle; than with phrasing and timbre -it is en- Heigh Ho Holiday; The Fable Round; Norman Treigle, bass-baritone; Vienna tirely because Treigle's art Akademie Chorus; directs the Pavana Ploravit. Vienna Volksoper listener in this way. The voice itself is Orchestra, Jussi Jalas, cond. WESTMIN- not specially beautiful, often changes STER WST 17145, Musica Reservata, Michael Morrow, $4.79. gear, sometimes loses accuracy of in- cond.; Purcell Consort of Voices, Gray - tonation on soft sustained notes. His dic- Operagoing New Yorkers have rea- ston Burgess, cond. ARGO ZRG 572, good tion is exemplary; so good indeed that $5.95. son to be grateful to Norman Treigle one is often made aware of minor lapses for many remarkable evenings at the in pronunciation. But a potent dramatic City All kinds of vocal and instrumental set- Opera, where his elongated figure imagination compensates for these short- tings diversify this absorbing collection and high craftsmanship have enriched a comings and carries the listener firmly of late Elizabethan and early Jacobean long series of character roles, from Han - along. del's music. The songs are performed by any Julius Caesar to Czar Boris, by way Jussi Jalas just pads along for the of combination from six voices to one voice Gianni Schicchi and Figaro. Treigle's most part, providing fairly characterless voice is so and lute, and instrumental doubling is strongly integrated within his accompaniments. The orchestra sounds total stage presence quite properly used in some numbers. that it becomes under strength, and the acoustic is boxy something The Dowland instrumental pieces are in of a problem for a record and sometimes overreverberant. G.M. some cases done in arrangements by his reviewer to separate the singing from contemporaries: Pipers Galliard, for ex- the man, to consider how the voice alone ample (also known as the song If my would work upon someone who had UNFORGETTABLE VOICES IN never seen him. complaints could passions move), is UNFORGOTTEN PER F O R M- played here in John Bull's keyboard But even the forcible occlusion of the ANCES FROM THE ITALIAN version, found in The Fitzwilliam Vir- visual memory serves merely to confirm OPERATIC REPERTOIRE ginal Book. that Treigle is an actor first of all, and vocalist only This all serves to underline the de- after that. His mind is al- Various artists. RCA VICTROLA VIC lightful variety of timbres possible in an ways at work on the character and the 1395, $2.50 (mono only). age before orchestration had become a situation, his hand leads you strongly more or less standardized procedure. The into the dramatic picture. Though the UNFORGETTABLE VOICES IN use of both viols and violins in the in- voice is firm and well placed, it is not UNFORGOTTEN PERFORM- strumental ensemble helps further. the silk- and -steel instrument of, say, a ANCES FROM THE FRENCH The music itself is full of beauty. Ghiaurov (whose Boito Mephistopheles OPERATIC REPERTOIRE Dowland's !n this trembling shadow must be preferred). But few artists are (from A Pilgrimcs Solace) may be sin- as convincing in projecting a father's Various artists. RCA VICTROLA VIC gled out, by virtue both of its emotional concern as Treigle is in the arias of the 1394, $2.50 (mono only). intensity and of its general neglect. But Comte des Grieux and of Louise's father: every one of these eighteen pieces has these are both memorably and beauti- The principles of selection behind these something of its own to offer, whether fully sung. two potpourris escape me completely - it be moving, exhilarating, or just charm- Treigle's " Infelice!" will not make you perhaps they hung an old Victor cata- ing. forget Pinza -for one thing, the voice logue on the wall and threw darts at it? The performances are mostly very lacks a true basso's blackness -but here I'm happy to note that none of the usual good. Morrow's Musica Reservata group again is a worthwhile journey through Victor chestnuts are included, and that has an excellent command of style, and the contorted mind and the tacky morals the dubbings have not been unpleasantly plays with clean tone and lively rhythm. of Donna Elvira's uncle and fiancé. Like "enhanced" by excessive filtering or res- John Beckett's harpsichord playing is ad- the Attila aria (which is a good example onance; alas, a few tracks are pitched mirably crisp, though I am not sure of early Verdi) it is given complete, with wrongly, as noted below. whether his treatment of the ornamen- recitative and cabaletta. Given the grab -bag nature of these tation indicated by Bull in Pipers Gal- The Rossini aria is a rarity -the Tu- records, it's pretty hard to make any liard need have been as idiosyncratic as it tor's aria from Act I -and this may well broad generalizations, so I'll list the con-

108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com tents with capsule comments on each, and some generalized temperament, but flute duetting is Lncanny, so closely does and let you make your own balance the tenor's unsubtle beefiness and the she match the instrument's timbre, sheet in the light of your own interests. fast tempos (to fit the 78 -rpm sides) Tita Ruffo: Brindisi from Thomas' First, the Italians. hardly give her a chance. Hamlet ( 1920). An improbably massive Zinka Milanov: "Casta diva" from The French contingent is somewhat rendition of this already improbably bib- Bellini's Norma (1954). A previously more adventurous, even if the first side ulous moment in the life of the melan- unreleased version, complete with caba- is almost threadbare in terms of musical choly Dane. Ruffo's 1908 version (on letta, recorded not long after her last value. Odeon QALP 1041 I) is less unrelievedly Metropolitan performances in this part. Alma Gluck: "Rossignols amoureux" boisterous, more appropriate to the situa- et The is The sound is less sumptuous than it was from Rameau's Hippohve Arich' tion. Victor dubbing sharp. du ten years earlier (when she recorded only (1911). Stylistically, of course, this is Jeanne Gerville -Réache: "Chanson tigre" Masse's Patti et Virginie the cavatina), and the coloratura is in left field, if not out of the ball park from smeared, especially in chromatic scales. altogether; Gluck made more interesting ( 1911). Minor French exoticism, with Not very atmospheric, perhaps because records than this. melismas that the rich -voiced mezzo finds of conductor Jonel Perlea's strict, slightly Emma Calve: "Charmant oiseau" from awkward; she might have been better fast tempos. David's Perle du Brésil (1908). If your represented by something else. Tito Schipa: "Una furtiva lagrima" only acquaintance with Emma Calve is Jan Peerce: Passover .Scene from from Donizetti's L'Elisir d'amore (1925). via that dreary Habanera that Victor Halévy's La Juive (1941 ). The tenor's is an eye first Victor record is an honest piece Dubbed a semitone high, this is a very usually circulates, here -opener personal, rhythmically free, but vocally -a fantastic silvery sound and all the of singing, the voice sounding freer became. is a dull scene, elegant version; no breathing spectacu- virtuosity of the Marchesi tradition. than it later This lars, but some nice diminuendos on held Through some fluke, this is a startlingly Continued on notes. realistic recording, and the soprano- prie lll Sigrid Onegin: Brindisi from Doni- zetti's Lucrezia Borgia (1928). Although tossed off with a hardboiled élan more collectors flirtatious. suitable to a beer hall, this shows off one DGG are of the great voices -a seamless scale and lots of flexibility (if not quite as much as Schumann -Heink had in her classic recording). Marguerite Matzenauer: "In grembo Eager to discover new adven- return to the past." Demonstrating a me" from Meyerbeer's L'Africana tures in all areas of serious music techniques that go way beyond (1912). Another great mezzo -heavier in conven-ional limits, it is an ear - sound than Onegin, but also warmer; with the enthusiasm indicative the musicianship is impeccable, even in of a true connoisseur. opening experience. this mechanically spun -out lullably. For he highly spirited adven- Lily Pons and Giuseppe de Luca: "Il we offer these additional nome vostro ditemi" from Verdi's Rigo- turer letto (1940). Pons's brittle insecurity new releases from the acclaimed isn't very winning, but the sixty -four- Deutsche Grammophon catalog: year -old De Luca (who actually sang Rigoletto and other parts at the Met mauricio kagel: Ross-ni: Four Sonatas for what phrasing around this time) shows match for 3 players Strings. Nos. 1 n 3. 2 in A, 3 in can do even when power is gone. C. 6 in D. Ber in Philharmonic. Emmy Destinn: "D'amor still' ali" music for renaissance instruments 139 from Verdi's It Trovatore (1916). Karajan cond. 041. Another sharp dubbing, but the per- christoph caskel, percussion Handel: Concerti Grossi. Op. 6. formance is a knockout, complete with siegfried palm, klaus storck . cellos trills and the high D flat. The phrasing collegium instrumentale Nos. 1. E. 11. Berlin Philharmonic. is really powerful, always moving to- kagel, director Karajan. cond. 139 J42. ward a goal, and the seamless vocal sound is wonderful to hear. J. S. Bach: Crgan Works. In- 137 006 Johanna Gadski and Pasquale Amato: cludes 3reludes and Fugues. a "Mira d'acerbe lagrime" from Verdi's Featured this month is our latest Trio Sonata, and two Chorale ll Trovatore (1913). The entire Leonora/ Di Luna scene, set forth by two big, album in the highly touted Avant Preludes. Karl Fichter, organ. handsome, and reasonably skillful voices; Garde Series: two never- before- 139 321. it's all just a bit cautious, however. recorded compositions by the Moza-1: Symp-io ties Nos 21 in Enrico Caruso: "Celeste Aida" from prolific modernist. Mauricio Kagel. Verdi's Aida (1904). The first of his A, 22 C. 23 in D. 24 in B flat. is it four tries at this aria for Victor, and Match For 3 Players the fasci- Berlin Philharmcnic . Bohm. cond. piano- accompanied; despite a praise- nating result of "a dream in which 139 405. worthy attempt to end softly, it's not two cellists sat on opposite sides very successful, for it preserves the ec- of the stage and played against centric phrasing of the 1902 G & T ver- one another while a percussionist sions. At least in the studio, Verdi's Indian gift to tenors seems to have given acted as umpire." The results are. Caruso a good deal of trouble. according to The Gramophone, Rosa Ponselle: " Ritorna vincitor" from "uninterruptedly inventive ... tre- Verdi's Aida (1923). Another major - 'Deutsche mendous . theatrical. A superb ¡ league performance, lacking only the For Renaissance `J f iCU717lZílpZC`ll ultimate in declamatory intensity. record." Music Florence Quartararo and Ramon Instruments contains, in the words Vinay: Love Duet from Puccini s Tosca of Kagel, "neither prediction, point- (1947). I'm not sure what this is doing ers to the future, nor a comforting DGG Recores are distri wted by Po ydor Inc in such fast company. Florence Quar- tararo, a protege of Bruno Walter, had some Metropolitan exposure in the late '40s; here she offers a pleasant sound CIRCLE 19 ON READER -SERVICE CARD MAY 1969 109

www.americanradiohistory.com John McCormack - Musical Raconteur By David Hamilton

ferior quality. The Meistersinger and L'Elisir arias arc dubbed a semitone sharp, and so, perhaps, are some of the nonoperatic num- bers, where it is difficult to be certain what keys were originally used. The last reissue of the Semele aria came out in E major (the original key), but this one is in F, while the Schubert and Donaudy songs are both a semi- tone sharp relative to the different but almost contemporary versions on the Angel disc -none of which inspires much confidence in the RCA dubbing department. I don't have the original 78s at hand for checking, but all of these non - operatic numbers date from the 1920s, when there wasn't too much trouble about recording speed. Also on the debit side is the sound quality, which is inferior to previ- ous Victor dubbings (and even the Bizet duet had more ring and presence in the very scratchy ver- sion once circulated on Asco A110); in the process of re- moving surface noise, most of the Culver voice's vibrancy has been sup- THE IMMENSE CATALOGUE Of John character seems not to have been pressed as well. McCormack's recordings is far McCormack's strong suit, and Like a cheap paperback reprint from being exhausted by LP re- some of the operatic selections are of a handsome book, this record issues, and this record makes a on the pallid side -e.g., the Aida is desirable because you can't get definite contribution, even if the finale, which is staid and studio - these selections any other way - jacket's claim of "Never Before bound, with Marsh a placid Aida, but would it have been so much Released on LP" turns out to be singing Italian a bit oddly. And harder to do accurate transfers, somewhat exaggerated. In point of although the duets with Sammarco thereby making it desirable in its fact, the arias from Traviata, are pieces that do rely on making own right? L'Elisir, Semele, and Lucia ( "Fra an effect through sheer vocal flow, poco" only) have previously ap- the baritone is hardly in McCor- John McCormack: "Arias, Du- peared on Victor LPs, as well as mack's class and the blend of ets, and Songs" the Bantock song (which was never sound fails to match that of the issued on 78s); on the other hand. classically mellifluous Gigli /De Lu- Verdi: Traviata: De' miei bollenti this 1923 version of Die Liebe hat ca versions or (in the Bizet) the spiriti; Rigoletto: Questa o quella; gelogen has never before been re- smooth power of Caruso and An- Aida: O terra addio. Donizetti: La leased at any speed (both this and cona. Figlia del reggimento: Per viver the Donaudy song are different As a "musical raconteur," rather vicino a Maria; Lucia di Lammer- performances from those on Angel than an operatic singing actor, Mc- moor: Fra poco a me ricovero; Tu COLH 123), although the jacket Cormack had few peers, and the cite a Dio spiegasti l'ali; L'Elisir nowhere points this out. songs, despite their variable musi- d'Amore: Una furtiva lagrima. John McCormack was the po- cal quality, are more consistently Puccini: La Bohème: O Minh), tu sessor of one of history's great convincing. To be sure, the Ger- più non torni. Bizet: 1 Pescatori di singing techniques -perfect into - man- language ones suffer from perle: Dal tempio al limitar. Wag- nation, incredible control of breath unidiomatic diction -it's crystal ner: Die Meistersinger: Preislied and dynamics, splendidly clear and clear, but not really correct -and (in English). Handel: Seinele: O forward diction-wedded to a the little Lotti aria has some clum- sleep, why dost thou leave me? voice of considerable sweetness, sy coloratura and unsatisfactory Lotti: Pur dicesti. Kramer: Swans. produced with openness and a trills (compare the aged Patti's Schubert: Die Liebe hat gelogen. lovely spin to the sound. He was version- which, by the way, was Donaudy: Luoghi sereni e cari. also an exemplary musician, with supposed to have inspired McCor- Traditional (arr. Karg- Elert): a fine natural sense of phrasing: mack to record the piece). How- Minnelied. Bantock: Love's Secret. the only serious flaw I detect in ever, the English -language pieces Rachmaninoff: To the Children. these performances is a tendency could never have been sung more Hopper: By the short cut to the toward inexact rhythmic detail, as perfectly; even the rather obvious Rosses. in the Lucia arias where the dotted Kramer song is absorbing when rhythms are often flattened out. spun out this way. John McCormack, tenor; Lucy Isa- As sheer singing, nearly all of Certainly there is enough ex- belle Marsh, soprano (in the Aida these performances are a great traordinary singing here to make duet); Mario Sammarco, baritone delight-nowhere more so than in this a recommendable record - (in the La Bohème and 1 Pescatori the Semele aria with its famous even, for the vocal collector, an in- duets); Edwin Schneider, piano (in superlong phrase, and in the ele- dispensable one. For this reason, I the songs); orchestras (in the oper- gant Donizetti arias. am sorry to report that the techni- atic selections). RCA VICTROLA Unfortunately, projection of cal work on this reissue is of in- VIC 1393, $2.50 (mono only).

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Continued from page 109 however, one that even Martinelli's more Charpentier's Louise (1927). I would It's high time that John Williams, superb fervent delivery never succeeded in have preferred the orchestral version of guitarist that he is, recorded the Bach putting across to me. the year before to this piano- accom- Chaconne (this is in his own transcrip- Louise Homer: Prison Scene from panied one (both are transposed down a tion, incidentally, in which certain chor- Meyerbeer's Le Prophète (1903). This is tone, unlike the 1912 performance on dal sections are broken into arpeggiated much abridged, and accompanied by a Odyssey 32 16 0079). The tone is tremu- figuration, to good effect). I can't en- clumsy pianist; the display of voice and lous but true, and the fragrance is unmis- tirely swallow his rather feminizing ap- temperament is impressive, despite some takable. How in the world did Garden proach -the rubato is sometimes too minor accidents along the way. get away with her French pronunciation? much, and some rhythms are taken so Mabel Garrison: "!e suis Titania" Dorothy Kirsten and Robert Merrill: liltingly that the skeleton of the music from Thomas' Mignon ( 1916). Although Death of Thaïs from Massenet's Thaïs seems to disappear beneath the flesh. But not one of the well- remembered names (1947). The "Meditation" set (as it on the broad scale, and taking the work of her day, Mabel Garrison was, on this were) to music, this scene is quite beau- as a whole, Williams makes marvelous evidence, a spirited, accurate, and musi- tifully sung, with Kirsten ascending ef- sense of the structure thanks, in particu- cal singer; she really articulates the fortlessly to high Ds. lar, to his powers of coloration. dotted rhythms here, and the intonation Well, there it is; you pays your money For the rest of this recital, I am filled is remarkable. and you take your choice. And perhaps with admiration, well -nigh speechless. Giacomo Lauri -Volpi: Legend of we can take up a little collection around Only an intrepid spirit would have con- Kleinzach from Offenbach's Les Contes the office to buy the folks at RCA a ceived of turning over Paganini's Caprice D'Hoffmann (1929). Surprisingly re- tuning fork, before they get to "Unfor- No. 24 to the guitar. In terms of virtu - strained for a Calaf /Radames /Pollione gettable Voices in Unforgotten Perform- osity-of Williams' virtuosity -it is an tenor, but hardly a model of dynamic ances from the Spanish Zarzuela Rep- indubitable success, and the firefly finger - subtlety, let alone French diction and ertoire." D.H. work leaves one gasping. In terms of style. aesthetic satisfaction there are, to be Bruna Castagna: Seguidilla from sure, a few rough edges; one misses the Bizet's Carmen (1938). Opulent if Ital- JOHN WILLIAMS: "Virtuoso Vari- violin's sonority, and occasionally the ianate in sound, Bruna Castagna was ations for Guitar" guitar's dryness becomes bothersome. But considered a good Carmen in her day; I wouldn't have missed this performance this snippet provides little evidence one Bach: Chaconne. Dowland: Queen for anything. The Dowland pieces are the way or the other. Elizabeth Galliard; Earl of Essex Gal - essence of elegance, and the Batchelor Gladys Swarthout: "Mon coeur s'ouvre liard. Giulini: Variations on Handel's -an increasingly elaborate set of var- ñ to voix" from Saint -Saëns' Samson et "The Harmonious Blacksmith." Sor: iations-is wonderfully adept. As for Dalila (1936). The splendidly fresh voice Variations on a Theme from Mozart's the Giulini and Sor variations (the first is quite innocent of characterization; "The Magic Flute." Paganini: Caprice on a sober and immensely dignified this Dalilá s intentions would seem to be No. 24. Batchelor: Mounsiers A Iniaine. theme, the second on "Das klinget so strictly tonsorial. John Williams, guitar. COLUMBIA MS herrich," one of Mozart's dinkier tunes), Mary Garden: " Depuis le jour" from 7195, $5.98. the word, I suppose, is perfection. S.F.

Driver Ritchie Pelham had dealer's. Its big sound will just one question. "How do open your ears. Its style and "Like hearing 500 they get so much sound out size will open your eyes. of such a little box ?" "Never And its low price will open mind how," we said. "We your wallet. other exhausts... just do it." And we do. ULTRA -D features 10" ultra -linear When we introduced the woofer, 4" midrange speaker, 31/2" Ultra -D our competitors direct radiator rigid diaphragm tweeter with aluminum voice coil asked themselves the same all behind me:' - 30 Hz to beyond audibility - question. Product reviewers 23 13/16 x 117/a x 93/4" - 24 lbs. and critics raved - said it Also featured: STUDIO PRO 120A FM /stereo receiver, nation's only was the equal of systems "certified" receiver. costing twice as much. It has since become an in- dustry yardstick, against which other compact sys- tems are measured. To everyone's amazement (including our own) we've even managed to improve it making today's Ultra -D a more outstanding value than ever. Why not see it - hear it - now, at your University LListen ... University Sounds Better UNIVERSITY°SOUND O/ i5/pN tlY LINO Al I(C. INC BOX 26105 OKLAHOMA CITY, OK 73126

CIRCLE 74 ON READER -SERVICE CARD MAY 1969 Ill

www.americanradiohistory.com IN BRIEF

Yasushi Akutagawa writes fluffy, tuneful ballet music. The start of his Triptych Music for Symphony Orchestra is absolutely enchanting, and you think AKUTAGAWA: Music for Symphony Orchestra; you've found an interesting for String Orchestra. MAYUZUMI: Bacchanale; new talent. Soon, however, you discover that the whole thing is totally and shamelessly Symphonique. Tokyo Symphony Orchestra, based on Shostakovich and Phonologie then the music's charm is considerably diminished. But give me Tadashi Mori, cond. Angel S 36577, $5.79. Akutagawa any day compared to Mayuzumi, who has taken over the pretentious rhetoric of the West without any of its substance. A.F.

The performance of Op. 18, No. 4 is outstanding here. The Bartók Quartet has many of the qualities that remind me of the Budapest in BEETHOVEN: Quartets for Strings: No. 4, the latter's best estate. Their rhythmic pulse is dynamic, their ensemble in C minor, Op. 18, No. 4; spirit remarkably integrated, and their general sonority, while basically No. 11, in F minor, Op. 95 ( "Serioso "). Bartók honey- smooth and burnished. has just that necessary touch of acerbic Quartet (in No. 4); Weiner Quartet linearity to avoid the accusation of overrefinement. The Serioso too gets (in No. 11). Dover HCR 7280 or HCR -ST 5280, $2.50. good reproduction and musicianly care from the Weiner Quartet, though this group lacks the electrifying sense of continuity and timing so hand- somely displayed by the Bartók team. H.G.

One hears some extremely sympathetic ensemble playing on this Quali- ton- derived disc. Kovács and Bächer share a basically contained, classi- BEETHOVEN: Sonatas for Violin and Piano: No. 4, cally oriented approach to what are probably Beethoven's most intense in A minor, Op. 23; No. 9, in A, violin /piano sonatas. In the Kreutzer the tempos, while flexible enough, Op. 47 ( "Kreutzer "). Dines Kovács, violin; do not fluctuate with the quixotic magnetism of, say, Szigeti and Bartók Mihály Bächer, piano. Dover in their Vanguard recital album, nor do these Hungarian artists screw HCR 5281 or HCR -ST 7281, $2.50. the tension tighter and tighter as do Heifetz and Smith on RCA. In sum, this is perhaps the most balanced edition in the current catalogue. The big -hall sound is pleasing and natural. H.G.

Anievas' high- powered equipment mows these treacherous twisters right down to the ground, with only a note here and there left unconsumed. In terms of what this music contains, however, the pianist's effort, though CHOPIN: Etudes, Opp. 10 and 25 sturdy and well intentioned, is woefully uncomplete. He plows through (complete). Agustin Anievas, piano. most of these miniature tone poems with the zeal of a hefty quarterback Seraphim S 60081, $2.49. making his first touchdown of the season, and a great many niceties of melody, harmony, or sheer texture simply get bruised or mangled by such rough stuff. Seraphim's sound suffers from excessive surface noise and some not very clean room resonance. H.G.

These are all trios for flute, cello, and piano. One of them introduces Jean Michel Damase, who reveals himself here as a poor man's Poulenc. DAMASE: Sonate en Consort, Op. 17. MARTINU: Trio His trio is in a tuneful, false- naïve, eighteenth- century style and is so (1944). ROREM: Trio (1960). Tipton Trio. insubstantial as to make the Trio by Bohuslav Martina which im- Westminster WST 17147, $4.79. mediately follows seem weighty. The best thing on this record is the Trio by Ned Rorem, with its grand flute cadenza at the outset and its bitter, melancholy slow movement. Performances are excellent and so is the recording. A.F.

Seurat, rather than Goya, seems to be the chief influence behind these performances. Rena Kyriakou's French training shows itself in the pa- trician fingerwork and in the severity of her rhythms. She draws pungent, agreeable sonority from her instrument, but though she avoids any hint GRANADOS: Goyescas. Rena Kyriakou, piano. of percussiveness, her coloristic range (as well as her dynamics) tends Turnabout TV 34247, $2.50. to be a bit lacking in contrast. Alicia de Larrocha, who recently re- recorded the Goyescas for Epic, played with unique sophistication, a dry, biting delicacy, sharper linear values, and greater articulation. More- over, she made wider use of dynamic contrasts and employed a much more luxurious rhythmic rubato. Still, as an economy proposition, the new Turnabout disc is not without solid merit. H.G.

Even England seems to have forgotten her onetime wizard of ersatz eroticism, Albert Ketelbey (1875- 1959 -not 1963 as the Wing jacket notes have it). The present Teutonic resuscitators are unauthoritative KETELBEY: "An Evening with Albert Ketelbey." in their blandly polite, uninflated readings of In a Persian Market, Chi- Stuttgart Philharmonic Orchestra and nese Temple Garden, Monastery Garden, Mystic Land of Egypt, and Chorus, Fritz Mareczek, cond. the less familiar Bells Across the Meadows and Blue Waters of Hawaii. Wing SRW 18090, $2.89. The rather coarse theater orchestra and the schmaltzy solo and choral vocalism are given bright, open sonics. But sneer if you will, once heard (however played), these juicy tunes are practically impossible to get out of one's mind! R.D.D.

112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Nlartinon's trashy symphony supports the contention that important con- ductors know too much of other people's music to create any convincing- ly on their own. Peter Mennin's piece, on the other hand, is a major MARTINON: Symphony No. 4 ( "Altitudes"). achievement. very complex in form, very grand in sonority, and totally MENNIN: Symphony No. 7 ( "Variation Symphony "). convincing as to the necessity and validity of both its involvements and Chicago Symphony Orchestra, Jean Martinon, the great scale of its conception. The whole work is constructed on the cond. RCA Red Seal LSC 3043, $5.98. variations principle; it is in one movement subdivided into five sections, and it is the most mature and challenging work of Mennin it has so far been my pleasure to hear. Performances seem authoritative, and the recording is excellent. A.F.

Solid, respectable, brass -heavy performances here, with emphasis on MOZART: Serenades for Orchestra: No. 4, bigness, sobriety, and general joylessness. Priestman secures clean playing in D, K. 203; No. 5, in D, K. 204. Vienna Radio from the orchestra but captures little of the serenades' pervasive buoy- Orchestra, Brian Priestman, ancy and melodic jauntiness. For a far more idiomatic and lively ac- cond. Westminst+r %MST 17149, $4.79. count of K. 203, I heartily recommend Nonesuch's fairly recent issue with the late Karl Ristenpart at the helm. S.L.

In almost every instance, these are top -ranking performances. Bächer alssays phrases with delicacy and nuances with tact and grace, while MOZART: Sonatas for Piano and Violin: in C, K. Kovács combines high -spirited dash. crisp articulation, and a Zigeuner- 296; in E flat, K. 302; in G, K. 379; like tang to his pure, sweet tone. For me, the Szigeti /Horzowski /Szell in G, K. 301; in F, K. 376; in B flat, K. 454. versions of the Mozart Piano /Violin Sonatas constitute one of the great- Dines Kovács, violin; Mihaly Bächer, est releases of modern times, but for those antipathetic to Szigeti's piano. Dover HCRST 7277 and HCRST 7279, $2.50 each. violinism the current catalogue offers much in the way of acceptable alternatives with Morini /Firkusny, Pauk /Frankl, and the present well - produced discs. H.G.

Ormandy's last years with Columbia were in part spent taping stereo replacements of earlier mono -only successes. The new Pictures, super- seding the long- popular ML 4700 of 1953, gives the familiar bravura MUSSORGSKY: Pictures at an Exhibition (orch. Ormandy /Philadelphia version the benefits of extremely robust and rich Ravel); A Night on Bald Mountain. what to tastes is a too Eugene Ormandy, cond. stereoism -yet the performance still retains some Philadelphia Orchestra, The Columbia MS 7148, $5.79. objective, humorless, and cold interpretative approach. coupling is a reissue of the powerfully recorded Night on Bald Mountain first released nearly a decade ago yet still delivering exceptional sonic punch. R.D.D.

Another in this Spanish conductor's growing series of virtuoso show- RESPIGHI: Fontane di Roma; Pini di Roma. piece releases. Here again he handles a fine British orchestra with both STRAVINSKY: Fireworks; Circus Polka. New Philhar- verve and authority, is strongly and vividly recorded, and provides stiff monia Orchestra, Rafael Frühbeck over -all competition for all but the top discographic choices -which de Burgos, cond. Angel S 36495, $5.79. remain, for the Respighi tone poems, the recent expansive, spectacularly engineered Phase -4 Munch versions and the more restrained, more poetic ones by Ansermet on the London label. R.D.D.

Satie has been the subject-one is tempted to say the victim -of a SATIE: Gnosienne No. 1, Sarabande No. 1, Pièces tremendous bandwagon -jump on the part of American recording com- froides, Croquis et agaceries d'un gros panies in recent months. One wishes that this disc had appeared at the bonhomme en bois (for piano solo); Gymnopédie head of the procession instead of the tail, for it exemplifies the great No. 1, Embryons déséchés, Trois morceaux tradition of Satie to perfection. Auric. of course, was a personal disciple en forme de poire (for piano four hands). Jacques of Satie, and Fevrier may also have been for all I know; anyhow, both Fevrier, solo piano; Jacques Fevrier and Georges have exactly the right limpidity of tone, the right clarity and precision Auric, piano four hands. Everest 3221, $4.98. of touch, and the right interpretative innocence to play Satie as Satie should be played. A.F.

This welcome, if highly belated, addition to the all too small dis- cographic legacy left by the incomparable Pierre Monteux has been TCHAIKOVSKY: Romeo and Juliet, Fantasy Overture. drawn from the Danish Tono catalogue. It is wisely released in Van- MUSSORGSKY: A Night on Bald guard's low- priced Everyman series since it is no match in either Mountain. RIMSKY -KORSAKOV: Capriccio espagnol, orchestral virtuosity or engineering vividness for the best -known re- Op. 34. N.D.R. Symphony Orchestra of corded versions of these familiar Russian showpieces. But what a pleas - Hamburg, Pierre Monteux, cond. tire it is to hear them played for once with gracious restraint, genuine Vanguard Everyman SRV 257, $2.50. tenderness. and consistent clarity of rhythmic articulation. Once again, Monteux makes most other interpreters seem melodramatic, if not even a bit hysterical, in comparison. R.D.D.

The Second Concerto, composed in 1924, is in five short, closely linked movements. It is racy, tuneful, brilliantly virtuosic in the finest sense TCHEREPNIN: Concertos for Piano and Orchestra: of that phrase; and for once Tcherepnin's resemblance to Prokofiev No. 2; No. 5. Alexander Tcherepnin, seems a virtue rather than a tragedy. The Fifth Concerto, composed in piano; Orchestra of the Bavarian Radio, Rafael 1963, is much more tenuous, more implicative, more individual in idiom, Kubelik, cond. Deutsche Grammophon 139379, $5.79. in every way a greater and more endearing piece. Both, however, con- firm the major stature of Alexander Tcherepnin as composer and as pjanistic interpreter of his own works. A.F.

MAY 1969 113

www.americanradiohistory.com REPEAT PERFORMANCE A SELECTIVE GUIDE TO THE MONTH'S REISSUES

BIZET: Les Pêcheurs de perles. Pierrette a marvelously rich, plump tone, which Alarie (s), Léopold Simoneau (t), René DGG has recorded with awesome fidelity. Bianco (b), Xavier Depraz (bs); Elisa- beth Brasseur Choir; Lamoureux Or- FELDMAN: Piece for Four Pianos

chestra, Jean Fournet, cond. World (1957); Intersection 3 for Piano (19531: - Series PHC 2 -016, $4.98 (two discs, Extensions 4 for Three Pianos (1952- rechanneled stereo only) [from Epic 1953); Two Pieces for Two Pianos SC 6002, 1955]. (1954); Projection 4 for Violin and Bizet was only twenty -four when he Piano (1951); Structures for String wrote the Pear /fishers -an appealing Quartet (1951); Extensions 1 for Violin score full of fresh melodies and fine and Piano (195/); Three Pieces for workmanship. Unfortunately it was all String Quartet (1954- 1956). Various pretty much wasted on an impossible instrumentalists. Odyssey 32 16 0302, libretto, which probably accounts for the $2.49 [from Columbia MS 6090, 1959]. opera's relatively infrequent stage pres- You no longer hear much about Feldman. entations. The phonograph, however, Brown, and lesser figures who devised the has been generous to the work in quan- radical brand of aleatory music that had tity if not in quality -of the four its brief vogue in avant -garde circles imperfect complete versions, three still around 1963. In retrospect, to judge from survive in Schwann. some of today's free -wheeling "mixed World Series' resuscitation is, to my media" happenings, these composers may mind. the qualified pick of the trio. have had a more dramatic impact than Simoneau's honeyed tenor is well suited at first suspected. Feldman, especially, to Nadir's mellifluous music, and Pier - did a lot to loosen up some of the more rette Marie performs prettily as the er- tyrannical aspects of total serialism by rant Leila. The work of the other soloists. allowing the performer many latitudes in the conducting, and the rechanneled the choice of register, dynamics, rhythms. sound are unremarkable but generally and (in the case of his graph -notated bearable (the noisy record surfaces. how- music) of actual pitches. All of this is ever, are not). Everest's budget competi- pretty much accepted as standard proce- tor offers some very stylish singing from dure nowadays, although few composers Mattiwilda Dobbs and really elegant con- carry it to the particular lengths prac- ducting by René Leibowitz, but the ticed by Feldman. abominable tenor (who has by far the The music on this disc represents some best music in the opera) rules this of Feldman's earliest compositions and set out. Angel's high- priced version has most of the scores played here were fully good sound in its favor but very little notated by the composer. It proves, to else. In sum. World Series walks off with my ears at least, that Feldman the "con- the slightly wilted palm. ventional" composer is far more inter- esting than Feldman the graph maker: BRUCKNER: Motets: Locus isle (1896); the subtle effects of the precisely written Are Maria (/861); Tota pulchra es works convey a more convincing logic Maria (1878); Virga Jesse (1885); Ecce than the meandering of the amorphous, sacerdos (1885); Os lush (1879); Vexil- graph- written Projection 4 or the "free lo regis (1892): Christus facnu est pro durational composition," Piece for Four nohis (1884): 150th Psalm. Maria Pianos. Perhaps this is mere aural con- Stader (s) (in the 150th Psalm). Rich- ditioning on my part -some people might ard Holm (t) (in Tota pulchra es find the aimless drifting of Feldman's Maria); Chorus of the Bavarian Radio sonic mobiles more aesthetically satisfy- SHLJRE (in the Motets); Chorus of the ing than I. At any rate, there is definitely Deutsche Oper, Berlin (in the 150th an original mind at work here. Psalm); Berlin Philharmonic Orches- The performers, dominated by pianist tra, Eugen Jochum. cond. DGG David Tudor, are a dedicated lot. It is 136552. $5.79 [from DGG 139134/35 possible, however, that the graph- notated and 139137/38, 1967]. pieces might turn out to be more inter- The performances on this disc originally esting in other performances. The sound appeared as filler material with the is fine in general, but owing to the in- Fourth and Seventh Symphonies in sistent pianissimo nature of the music, The best pick -up arm in the world Jochum's complete Bruckner series. Since tape hiss and surface noise become more many collectors might want to investigate of a nuisance than usual. this music but not necessarily own the symphonies that accompany them, DGG's GLIERE: Symphony No. 3, in B minor, handy recoupling is most welcome, espe- Op. 42 ("Ilya Murometz "). Houston For details write to cially since the choral singing is superb Symphony Orchestra, Leopold Stokow- in every respect. Jochum's tempos are ski, cond. Seraphim S 60089, $2.49 SHURE BROTHERS INC. leisurely enough to allow Bruckner's spa- [from Capitol P 8402, 1957]. cious Austrian baroque choral style ample Stokowski has drastically pruned Glière's 222 Hartrey Ave., Evanston room to expand and luxuriate but suf- sprawling epic symphony down to about Illinois 60204 ficiently brisk to keep phrases from sag- thirty -eight minutes-over forty minutes ging before reaching cadential punctu- under Scherchen's complete account on ation. Furthermore, the chorus projects Westminster! The work is hardly a mas- CIRCLE 60 ON READER -SERVICE CARD

1 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com terpiece of symphonic construction to complete opera I acquired as a teen -ager. suffer from some judicious cutting, but and hardly a day went by without those this carving job, it seems to me, goes thirteen 78s finding their way onto my re- a bit overboard. If the performance were turntable. Even now, some fourteen extraordinary, one might be able to rec- corded La Bohèmes later, I don't believe ommend the disc with regrets for what any other performance has quite the was not included. As it is, Glière fanciers spontaneity and freshness of this one. Seven- would do best to stick by Scherchen's The Beecham version may offer more two -disc set, its faked -up stereo notwith- musical sophistication, Toscanini more standing. There are moments in this cur- authentic insights, and any number of rent reissue where the familiar Stokowski modern editions may boast better singing flair for color and drama, is exhibited, in certain roles and far more vibrant teen but, on the whole. Scherchen finds more sonics. But none quite emits the sparks of excitement and poetry in the score and live- performance immediacy as what we his orchestra is superior. have here from this seasoned cast and The KLH* Model Seventeen conductor. MAHLER: Das Lied von der Erde. Much of the humor and high spirits of is, we think, the best Maureen Forrester, contralto; Richard the garret and Momus scenes must have moderately -priced speaker been spur -of- the -moment inspirations on Lewis, tenor; Chicago Symphony Or- you can buy. We say it chestra, Fritz Reiner, cond. RCA the part of the singers: one can hear that Victrola VICS 1390, $2.50 [from RCA it time and again in the twinkle that bluntly because: Victor LSC 6087, 1960]. creeps into Gigli's voice. The tenor is There must be very few recordings by obviously having the time of his life, a) The Seventeen sounds, singing and acting with gloriously un- Fritz Reiner without some sort of merit except for a slightly less -even his disastrous Verdi Requiem has inhibited abandon. Licia Albanese, here the fascination of a total misconception at the beginning of her career, has some weighty bass quality, like the vocal moments, but her Mimi is brilliantly performed. Here, Reiner edgy KLH Model Six, which is seems primarily concerned with Mahler's absolutely captivating for its youthful instrumentation and he gets many beauti- fragility and very real involvement. The our own standard for judging ful timbrai effects plus an over -all lean- others perform as a total ensemble, and the value of any speaker. ness of orchestral tone which jibes well the conductor paces everything with both vital with the poems' delicate imagery. The brio and affection. Next to this b) It not only sounds better music appears to have struck no emo- reading, many of today's glamorous tional chords with the conductor, how- large -scale operatic recordings sound than other speakers in its ever: this is the most poker- faced, chilly, positively still -born. price class, but is more inflexible reading of Das Lied I've ever heard. Both soloists are more than com- STRAUSS, RICHARD: Don Juan, Op. efficient (you don't have to petent, but they are understandably a bit 20; Salome: Final Scene. Inge Borkh, buy an out -of- its -price -class stolid and inhibited. Side 2's thirty -four- soprano; Chicago Symphony Orchestra, amplifier to drive it) minute length probably accounts for the Fritz Reiner, cond. RCA Victrola VICS and has extremely low cutting level of this record; 1392, $2.50 [Don Juan from RCA more power- handling ability otherwise the sonics are excellent. For Victor LM 1888, 1955; Salome from (two Seventeens will fill a budget versions of this work, Rosbaud's RCA Victor LM 6407, 1957]. on Turnabout is perhaps the best; Bern - Reiner's superbly engineered Strauss re- room with as much sound as stein's full-priced London disc remains cordings for RCA with the Chicago Sym- four of the usual speakers my first choice. phony are treasurable legacies, and it's good to see so many of them being re- in its price category). MOZART: Concerto for Clarinet and issued on Victrola. The Don Juan here Orchestra, in A. K. 622: Quintet for predates the performance currently Clarinet and Strings, in A, K. 581. coupled with La Mer (on RCA LSC Benny Goodman, clarinet; Boston 2462) by a number of years. It's a stun- Symphony String Quartet (in the Quin- ningly played, fervent reading -one sel- tet); Boston Symphony Orchestra, dom hears the high -lying string passages Charles Munch, cond. (in the Con- etched out in such searing relief or that certo). RCA Victrola VICS 1402, irresistible French horn theme hurled $2.50 [from RCA Victor LM 2073, forth with such nobility and freedom. 1956]. The entire orchestra sounds magnificently This is the first appearance of these re- ripe yet never overly lush: gorgeous cordings in stereo. The warm, evenly sonority with a diamond -hard core was spread acoustic is most attractive but one of Reiner's secrets for perfect Strauss it's all wasted on the performances, nei- performances. ther of which is especially happy. The The Salome finale originates from an Quintet in particular is stodgily phrased odd two -disc collection that also contained by all five musicians, who play without a slightly abridged Bourgeois gentil- much lightness, grace, or even thoughtful homme Suite (now available on VICS musical perception. The Concerto finds 1199) and chunks from Elektra (part of Goodman more imaginative, but Munch's a projected but never accomplished com- viscid accompaniment sticks to everything plete recording that was to have been like Elmer's Glue -All. made in conjunction with Reiner's Chi- cago concert performances in 1956). Inge PUCCINI: La Bohème. Licia Albanese Borkh's silver -toned but vaguely pitched

(s), Tatiana Menotti (s), Beniamino soprano, and her rather generalized ap- 'li!11111 I I1I I111 Iiiild Gigli (t), Afro Poli (b), Duilio Ba- proach to Salome's very specific predica- .. , a.C[..ev. C, ar, AESEEOw wU DEVELOPMENT CGIL. ronti (bs), et al.; Chorus and Orchestra ment hardly suggest what she really could KLH Research and Development of La Scala, Milan, Umberto Berret- do in the role, but Reiner's blazing or- Corp., 30 Cross St., Cambridge, toni, cond. Seraphim IB 6038, $4.98. chestra limns the situation vividly. Both Mass. 02139 (two discs, mono only) [from RCA recordings are here released in stereo for Victor orginals, recorded in 1938]. the first time: their unfaded brilliance Suggested Retail Prices: East I won't pretend any objectivity with re- makes them truly historic sonic achieve- Coast, $69.95; West Coast, $72.95. gard to this recording: it was the first ments. PETER G. DAVIS CIRCLE 40 ON READER -SERVICE CARD

MAY 1969 I 1 5

www.americanradiohistory.com A P. simple things. He uses jazz musicians to play popular music. This has caused his records to be vaguely denigrated by the superhip, who miss the point that he's raising the level of pop music, not lower- ing that of jazz. And by making superior artists known to the public, he has both informed the younger generation of real musical values and made it possible for these musicians to make a good living, instead of leaving all the money to the long- haired squares. Creed built the late Wes Montgomery into a major name, and shortly will receive an RIAA gold record for selling $1.000,000 of the Montgomery M A Day in the Life album. His new -found USIC- popularity on records made it possible for Wes to sign a concert contract for $10,000 a week. He put his signature on B US1NESS the paper just before he died at forty - four. (His widow and seven children will get the money from his still -growing MAVERICK record sales.) Creed loves jazz and believes in it. He thinks. as I do, that it's on the verge of a THERE ARE ONLY a few record pro- ter while reading the Wall Street Jour- big new explosion into popularity. He's ducers I respect. Most are unimaginative nal." he says. "He had the sound turned more or less tuned out what the rest of and imitative in their thinking, and no so low you could hardly hear it. If any- the industry thinks. He simply doesn't longer give a damn about music. They thing went wrong, he wouldn't know it." read the trade papers, because he doesn't turn out "product " -an industry term He criticizes one record company for its care what other producers are doing. He that makes me cringe. For that's precisely sandpaper surfaces. They use filled knows what he's doing, and that's it. the trouble: to most artists and repertoire vinyl," he says. "It's adulterated mate- I found out recently that the slightly men in popular music, it's only a product, rial." Another company. he said. still built and soft -spoken Creed is an ex- like detergent. axle grease, or deodorant. is using polystyrene, which deteriorates Marine. which is hard to believe. ( "I The producer I respect most is Creed rapidly when the records are played. find it hard to believe too!" he said.) He Taylor. who now is making records for Nor does he think highly of current taught illiterate soldiers to read and write Herb Alpert's A & M label. Creed is vir- packaging practices. To save money, at Parris Island for a year before being tually a label unto himself. All his al- RCA Victor, Columbia. Capitol, and shipped to Korea with a rifle company hums carry his CTI (for Creed Taylor, other companies have turned to a cheap, in 1951. He returned to his native Vir- Inc.) logo on the cover and the label; it's thin paper album cover. I asked Creed ginia (he has no southern accent) and en- written into his contract that the logo why he too hadn't decided to save money rolled at Duke University. He graduated must he one half the size of the A & M that way. "Do you want the real reason? as a psychology major. Meantime, he'd logo. Creed joined A & M eighteen months I can't stand shoddy merchandise. I think been playing trumpet in resort areas such ago, on a guarantee of $1,000,000 over that kind of cover indicates that they as Virginia Beach. He has never practiced a five -year period. It seems likely that he have no real respect for the music inside. psychology. except in the recording stu- will make more than that. I make a special effort to make a special dio. About one artist: "He always plays Creed is a music -business maverick. kind of record, and I feel it should look best when he's angry, so I try to annoy Even when he was running Verve records like that. Album covers lie around on him a little." About another: "He has to under the M -G -M banner, he operated coffee tables. I think people should be have serenity in the studio." He stopped virtually as a company unto himself: and able to be proud of them." a recent Tamba 4 date and took the group he apparently has even more independ- Certainly Creed's album covers are to lunch, then for a walk in the country ence in his new deal. attractive- probably the best -looking in (meantime the studio clock was ticking) Luis Eça, the brilliant Brazilian pian- the business, featuring color photography until they lost their tension and could play ist of the Tamba 4. which Creed records, of high quality on white backgrounds. more freely. said to me recently . "All the best albums On this I have to fault him though: those People who don't know Creed very from the United States are made by Creed white backgrounds get dirty very quickly well often think he's a cold fish. Many Taylor. I noticed that a long time ago, if the album is handled much. All his have told me he makes them uncomfort- when I was still in Rio." That's pretty covers are double- folds-he was one of able. He used to put me up tight, too, strong praise, but it is perhaps not exces- the first, and some say the first, in the but I found the secret of him: he is very sive. business to use double -folds. They cost shy. Once you get past that, you discov- At the technical level, it's virtually in- more? So do Creed's albums: most A & M er a witty. warm, articulate if somewhat disputable. Most records are shoved albums sell for $4.98; Creed's go for laconic person, who's devoted to his through the production system as fast as $5.98. family. his home (his Manhattan town possible. Creed spends approximately a Creed has maintained a polite indif- house is being remodeled) and his hobby. month on each album (he makes only ference to the rock fad. Perhaps alone His hobby? I was profoundly shocked fifteen a year), with a week of that de- among producers, he hasn't convinced when I discovered what Creed's hobby voted to remixing alone. He always was himself that its great music. "I think is. We'd been at the Village Vanguard that way. Once. when he was at Verve, they're trying to play jazz. They impro- together. listening to a group. We walked he found that something was wrong with vise with sound. But the notes that come over to his house. Creed, who doesn't his records after he had approved the out are actually pretty boring. That and smoke and rarely drinks, gets a glow on test pressings. He went to the factory. dis- the total lack of dynamics is what 1 can't after about two shots; and in a sudden fit covered some sloppy production prac- stand." of camaraderie. he took me into his base- tices, and raised sufficient hell that they Most record men today take dim -wit- ment to disclose his terrible secret. were stopped -for his own records, at ted and half -educated young musicians It was spread all over the place. Creed least. He's a nit -picker of sound. But the and try to do complicated things with Taylor. thirty- nine -year -old high -powered result is records with silent surfaces and them, which is why rock albums some- executive, ex- Marine, clever and success- a velvety kind of sound unlike any other times take months to make: simple in- ful producer, one of the hot -shots of the in the industry. Creed's records have, in competence. Creed does exactly the op- music business. who scares a lot of peo- effect, a style. posite: he takes brilliantly skilled musi- ple, goes home and plays with his electric "I once saw an engineer cutting a mas- cians and has them do comparatively trains. GENE LEES

116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Test your knowledge of stereo (in the privacy of your own home) and learn how you can improve it!

YES NO Do terms like "woofer" and "tweeter" confuse you - and would El you like simple, understandable definitions of such terminology?

Are you uncertain as to whether you should consider "compacts" LIor "components" or both - and do you want to know the "whys" behind each difference?

Do you want to know more about how to build and enjoy a good music library - but you aren't really sure what is the best way aLI to do it?

Are you puzzled by the comparative advantages of 4 and 8 track tapes and cassettes - and would you like to know the E LI disadvantages as well?

Would you like to know how much you really need to spend to get the degree of fidelity you want in sound equipment - and where you can find it?

VCEREO MI AI Now add up the "yes" column. If there's even one "yes" checked off, surely you'll find investing just $1.00 in IpMrn buuM vouVq io. Sw.eo' %woo[ra.onaEmrW the current Spring edition of STEREO QUARTERLY Too TM about c ..o.bly magazine a wise decision. It's available now on the newsstands. It will help fill in the gaps in your knowledge of the wonderful world of stereo and-break through the sound barrier separating you from true music appre- aGw°.eF.ww_, ciation and enjoyment.

MAY 1969 117

www.americanradiohistory.com POPS JAZZ MOVIES STAGE FOLK

THE LIGHTER SIDE

reviewed by MORGAN AMES R. D. DARRLLL JOHN GABREE GENE LEES JOHN S. WILSON

SYMBOL * DENOTES AN EXCEPTIONAL RECORDING

*NINA SIMONE: And Piano. Nina DICK HYMAN: Moog. Richard Hyman Simone, piano and vocals. Seems and Moog synthesizer, arr.; rhythm I'm Never Tired Lorin' You; No- section. Command 938 -S, $5.79. body's Fault but Mine; I Think It's EMIL RICHARDS: Journey to Bliss. Going to Rain Today; seven more. Orchestra; Emil Richards, marimba RCA Victor LSP 4102, $4.98. Tape: and other instruments. Impulse S P8S 1424, $6.95. 9166, $5.79. Nina Simone has a quality that is so These two albums, so unlike in content personal, so strikingly individual that it and style -the one made on the East can easily ruffle a listener who is most Coast, the other on the West -have one comfortable with the usual. Her pro- thing in common: total dedication to nounced vibrato, the dark shadings of gimmickry for the sake of money. Putting her voice, the fire in her spirit, the it more bluntly, we hear two excellent forthright projection-these are all es- musicians determinedly working the street sential elements that make Nina Simone of artistic prostitution. Dick Hyman goes a unique performer. On her recordings, to the Moog synthesizer and produces an the feeling that she can produce in her outstanding collection of its clichés - concert and night club appearances has wheezes, whistles, and clanks. Eniil often been diluted both by choice of Richards -a fine vibraharpist -does the material and by manner of recording. current West Coast thing by playing Not on this disc. Here is Nina close up, around with "odd" time signatures. The with only her piano as accompaniment. whole mess is performed by the "Micro - There is no group to come between the RCA Records tonal Blues Band," which is to say a listener and the singer. She has your ear Nina Simone: an intimate and unique per- variety of percussion instruments from and, in this intimate setting, she makes formance by a talented and fiery spirit. the occident and the orient. It sounds herself known as she never has before like somebody with the twitch wandering on a record. The songs are varied -a temporary arranging makes what was in drunk through a temple -block factory. setting for Paul Laurence Dunbar's poem vogue thirty and forty years ago seem Music? Hell, no. Both albums are Compensation; Jacques Brel's The Des - almost ridiculously elemental, Noble's collections of noises, meant to catch the perate Ones; a familiar hallad, / Get arrangements remain notable for their ear of the square young audience and Along Without You Very Well; an af- imagination and for the lustrous excite- sell records. Don't be surprised if the fecting comment on the constant renewal ment he got from the sound of his or- synthesizer becomes very "in" with the of hope, Another Spring -adding up to chestra. kids. Ah, good, kind, sincere Bob Moog, an impressive portrait of Miss Simone as One of the essential decorative ele- what sins are being committed in your an artist. ments of the Noble sound was the odd, name. G.L. She is that rare thing -an original - slightly nasal, but utterly charming sing- and this collection gives us the clearest ing of Al Bowlly. Bowlly's phrasing and THE CITY. Carole King, vocals and recorded indication so far of her shading were in a class by themselves. keyboard; Daniel Kortchmar, guitars originality. J.S.W. He had subtlety that even as vaunted a and vocals; Charles Larkey, bass; contemporary as Bing Crosby never Jimmy Gordon, drums. Snow Queen; AL BOWLLY/RAY NOBLE. Al achieved. Although he was usually I Wasn't Born to Follow; Lady; nine Bowlly, vocals; orchestra; Ray thrown by rhythm tunes, on ballad after more. Ode Z12 44 012, $4.98. Noble, cond. Love Is the Sweetest ballad in this collection Bowlly's vocals I have yet to hear a good idea in rock Thing; It's Bad for Me; It's All For- are a liberal education on the colors that music that was original. Rock grows gotten Now; Good Night, Sweetheart; a singer -and particularly a band vo- precisely as fast as it steals from other twelve more. Monmouth- Evergreen calist -can bring out in a song (notice musicians, including in some cases mu- 6816, $4.79. This is Romance in particular). sicians it helped put out of work or As time goes by, it becomes more and This collection supplements the two- forced into playing garbage. more evident that the greatest dance band disc set of Noble's English recordings Here is an album which is in substance of what might be described as the Dance released by Capitol in 1962. It does even boring, but it has one brief bright mo- Band Era -the Twenties, Thirties, and more: it makes the Capitol set sound ment: a song called Snow Queen, of Forties -existed only in a recording stu- pretty shoddy. Producers Bill Borden and which singer and pianist Carole King was dio: Ray Noble's English band. The Steve Marvin have brought out the full a co- author. It is a jazz waltz, given some tempos were. in general, beautifully de- quality of Noble's unique sound in a of its push by drummer Jimmy Gordon, signed for the dancing styles of its day collection that gives this great band the who's not a regular member of the (the early Thirties) and the arrangements kind of permanent showcase it deserves. group. I have examined lead sheets of were superb. Even today, when con- J.S.W. some of Miss King's songs, and she's one

118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com INTRODUCING AMERICAS FIRST PROTEST SYMPHONY.

The protest is against ugly. 'America the Beautiful -an Account of If you have never been moved by Ugly beer cans littering landscapes. its Disappearance:' Smokey the Bear, you will be by Gary Ugly industrial waste oozing into rivers. Without saying a word, McFarland McFarland's 'America the Beautiful :' Ugly choking smog. speaks eloquently. It's recorded by a new company. And even uglier apathy. His music makes you feel the way he Skye. Where you'll hear music saying The symphony is Gary McFarland's feels about the America that could be. things you've never heard before. SKYE H . . , n,.,.q ,! ,hout. e,rt t;,.5rye f:r:' .:.

CIRCLE 61 ON READ 'IR -SERVICE CARD MAY 1969 119

www.americanradiohistory.com of that small handful of people in the sider the Streisand sound ugly and phony rock field with talent. The album yawns -neo -Piaf without the substance or the A Complete Audio Reference me, but that one track -the three voices point, and above all without heavy- are overdubbed to make six, and they're weight material to justify so intense and Library in a Single Volume! in tune -is an augury of where pop may hysterical a style. I like Roslyn Kind's be going: back to music. G.L. sound better than that of Streisand. It lacks the pinched, nasal quality in the PAT WILLIAMS: Think. Orchestra, Pat high notes. She sings rather well, in fact: Williams, arr. and cond. Like Always; although whether she can sustain a stage Little Green Apples; Girl Talk; seven performance without the help of all that more. Verve 6 -5056, $4.79. splicing remains to be seen. Arranger and film composer Pat Wil- The album, however, is a bit of a liams originally had a certain amount bore. It's like so much of the tedious of reluctance about getting into the cur- product being poured on the market, an rent pops thing. That's ironic, because he unimaginative assembly of New Pops, has worked out the most charming and including the inevitable Fool on the Hill interesting amalgam of Old Pops -New and that sort of thing. Pops (with a liberal overlay big -band We'll have to postpone JwntN of judgment on jazz) of anybody in the business. This is Roslyn Kind. This album doesn't really ,a;ttiwr'.11.shed his second album in the genre for Verve. tell it. a,yl;oew P'-'` G.L. It isn't possible to say that this one is 0--, better than its predecessor, because the BOBBY DARIN: Born Walden Robert ww other one (Shades of Today) was ex- Cassotto. Bobby Darin, vocals and arr. cellent. This one at least equals it. Long Line Rider; Questions; In Memo- Williams' voicings are always beautiful, riam; Sunday; five more. Direction NEW UPDATED 2ND EDITION sensitive, and thoughtful; his feeling for 1936, $4.98. odd and off -beat rhythmic touches is Bobby Darin is a man who goes all the Audio Cyclopedia unique. But perhaps his most distinguish- way. Ten years ago, when the entertain- ing characteristic is wit by Dr. HOWARD M. TREMANIE -no, more than ment industry measured success in terms that: a kind of amused optimism. G.L. of Sy Devore suits, Las Vegas flash, and Greatest Single Compendium of tunes like You Make Me Feel So Young, Information on Every Phase of Audio ROSLYN KIND: Give Me You. Roslyn there was Darin, self- assured, showing Kind, vocals; orchestra, Over 1300 fact -packed pages Lee Holdridge, off, polished to a gleam. Covers more than 3400 topics arr. and cond. Give Me You; The The image of success has altered. New Over 1600 illustrations Fool on the Hill; Its a Beautiful Day; stars tend to be shy, informal, highly Completely updated content eight more. RCA Victor LSP 4138, personal in their outlooks. Each year $4.98. Tape: MI P8S 1438, $6.95. the gap widens between seasoned pros of Just Out! The single book offering the most The comprehensive information on every aspect liner notes of this album say: "It's the old school, such as Steve Lawrence of the audio art. Fully updated to include rare to find a girl of eighteen who has and Eydie Gormé, and new favorites, latest developments, right down to the new- already made up her mind concerning such as Simon and est solid -state and integrated circuits. Gives Garfunkel. you concise, accurate explanations of all the shape of her future. It's even rarer Bobby Darin is the first major old- subjects in the fields of acoustics, recording, that this sanie girl already possesses, line pro to switch his act to the new and reproduction ... each subject instantly at the very dawn of her career, a talent school, characteristically gambling every- located by a unique index and reference system. as fully developed and mature as one thing in the process. Because he made the would expect a 25 Sections! Contents include: basic prin- of thoroughly seasoned move sincerely as well as thoroughly, ciples of sound; acoustics, studio techniques and experienced professional. Neverthe- and because he's shrewd as a fox, Darin's and equipment; constant-speed devices, mo- less, here is such a girl.... Graduating new look works. This is his first album tors, and generators; microphones; attenua- tors; equalizers; wave filters; transformers from high school in June 1968, Roslyn since making the change. Apparently the and coils; sound mixers; VU meters; tubes, quickly cleared her mind of matters establishment balked because Darin has transistors, and diodes; amplifiers; disc re- academic to begin a singing career...." produced the album himself and put it cording; cutting heads; recording and repro- ducing styli; pickups; magnetic recording; Oh sure. Just like that. Hundreds of out on his own label. All of the songs optical film recording; motion picture pro- kids know what they want to do at are originals, backed by his own rock jection equipment; speakers, enclosures, and eighteen, but the headphones; power supplies; test equipment; bloody establishment group. His singing is sure, relaxed, warm, audio-frequency measurements; installation won't let them do it. This business is full and direct. techniques; special charts and tables. This of tin -eared executives, men trying to Darin's most compelling vocal work is the indispensable, complete reference book for the audiophile. project tomorrow's sales from yesterday's occurs on a rather vague track called I Hot -100 figures, men square and set in Can See the Wind. The best single groove PRE -PUBLICATION OFFER! Available for limit- ed time only at the special pre -publication their ways. So Roslyn Kind gets out of is set on Long Line Rider, a rhythmic price of only $26.95. high school and casually picks up a re- song concerning the discovery of bodies Order today from your Sams cording contract? on an Arkansas prison farm and the Distributor or mail Pre -publication price good What they don't tell you in that gush- authorities' quick move to cover up the only until July 1, 1969. There- ing liner note is that Roslyn Kind is scandal. CBS recently refused to let after, price will be $29.95. Barbra Streisand's half- sister. And the Darin sing the song on the Jackie Glea- fact that she was paid a staggering ad- son Show (though it passed the censors SPECIAL SAVINGS ORDER FORM vance by RCA is an open joke in the on NBC and ABC) and at last report, Howard W. Sams & Co., Inc. Dept, HF -5 business. And when they say that her Darin planned to sue. Thus do networks 4300 W. 62nd St., Indianapolis, Ind. 46268 talent is as fully developed and mature put their feet in their mouths, straining

Enclosed is $ . Please send me "as one would expect of a thoroughly to find controversy. Actually the song is copies of the AUDIO CYCLOPEDIA at the special seasoned and experienced professional," one of Darin's best, melodically as well pre -publication price of $26.95 each. I understand they don't tell you how much trouble this as structurally. Also interesting is Bull- books are returnable within 10 days for full refund. album was to make. Said one frog, Pre- pablir.tion price of $25.95 i. good until RCA staff in which Darin explains to an in- July I. 1969; thereafter the price mil 1. 929.95. member: "They had to put it together quisitive frog the history of money. Not eight bars at a time." Much, much all the songs are notable, but Darin hits money besides her advance was poured on more than off. Nome into Miss Kind by RCA. There's a certain amount of future in- But the fact is that Miss Kind doesn't surance going on here, a move to reach Address sing badly. She sounds like her sister, young money. Darin is an opportunist. to be sure. But then, half the lady That does not make the move less valid singers in the business do these days. or sincere. You may or may not ap- L" State Zip is, 1 J It of course, no secret that con- prove of Darin's talent and methods. CIRCLE 57 ON READER -SERVICE CARD 21) HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Personally, while I think most new -thing music is trash. I am also weary of per- formers who refuse to give it a chance "THE ST -PRO -B PASSED and thereby improve it. I applaud Darin. M.A. *CBS LABS' TESTS KAY STARR AND COUNT BASIE: How About This? Kay Starr. vocals; Count Basic band, Dick Hyman, arr. BETTER THAN ANY and cond. God Bless the Child: Ain't No Use: If ! Could Be With You: STEREO HEADSET eight more. ABC Paramount PAS 5001. $4.79. What does someone such as Kay Starr PREVIOUSLY ENCOUNTERED" think when she hears the singers who are making it today? Does she wonder: As appearing in HIGI- FIDELI1Y MAGAZINE "What's the excitement about? I can sing EQUIPMENT REPORTS, October 1968 issue. better than that." In many ways she'd be right, but rightness serves only to emphasize a cruel twentieth- century joke: stylistic artistry becomes irrelevant in its own time. That's how fast styles change. Convince yourself - listen to What has happened to Kay Starr will the ST -PRO -B and the complete happen in turn to most of today's big line of Superex stereo phones. names -and even sooner. They'll look You'll be deligl-ted with the up a few years after Arrival and say, breathtal-ing realism, "Hey. I'm better than ever: where did matchless quality, and everyone go ?" All but the faithful few will comfort - possible only with have passed into the next phase. for better our exclusive wo)fer /tweeter or worse, because life is movement. design. Prices start at Kay Starr is a warm, charming. gifted, $19.95; ST -PRO -B approx. $50 seasoned singer. She sounds marvelous on this album. backed by Count Basic's Write for yoJr copy )f test report. Test data and measure- dependable if no longer vital sense of ments are obtained what swings. The songs are all fine, by CBS Laboratories, SUPEREX ELECTRONICS CORP. a division of Columbia 1 RADFORD PLACE, YONKERS, N.Y. 10701 familiar, safe standards. Who is to say L Broadcasting System, Inc. that Miss Starr and Basie were wrong to stand still. to make an album devoted to the thing they do best? It will delight CIRCLE 69 ON READER -SERVICE CARD Miss Starr's fans. One can hear how good this album is, and I applaud Miss Starr's supremacy in a style which didn't so much die as use DISCOUNTS itself up and pass into something else years ago. What I cannot do with this SELLING HI -FI album is get involved. M.A. BEAR HERE NATION- WIDE DUSTY SPRINGFIELD: Dusty in Mem- phis. Dusty Springfield, vocals; orches- WORLD FOR THE UTMOST IN tra: Sweet Inspirations, vocal support; WIDE Arif Mardin and Tom Dowd, arr. / Don't Want to ! /ear It Anymore; SINCE Breakfast in Bed; Just One .Smile: In DISCOUNTS the Land of Make- Beliere: I Can't 1948 Make It Alone; six more. Atlantic SD ON NATIONALLY 8214 $4.79. COMPONENTS RECORDERS ADVERTISED Dusty Springfield doesn't have the great- KITS SPEAKER SYSTEMS TAPE est voice. She doesn't always pick the best material. She hasn't always had the III -PI STEREO best support. But she has been one of my New Lower Prices favorite vocalists since her very first Same Day Reply To Your Inquiry records with the Springfields. Mfrs. Sealed Cartons COMPONENTS I think it's because there is a basic Double Boxed Where Possible WRITE FOR OUR QUOTE seriousness about her. a determination Fast, Insured Shipments All Merchandise Shipped to get across the meaning of a lyric no Package Deals Save You More Promptly Fully Insured From matter how silly it may be. She is straight- Franchised Distributors for Over Our Warehouse. forward and she avoids histrionics in favor of simple dramatic statement. Also. 50 Mfrs. Open Monday thru Saturday she often sounds so strangely vulnerable in the center of the full arrangemenN Free Parking at Door Phones: N.Y.C. (212) 369 -6212 she uses to back her "big ballady things.' DOWNTOWN Danbury, Conn. (203) 775 -2562 that there seems to be a real and appeal- ing person behind the voice. AUDIO, INC. I had my doubts about the concept underlying Dusty in Memphis. Usually WRITE FOR SPECIALS VISIT 17 WARREN ST. this sort of title means that a performer OUR SHOWROOM /WAREHOUSE NEW YORK, N.Y. 10007 has been shoved into some currently CAR-STD/NI 267 -3670 -1 -2 fashionable bag not his own and left " to fight his way out. Atlantic, after all, R.F.D.= 3- ROUTE 7 BROOKFIELD, CONN. 06804 has already given us Aretha Franklin CIRCLE 12 ON READER -SERVICE CARD CIRCLE 21 ON READER SERVICE CARD MAY 1969 I'_I

www.americanradiohistory.com singing Gentle on My Mind, Barbara he formed a quartet with pianist Russ Lewis with A Taste of Honey, Joe Tex Freeman, with whom he made most of and Engine Engine Number Nine, and the the famous tracks from which this re- Sweet Inspirations' Canadian Sunset, to issue was culled. name only some of the more appalling. Baker's choice of material is impec- NEW I had visions of Dusty Springfield belting cable-Look for the Silver Lining, But out the Otis Redding Songbook to the Not for Me, Tenderly, and more. His accompaniment of Booker T and the voice is quiet, musicianly but bare, al- MGs. Instead Memphis has been made to ways tone -true. As the notes say, Baker YARBROUGH adapt to Dusty Springfield, and to good "uncomplicates" a tune. Hearing him effect. sing I Fall in Love Too Easily, one Dusty in Memphis is the singer's best knows he is moved but doesn't know album. All of the tunes suit her and most quite why. Such is the art of simplicity. Glenn Yarbrough of them come from the pens of such suc- Baker plays as well as he sings, `747 .r, for all TT. cessful teams as /King, Mann/ Mitx1 Goffin the same reasons. sa.....,.....a, Weil, and Bacharach /David. The record This Chet Baker album is every- ü.nG.mafel W. for MXn ari. Fy also includes Son of a Preacher Man, a..,.,,..l y one. I've run into only two categories of her most recent single. The rhythm sec- w.n.. response to it: blankness from those who tion is excellent, especially bassist Tom- haven't heard it and devotion from those my Cogbill, and the arrangements by Arif who have. Mardin are apt. Springfield sounds more If you don't know the album, buy it. involved than she ever has before. This If your old copy is scratched and worn f+t is a quiet, self-possessed statement by a like mine, take advantage of this re- foremost pop vocalist. I.G. issue to buy a new copy. M.A.

*CHET BAKER: Plays and Sings. DONOVAN! Greatest Chet Baker, vocals and trumpet; Hits. Dono- van Leitch, vocals; rhythm and Russ Freeman or Gerrard Gustin, or- chestral accompaniment. piano; Carson Smith or Jimmy Bond, Hardy WS 1782 Curdy Man; Epistle to Dippy; Wear bass; Bob Neel, Larry Bunker, Bert Your Love Like Dale, or Lawrence Marable, drums. Heaven; Jennifer Juniper; Season of the Witch; My Buddy; Bea's Flat; Tenderly; nine six more. Epic BXN 26439, $4.98. more. World Pacific ST 20138, $4.79. For all the jawing about serious rock and In terms of vocal /instrumental small - lasting contributions, the new pop WARNER BROS. - SEVEN ARTS group jazz of the '50s, there are few era has really produced very few lasting per. albums as fine as this reissue of Chet RECORDS INC. sonalities. Only a dozen or so have cre- Baker singing and playing trumpet. Baker ated what can be called a lasting body made his first dent on the public with of work, either as performers or com- Gerry Mulligan's quartet in 1952. Later CIRCLE 76 ON READER SERVICE CARD posers or both. Donovan is certainly among that dozen, as this interesting ret- rospective of the British singer /song- writer demonstrates. lte Donovan started out as a Dylan imita- We Owl, / Why? tor and has grown up to be one of the f Pencii best jazz -flavored pop vocalists and a Slarey 1 DO THOUSANDS OF HI -FI versatile composer of pop songs. Among I the many excellent tunes here are -911 Jowl! ENTHUSIASTS BUY FROM favorites like Mellow Yellow and Sun- shine Superman. Two of the singer's earli- AUDIO UNLIMITED est hits, Colours and Catch the Wind, are given new readings on the album (prob- ably because the originals were done for another label, and a comparison of the It's Obvious! old versions with the new, especially of YOU SAVE MORE Colours, show how much he has accom- plished in three years. ON HI -FI COMPONENTS LOWEST PRICES If you must own only one Donovan & TAPE RECORDERS FAST SERVICE record, I suppose this is it, though, like We invite your test of our Lays chips, I'll bet you can't stop at We Will Not Be Undersold Policy." FACTORY SEALED UNITS just one. For my part, the arrival of IS -day money -back guarantee. Greatest Hits sent me back into the FULLY INSURED SHIPMENTS 2 -yr. unconditional guarantee Darts & earlier albums and I think that Hardy labor no charge, at local warranty Curdy Man, Wear Your Love Like station or factory. PACKAGE DEALS -SAVE MORE Heaven, and Sunshine Superman be- Trade- ins -highest allow. Send your list. all Most items shipped promptly from our FRANCHISED DISTRIBUTORS long in the basic library. And now, be- $250,000 inventory, fully insured. cause of the new recordings of Colours Our specialty -APO L Export. and Catch the Wind, there are four. But 23rd Write for FREE Listing yr. dependable service -world wide. today surely Epic could have given us more Rated *1 service -satisfaction according to than nationwide eleven songs. J.G. survey. SEND US YOUR LIST Write for Our Price Finti You'll le Glad Yon OM FOR OUR AIR MAIL THE BYRDS: Dr. Byrds and Mr. Hyde. QUOTE TODAY The Byrds, rock quartet. Old Blue; Nashville West; Candy; Bad Night at HI-FIDELITY Visit Our Store Warehouse the Whiskey; five more and a medley C[NT[n Closed Mondays of three. Columbia CS 9755, $4.98. "The House of Low LOw Pa.ces" Well, here are the Byrds again, sounding 23¢41 East 149th St. ©AUDIO unlimited, inc. about like they always do. Actually a Now York. N.Y. 10451 396-F Third Ave. (Nr. 28) N.Y., N.Y. 10016 mite better than last time, I think, but then I never did warm up to their defer- CIRCLE 36 ON READER -SERVICE CARD 122 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to succeeding gen- ential excursions into pure c & w, on childish hit records His face has Sweetheart of the Rodeo, their last out- erations since the '50s. that perpetual youthfulness which crum- FM tereo ing. On Dr. Byrds & Mr. Hyde they are in middle age. back into more rocking things, although bles into surprised fatigue latest mud pie is a thriller the country elements are still pretty stiff. Vinton's called I Love How You Love Me. You'd WINDOW They do have a distinctive sound -sort that after all these years of being of a heavy, brooding cloud of Everly think learn how to Brothers-and, if you dig it, listening a child star, he'd at least But world never seems to ANTENNA to the Byrds is always a pleasure. Child sing. Vinton's until time changes it for of the Universe is the only bummer on change. And him, there is always a fresh generation the new album, and this can be excused by /NCO, of youth to buy his paeans to puppy F since it comes from the sound track of M. A. Candy. love. They have found an excellent new up- Outperforms any MELANIE: Born To Be. Melanie tempo, c & w lonesome -on- the -road love vocals and guitar; instru- indoor antenna! song, Your Gentle Way of Loving Me, Safka, mental accompaniment; Roger Kel- and a tongue -in -cheek country song about laway, arr. In the Hour; Mr. Tam- List Pncc a Drug Store Truck Drivirt' Man. The bourine Man; Monona Momma; Chris- group has always had an affinity for Bob $16.95 Merry Christmas; five Dylan's music and his This Wheel's On topher Robin; Buddah BDS 5024, $4.79. Tape: Fire opens the album, while My Back more. ll® 1 -5024, $5.98; ID 1 -5024, Pages is included in the medley at the end $6.98. of Side 2. The Byrds' secret has always been sitting at my typewriter lo been their odd harmony combined with I have hours trying to think of su- All directional receiving pattern. their oppressive intensity. For some reason these many perlatives with which to describe Mel - Aluminum construction with gold - I associate their sound with driving rain. Be without sounding like corrosion -proof finish They have achieved some distance from anie's Born To corodized 1 have completely lost my mind over it on antenna. their c & w hang -up on the new LP, though I guess I have). This is horizontally or vertically in King Apathy Ill seems to be meant as (even though Fits the album from someone who windows up to 42" wide or high. an apologia, and the title indicates some only first enough to vote last No- ambivalence about where they are. wasn't even old Extension bars available for larger here keep wanting to com- By and large this is a better, more vember and I windows. range to Edith Piaf's Write for Catalogue 20.462 Dept. HF-5 relevant record than their last. But it is pare her dramatic writes like Brecht and Weill. .,_... also one that will probably be more inter- and say she As a song- THE FINNEY esting to listeners already familiar with Well, dammit, she does. F/NCO is tackling with ease their music than to newcomers. J.G. writer she superb, .:. COMPANY topics as diverse as prostitution (Bo Bo's 34 West Interstate St . Bedford, Ohio 44146 Party), promiscuity (I Really Loved JEFFERSON AIRPLANE: Bless Its (Close to It All Harold), commitment CIRCLE 33 ON READER -SERVICE CARD Pointed Little Head. Jefferson Air- and Animal Crackers). She composes plane, rock sextet. Somebody To Love; forceful, personal lyrics and houses them Fat Angel; It's No Secret; Plastic Fan- perfectly in simple, often hummable tastic; Bear Melt; five more. RCA LSP melodies. 4133, $4.98. But it is as a performer that she really DIXIE IS I think Jefferson Airplane is one of the triumphs. It will surprise no one who Largest two best groups in America (the other hears the album to find that the liner discount Boys). I wish, therefore, is the Beach notes credit, as in plays and movies, High that I could report that Bless Its Pointed and both a producer (Peter Schekeryk) Fidelity Little Head, the sextet's first "live" re- a director (Artie Ripp), because Mel- component cording, was as good as their studio jobs. anie is more of an actress than a singer. It's not -expectedly, I guess. She is in turn sorrowful, jaded, gaily distributors The album has all the disadvantages ironic, and childishly appealing as she tb in the South. of live concerts (the performance is less renders these ten vignettes. In some Wholesale than perfect) and few of the advantages ways she echoes Lotte Lenya, most prices on very little excitement). There (there is strongly where her music resembles package or are long, meandering solos, the sound might be Weill's (l'nt Back in Tow,: individual is strangely muffled, and there is an straight out of The Threepenny Opera components. atrocious mauling of Fred Neil's fre- were it not that her wit has some funny quently recorded The Other Side of This little twists of its own). Not a little Latest models Life. Most of the tunes are available on credit for the album's success goes to in factory previous albums, although mercifully jazz pianist Roger Kellaway who pro- sealed cartons us more of White Rabbit, they spared vided perfect charts throughout. shipped imme- Slick's greatest hit. As usual, there Grace I don't often say it, but run, don't diately from our is too little of Miss Slick's co-lead singer, walk, and buy this record. I wish I warehouse. Marty Ballin. could shake the hand of everyone even In all probability, this album will remotely connected with it. J.G. Special attention please neither those who love the Air- given to Audio plane live, nor those who love their rec- *JACK JONES: L.A. Break Down. Clubs, Churches ords. Approach it with care. I.G. Jack Jones, vocals; Pat Williams, and Schools. arr. and cond. You've Changed; For Special Price the Stars; Goodbye; eight BOBBY VINTON: I Love How You Lost in Quote Write Love Me. Bobby Vinton, vocals; Don more. RCA Victor LSP 4108, $4.79. - Tweedy and Bill McElhiney, arr. Watching the development of singer Shangri -La; It's No Sin: Till; eight Jack Jones has been a heartening ex- more. Epic BN 26437, $4.79. Tape: perience. This album is the culmination w".'OL SAL RS A EN 664, $6.98, 71/2 ips: SRI of that growth. Our New Warehouse N 1810 152, $6.98; 1E9 N 1410 152, The title tune, L.A. Break Down (And 10530 DETRICK AVENUE $5.98. Take Me In), was written by composer/ Kensington, Maryland 20795 Bobby Vinton has been a teen -ager as arranger /producer Larry Marks, who Phone: 301-933-7600 long as I can remember, serving up made a record of it. But it took Jones CIRCLE 20 ON READER -SERVICE CARD 123 MAY 1969

www.americanradiohistory.com to "find" the song. Also included are ments of Chattanooga Choo Choo, Little 'WE CANS three of Randy Newman's best songs, Brown Jug, Song of the Volga Boatmen, Linda, Love Song, and 1 Think It's Go- In the Mood, and Tuxedo Junction. En- SELL FOR LESS ing to Rain Today. The best are mostly gineer Bernard Keville not only captures, standards, but not tired ones. In fact, undiminished, the impressively big sonics this is one of those rare albums with themselves, but places them in an ap- not one less- than -excellent choice. Jones propriately expansive acoustical environ- Nationally Advertised Brands has even performed Gordon Jenkins' un- ment. R.D.D. known and magnificent But I Loved You. Hi -Fi Stereo Components The album displays an unheard aspect Tape Recorders of arranger Pat Williams as well. He's Record Changers best known for his big band albums, IN BRIEF Home & Car Stereo Tapes showy charts for singers such as Steve Speaker Systems Lawrence and Eydie Gormé, and count- Radio & TV Sets less television commercials. This all - AL KOOPER: I Stand Alone. Columbia Electronic Equipment ballad set makes it clear that Williams CS 9718, $4.98. Tape: CQ 1095, $7.95, is also a superb ballad arranger. 71/2 ips; ® 1810 0596, $6.98; 1131 Quality music, when it reaches this BRAND NEW AND FULLY GUARANTEED 1410 0596, $5.98. Alone! With two or- level, is instantly recognizable-if only chestras, the Blossoms, and half of Nash- for its rarity. Jack Jones, Pat Williams, ville. Kooper is one of the most boring and producer Ernie Altschuler have people in rock. So's this album. J.G. WE CAN SAVE come up with one of those albums that will mean as much in ten years as it JERRY LEE LEWIS: She Still Comes YOU MONEY does today. M. A. Around. Smash SRS 67112, $4.79. The material here is a perfect match for SEND:for FREE listing ARTHUR FIEDLER: Glenn Miller's Big- Lewis' country vocalizing and Nashville of 1000's of items... gest Hits. Boston Pops Orchestra, piano, but there is room for a lot more Arthur Fiedler, cond. St. Louis Blues than eleven short songs. J.G. March: Moonlight Serenade; Chatta- LOWEST PRICES ANYWHERE! nooga Choo Choo; nine more. RCA NELSON RIDDLE: Contemporary foctory Secilect Unas Foit Strvire Red Seal LSC 3064, $5.98. Sound of Nelson Riddle. United Artists Today's teen -agers probably will find UAS 6670, $4.79. What has all this com- these epiphanies of the legendary Glenn puterized, drab, supermarket rock to do AUDI Miller hits strictly squared off in every with one of our finest arrangers? Anyone dimension. But cubed though they may who knows Riddle's work and buys the be, the music recorded here is sure to be album on name value will hate it. M.A. 2745 ERIE BLVD. EAST treasured as a string of pearls by survi- l SYRACUSE, NEW YORK 13224 , vors of the Classes of 1939, 1940, and JOAN BAEZ: Any Day Now. Vanguard thereabouts. VSD 79306/07, $9.58 (two discs). Tape: CIRCLE 7 ON READER -SERVICE CARD Arranger Richard Hayman knows the ® (2), 59306/7, $5.95 each; I® letter of the original scores, yet isn't 89307, $9.95 (double play). Baez sings afraid to depart from it to exploit the songs by Bob Dylan. Dylan fans probab- frOU ire .$hOPP/0 more sonorously expanded resources of ly won't favor this album; Baez fans a full symphony orchestra; and Fiedler's probably will. J.G. crisp touch keeps the ever present threat (1/s'('OU/ s' /l of maudlin sentimentality well at bay - NINA SIMONE: 'Nuff Said. RCA Victor especially in the imaginative arrange- LSP 4065, $4.98. Tape: I® P8S 1386, &tause wo $6.95. Simone in top form before a live you nt audience; much better material than Ike mosi system usual and well recorded. J.G. Classified COLWELL /WINFIELD BLUES BAND: Cold Wind Blues. Verve Forecast FTS for your money. Advertising 3056, $4.79. Among white blues bands, Colwell /Winfield is the best I've heard. It honors the Negro tradition without ar- Classified Rates: 600 per word per inser- rogantly dismissing its own cultural heri- tion; $6 minimum per ad, noncommis- tage -and can play the Butterfield Blues Band out of town. M.A. sionable, payable in advance. Initials, street address and city and state must be AUTRY INMAN: Ballad of Two KOSS counted. No charge for zip codes. No Brothers. Epic BN 26428, $4.98. Prowar, pro- domestic fascist sentiments from OlulllaCO 11-4 L.-JR dealer or manufacturer advertising al- lowed. Deadline: 5th of 2nd month pre- the hinterlands, seductively performed. Should get the Ayn Rand Realpolitik ceding date of issue. Mail classified ad- Award. Or at least the Victor Before Lasky Poor you buy, be sure to vertisements to: Classified Advertising Taste Citation. J.G. check our price list. You'll be Dept., High Fidelity, 165 West 46th Street, New York, N.Y. 10036. ASTRUD GILBERTO: Windy. Verve glad you did. 6 -8754, $4.79. Periodically I dip into a new Astrud Gilberto album to see if she Write us for our price list, DEPT. F, TECHNICAL WRITERS AND EDITORS still sings like a robot. Surprise: her Eng- or check our number on the reader WANTED. Free -lance, part -time. Various elec- lish has improved, her intonation is surer, service card. tronics topics. Competitive rates. Send resume. and the whole album has charm. G.L. ELECTRONIC WRITERS & EDITORS, INC., 78 Patton Blvd., New Hyde Park, N.Y. 10040. THE 4 SEASONS: The Genuine Imita- tion Life Gazette. Philips PHS 600290. GEORGIAN ELECTRO -VOICE - - 4-Way $4.79. This is a thoroughly professional /COMPANY Speaker System. New condition. Original cost Boston $585. Selling at Call after 7:00 p.m. though unexceptional record (the pseudo - Common St v l'th,irn Moss $275. (212) 0215$ OL 4 -8448. Beach Boys parts are better than the neo- CIRCLE 11 ON READER- SERVICE CARD 124 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Jay and the Americans sections) which is receiving a truly exceptional promo- tion; Bob Crewe continues to sock it to JAZZ us. J.G. FATS WALLER: African Ripples. USONIC lifetinie loudspeakers GRAHAME BOND: Love Is the Law. Fats Waller, piano, and His worlds finest Pulsar AR 10604, $4.79. Bond has an Rhythm. African Ripples; You introducing English bluesman's voice and plays reeds, Look Good to Me; If 1 Were You; organ, and bass -in short everything but thirteen more. RCA Victor LPV 562, THE TRUSONIC drums. The tunes are all originals by $4.98. MODEL #112 FR a chap named Billy Gamble, who says RCA Victor's Vintage Series of reissues Finished in walnut grain, nice things if not always very well. An valuable in the in- beautifully styled and is one of the most delivering authentic interesting first outing for Bond. J.G. dustry. Fortunately, Columbia too is reproduction of the full in a somewhat similar project sound spectrum, in a engaged moderate sized cabinet, CREEDENCE CLEARWATER REVIV- with its Odyssey series and Decca has featuring the World AL. Bayou Country. Fantasy 8397, $4.98. also recently reissued material from its Renowned 120 FR- extended range loud- Fun hard rock at its best, including their old catalogue. What John S. Wilson and speaker ... $135.00 hit Proud Mary. Not much food for others have been demanding for years is Also available as thought, but a real toe -tapper. J.G. coming to pass: some wonderful jazz re- Model : 112CX (Coax] . $177.00 cordings, long buried in the vaults, are Model =112WX (2 -way) THE FIRST EDITION: '69. Reprise RS being brought back to light. . . . $189.00 6328, $4.79. The hit version of But You This is the fifth. and last, in a series of Know I Love You paces a trip to Nash- Fats Waller reissues. If you've collected ville for one of the best, and least- known, them all, you have a very broad repre- of pop groups. J.G. sentation of this remarkable musician's work. Mike Lipskin, who produced this NEW ARETHA FRANKLIN: Soul '69. Atlan- album, has provided us with exceptionally Model #208, tic SD 8212, $4.79. Hopefully this is mis- interesting liner notes to guide us through using 80FR titled, or it's going to be a bad year: the material. (Indeed, that's been one of Columbia never gave her any tunes the virtues of the Vintage series: in- Write for complete even of speakers silly as some of these. Buy any other formed and informative liner notes.) catalog as and speaker systems. album. J.G. Waller lived and worked in an era when the Negro musician almost had to WILSON PICKETT: Hey Jude. Atlantic be a clown. A few men rose above it, SD 8215, $4.79. If you like one, you'll and he was one of them: there is a like 'em all, although the echo is getting fierce satiric quality in his near -Tomming USONIC J.G. and down a little obtrusive. that puts the audience on - 4959 Santa Anita Ave. hard. When he had to do mediocre com- Temple City, Calif. 91780 LEWIS: All Country. was hesitant to let JERRY LEE mercial songs, he never CIRCLE 71 ON READER -SERVICE CARD Smash SRS 67071. $4.79. Country artist his feelings about them be known: he Lewis seems to be dropping one a month; could satirize a song more murderously this one's the best yet. J.G. than any performer I've ever heard. It's unfortunate that he had to do this -would ERIC BURDON AND THE ANIMALS. that he'd always been able to play exactly Greatest Hits. M -G -M SE 4602, $4.79. what he felt like playing. But he couldn't, Post -enlightenment rock; erratic, but and I'm at least grateful that he was ex- THIS the best of its kind. All the recent tensively recorded. His clowning cannot biggies. J.G. conceal the power and swing and facility of his playing. OVER 6 2 YEARS RHETTA HUGHES: Re -Light My Fire. Some of the tracks here present Waller OF RELIABILITY Tetragrammatron T 111, $4.79. Tape: in solo, some with his quintet, and a M 8111, $6.95; ® X 5111, few in a big -band context. They are $5.95. Miss Hughes, Tetra's first female inevitably uneven, but they're there, and vocal r & b artist, is as sparkling as any- it's important to have them. IS WHY STEREO & HI -FI one since Aretha Franklin. M.A. Don Miller remastered these tracks. He's done an incredible job of enhancing BUYERS CAN BE SURE OF JONATHAN KNIGHT: Lonely Harpsi- the sound without perverting it. G.L. chord. Viva 36016, $4.79. Tape: f1 C 6016, $7.95, 71 ips; IBI M 86016, *CLARE FISCHER: Thesaurus. $6.95; ® X 56016, $5.95. Here's Clare Fischer Big Band: Clare how to turn a good idea into a yawn: Fischer and Stewart Fischer, arr. SAVINGS tired songs and useless arrangements The Duke: In Mentorianf Calarrurs; AT RABSONS featuring harpsichord. There's so much five more. Atlantic SD 1520, $5.79. At Rabsons Competitive Prices, Reliability and treble in the mix that I thought one of Clare Fischer is an inordinately talented Personal Service have been bywords for over gone out. M.A. whose name has 62 years. my speakers had pianist and arranger It's so EASY and SAFE to deal with Rabsons. been in the background for years, on Up to 36 months to pay on Easy Pay Plan other people's albums. He was respon- As close as your telephone - as near as your SEEKERS: Live! Capitol ST 135, $4.98. mailbox . Fast Air Mail Response on Quotation Australia's version of Peter, Paul, and sible for some of the Hi -Lo's best work. Requests . Franchised Distributor for Hi Fi Lines Recently he has been writing and ar- All merchandise brand new in factory sealed Mary plus one. Not bad but ten years cartons, shipped double-packed, fully insured too late. M.A. ranging for commercials, a field he promptly from our warehouse . Greater savings thought he'd hate and found he loved on complete systems . Export packing . 220 Volts, 50 Cycle merchandise a specialty Free ISRAELI STRINGS: Jewish Rhapsodies "because it's fast and I'm an impatient list of monthly specials. for Those in Love. Bravo 35502, $3.79. man." BEFORE YOU BUY GET A RABSONS Tape: ill X 5502, $7.95, 71/2 ips; The most exciting of Fischer's proj- YOU'LL BE GLAD YOU DID! ® M 85502, $6.95; OR X 45502, ects, however, has been the formation of QUOTE... $5.95; ® X 55502, $5.95. You have his own band. This is their first album, to love this album for its title. The and it sizzles. The band is made up of RABSONS57 ST. INC. music is exactly what it sets out to be, both fresh and seasoned musicians, all 119 West 57th Street, New York, N. Y. 10019 romantic and quaint. M.A. of them superb. Fischer is especially Tel. Area Code 212-247-0070 CIRCLE 52 ON READER -SERVICE CARD MAY 1969 12,

www.americanradiohistory.com happy with the effect of the diverse in- in 1931 and 1932, just starting out with pared to accept the merits of the record fluences among the players, some favor- a big band and bubbling with the high because all three artists are in fine form. ing Bird, others Miles, Gerry Mulligan, spirits that made him a brilliant enter- However, whoever put the second side or you- name -it. tainer (long before it all froze into gela- of the disc together was not really pay- Fischer arranged all the charts but one: tinous patterns). To pick these two out ing attention. Duke Ellington is listed as his thinking is dense, full of complex is not necessarily to denigrate the Hines, playing Hyde Park and Chicago but only patterns and unlikely chord substitutions, Krupa, and Shaw sets. Neither Hines nor the first is heard. Dorsey is supposed to all blending into a fascinating whole. Krupa ever rose to an equivalent level play St. Louis Blues but instead he plays The outside chart was written and ar- and Shaw's best band came after he had After You've Gone -and plays it well. ranged by Clare's brother, Stewart, who moved from Brunswick (from which Miss Carlisle is listed for l'm Crazy plays trumpet with the band. these pieces are taken) to Victor. The 'Bout My Baby and Don't Try Your Jive My favorite track is Bitter Leaf, a Krupa set, incidentally, is a good addi- on Me but neither selection is on the ballad written by Stewart Fischer, on tion to the earlier two -disc Columbia set disc. These two and the missing Ellington which Clare plays a fragile and moving (C2L 29) while the Hines and Shaw Chicago are replaced by three unidenti- solo on a Fender Rhodes electric piano collections represent what might be fied selections by an unidentified orches- using full tremolo and backed only by termed improved rethinking of early, tra featuring an unidentified pianist (an acoustic bass (Chuck Domanico) and long out -of -print reissues by these two equally unidentified male singer appears drums (Larry Bunker). The most in- bands on Epic. J.S.W. on one piece indicating that it might be spired title is Miles Behind, a seven - called Big Ben Blues). J.S.W. minute study in 7/4 written by Clare DUKE ELLINGTON: The Early Duke and featuring Warne Marsh and Conti Ellington. Harlem Speaks; Ain't Mis- LUIZ HENRIQUE / WALTER Condoli. On Lennie's Pennies, featuring behavin'; Hyde Park. Jimmy Dorsey; WANDERLEY: Popcorn. Luiz Gary Foster and Lennie Tristano's ex- Tiger Rag: I'm Just Wild About Harr'; Henrique, guitar and vocals; Wal- saxophonist Warne Marsh, the reed sec- After You've Gone. Una Mae Carlisle: ter Wanderley, organ; Sivuca, accor- tion builds to a dazzling block -chord I Would Do Anything for You. Three dion; Romeo Penque, flute; Affonso final passage. more. Everest 221, $5.79 (rechanneled de Paula, percussion; James Kappes. This is a more intellectual band than stereo only). Gary Chester, or Donald MacDonald, that of, say, Buddy Rich. It depends on BENNY CARTER. The Early Benny drums. Happy Birthday; Cabaret; Pop- your mood and tastes. For me, Clare Carter. Swingin' at Maida Vale; Just corn; eight more. Verve 8734, $4.79 Fischer's band represents the workings a Mood; When Lights Are Lou.; seven or 68734, $5.79. of one of our finest musical minds, and more. Everest 225, $5.79 (rechanneled The freshest and most stimulating popu- listening is a special pleasure. M.A. stereo only). lar music of our time still comes from GEORGE SHEARING: The Young Brazil -or from Brazilians, some of LOUIS ARMSTRONG: V.S.O.P. (Very George Shearing. Stomp in F; Co- them having relocated here. And, to me, Special Old Phonography). Georgia on quette: Rosetta; seven more. Everest the most satisfying singer to come here My Mind; Chinatown My Chinatown; 223, $5.79 (rechanneled stereo only). from Brazil since poor forgotten Joao All of Me; thirteen more. Epic 22019, Everest has found a hole in the increas- Gilberto is Luiz Henrique. $5.79. ingly tightly woven pattern of American This album features one of the most BENNY GOODMAN: Clarinet it la King. jazz reissues and is proceeding to fill it. tasteful electric organists the instrument Cherry; If I Had You; The Earl; thir- The label's reissue material is drawn has yet known. Wanderley, who was a teen more. Epic 22025, $5.79. from recordings made by English com- stalwart of the early bossa nova move- ARTIE SHAW: Free for All. Blue panies in the 1930s. These three releases ment, uses stops that no other organist Skies; The Chant; Just You Just Me; are all interesting either because of basic has explored (except Clare Fischer, who thirteen more. Epic 22023, $5.79. merits (the Benny Carter disc), because says he sat behind Wanderley all one EARL "FATHA" HINES: Hines Rhy- of curiosity value (the Shearing set, made evening, figuring out how he did it). thm. Rosetta; Cavernism; Honeysuckle up of some of the pianist's earliest re- He gets a warm, flutelike, non -vibrato Rose; thirteen more. Epic 22021, $5.79. cordings, dating back to 1939), or be- sound that is utterly distinctive. GENE KRUPA: That Drummer's Band. cause of a combination of disorder and Henrique sings with roughhewn Full Dress Hop; Kick It; Ball of Fire; excellence (the so- called Ellington col- warmth. Like most of the Brazilians, he thirteen more. Epic 22027, $5.79. lection) . sounds better in his own Portuguese. These five big band reissues come in a The latter carries a small subheading But, at least, unlike Astrud Gilberto, he sudden burst of generosity from Epic noting that Jimmy Dorsey and Una Mae doesn't sound stupid when he ventures which has, in the past, been erratic and Carlisle appear as "guest artists." As any into English. generally undistinguished in presenting follower of devious labeling devices Bossa nova has evolved a great deal jazz reissues. Frank Driggs has shown knows, this does not mean that Dorsey in the last few years. Wanderley and a touch of genius in putting these discs and /or Miss Carlisle are heard with the Henrique, like Sergio Mendes, are not together for he has managed to come up Ellington band. Once you understand deaf to North American rhythmic in- with five names of consequence, several that there are only four selections by fluences, and they make subtle use of of whom have been reissued to the point Ellington along with three by Dorsey them here and there in the course of this of no return, and yet these sets not only and three by Miss Carlisle, you are pre- album. contain relatively fresh material (from Highly musical, intelligent, unpreten- a reissue point of view) but, in two tious, warm, honest, and delightful. G.L. cases, they represent vital high points in the musicians' careers. MAX ROACH: Members, Don't Benny Goodman, for example, had Get Weary. Charles Tolliver, trum- what to my mind was his best band in pet; Gary Bartz, alto saxophone: 1941 -42 -a far better band than the Stanley Cowell, piano; Jymie Merritt, mid- and late '30s group he led as King bass; Max Roach, drums; Andy Bey, of Swing -plus the hest repertory he vocal. Abstrutions; Libra; E /fi; three ever had: all the old Fletcher Henderson more. Atlantic 1510, $4.98. and Jimmy Mundy scores plus superb Stanley Cowell is a new name to me, new ones by Eddie Sauter and Mel both as piaaist and composer. But after Powell. That's the band and those are this album, I'll be all ears for him, par- the arrangements you'll find on Clarinet ticularly in his role as composer. He à la King, a wonderfully refreshing view wrote three of the six numbers that Max of a musician you may have thought you Roach's group plays-A bstrutions, E/ /i, had grown tired of. and Equipoise -and each, in a different The other gem in this series is Louis way, is a gem. Armstrong's V. S. O. P., which is Louis Equipoise is a beautiful, singing theme,

126 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com exquisitely set out in solos by Charles inclusion was Cocktails for Two; Miss Tolliver and Gary Bartz, who later recap McPartland tries valiantly to make the the theme in a weaving, contrapuntal song more than the trivia it is-and suc- duet with Roach and Jymie Merritt ceeds on the opening. The album is filled r Buy at giving them tremendously vital support. out with Mr. Coslow's forgettable non - Eastern Prices Abstrutions is built on a punching, de- hits. from scending set of figures that are peaked While Miss McPartland's rhythm sec- with trumpet flares. Cowell plays a gent- tion is nice, she is burdened with a vocal WEST COAST ly digging solo, accented by choice Roach quartet who needed an extra hour to run HEADQUARTERS drum figures as the piece rocks and down the charts, simple as they are. The jumps simultaneously. The third number, voices sound uncertain and unstable. This Get best discounts and Effi, is a rolling bit that gives Tolliver too, Miss McPartland overcomes. save on shipping costs and Bartz a chance to get into some In all, this is a quiet and tasteful set too - from the largest ruggedly gutty solos which, like all the from one of our few significant lady mu- high fidelity mail order solos on the disc, are given added impact sicians. M.A. dealer on the West by the power and sensitivity of Roach's Coast. drumming and Merritt's bass lines. NAT ADDERLEY: The Scavenger. Nat The sense of virility that this group Adderley and Mel Lastie, cornets; Joe Write or call for our low projects hits most strongly on Bartz' Henderson, tenor saxophone; Jeremy discount quotation on Libra and Merritt's Absolutions, both of Steig. flute; Joe Zawinul, piano and one piece or complete which simply take off and go. This group electric piano; Victor Gaskin, bass; system of nationally ad- and these performances are reminiscent of Roy McCurdy, drums; Bill Fischer, vertised components. Roach's days with Clifford Brown and arr. and cond. But Not for Me; Mel - Sonny Rollins, except that everything is nat; Sweet Entnta; four others. Mile- Fastest possible service now more highly pointed and more posi- stone 9016, $4.79. from our West Coast tively expressed than ever before. The Nat Adderley has taken a broad swing warehouse. title tune, quite different from the rest at variety and has come up with, in of the set, is an invocation, well pro- addition to varieties of material and in- jected by Andy Bey over a percussive, dis- strumental groupings, a definite variety of JAFC O Westlake Ave., N. reflecting in its style be called 520 cordant background, results. Superficially, this might Seattle, Washington Roach's Freedom Now suite with Abbey an uneven set. But this is not entirely 98109 Lincoln. Roach's superb drumming all true because. so far as each musician is (206) 682 -5833 through the set makes one aware of how concerned, it is quite consistent. Nat Ad- Dept. H much a drummer can do for a group derley and Mel Lastie make a consistent- and, relatively, how little most drummers ly strong and bristling cornet team. Bill do. J.S.W. Fischer's two arrangements, adding strings to the cornets and rhythm section- MARIAN McPARTLAND: My Old Sweet Emma and Bittersweet -are a pair L Flame. Marian McPartland, piano; un- of gems, the best pieces on the disc. But identified arranger and chorus. Moon the usually prepossessive Joe Zawinul CIRCLE 37 ON READER -SERVICE CARD Song; Je Vous Adore; Thanks; nine settles into a relatively bland attitude and more. Dot DLP 25907, $4.79. Tape: stays there throughout the set. And while WO X 5907, $5.95, 71/2 ips; Joe Henderson appears on only three se- X 55907, $5.95. lections. he is consistent on all of them Certain pianists seem to have emerged, in the routine manner of his playing: he fully grown, sure and whole, from the rambles through a succession of Coltrane - wing of some magical piano. Marian ish swirls and whirls with a hollow- sound- HI-FI McPartland is one. She has such an in- ing tone that is reminiscent of Sidney curable case of impeccable taste that it's Bechet's early efforts on the sarrousa- COMPONENTS difficult to imagine her ever learning to phone. play the piano, hitting wrong notes, fum- But this is where consistency ends. bling through bad changes. One supposes Piece by piece. the set moves like a roll- TAPE only her mother knows for sure. er coaster. There is a crisp, bristling Miss McPartland is not flashy. Her attack on some pieces (Rise, Sally, Rise RECORDERS playing is relaxed. warm, humorous, and Melnat) while Unilateral and The to the point. Whatever the mood or Scavenger limp along through long, list- TAPES. ACCESSORIES tempo, her melodic elaborations are just less lines despite the eruptive flares with SLEEP LEARN KITS right. which Adderley and Lastie try to agitate This is an album of songs by com- The Scavenger. What is good on this MERITAPE poser Sam Coslow. Among the good ones album is so good that it is doubly disap- are My Old Flame, Beware My Heart, pointing to find that the cream does not and Just One More Chance. An inevitable run very deep. I.S.W. SAVE MONEY

LOWEST PRICES INTEGRITY SERVICE L FRANCHISED DISTRIBUTORS From HI -Fl All merchandise KPScomponents to WRITE FOR OUR VERY LOW shipped same day from complete stereo systems, PACKAGE QUOTATIONS if it's nationally advertised, our warehouse, fully insured Nationally Advertised Brands Our We have it! Discounts of course! in factory sealed cartons. Factory Sealed Cartons one aim is your complete satisfaction Right now, write now ... for -merchandise -wise, price -wise! your special quote. Savings Wroire are bigger than ever in FREE CATALOG That's why we're one of the Visit Our Showrooms East Coast's largest honor of our component recent expansion. distributors. DRESSNER 1523 -K JERICHO TPKE. to Y. NEW HYDE PARK, N. CORPORATION OF AMERICA 11040 2122 UTICA AVE.. BROOKLYN, N. Y. 11234 (212) 338 -8555

CARD CIRCLE GS ON READER -SERVICE CARD CIRCLE 23 ON READER- SERVICE \I 127 ti I vr,.)

www.americanradiohistory.com THE TAPE DECK

BY R. D. DARRELL

Something New. No tape owner who Rimsky -Korsakov's opera Mlada: a set Ironic instrumental combinations: the read John McClure's account (HF. Feb- of mainly choral and orchestral high- 200/ mélange may prove boring to those ruary 1968) of the difficulties in record- lights performed by Moscow Radio sing- who have not seen the film but intermi ing Giovanni Gabrieli's music in the Ba- ers and players under Yevgeny Svetlanov tently fascinating to those who have. silica of San Marco. Venice, will want to (Melodiya /Angel YIS 40012, 3'/4 ips, overlook the taped results on Columbia 47 min., $7.98; texts -and -notes leaflet on Something Better. New processing tech- MQ 1080, 35 min., $7.95. The massive request). Conrad L. Osborne. in his disc niques may tend to invalidate existing sonorities. antiphonal effects. and the review, stated that this music "is for readings but only rarely is a good earlier very long -yet miraculously nonblurring listeners who are suckers for great daubs version completely eclipsed. One of my -reverberation period of the Basilica of chromaticized, late- Romantic harmony prized possessions, the 1966 London are impressively captured on this release. and indulgent swashes of orchestral taping of Bruckner's Ninth Symphony Two of the motets had been previously color." I can't deny that the present per- with Zubin Mehta conducting the Vienna taped for Vanguard in the 1960 and formance and recording are somewhat Philharmonic. was taken off my shelves 1964 Gabrieli programs conducted by rough and coarse. But I still unashamed- this month and replaced by Herbert von Appia and Gillesberger respectively. but ly relish these bits of Mlado. Karajan's new tape with the Berlin these are now out of print. and in any Philharmonic (Deutsche Grammophon/ case the new performances under Vit- Something Different. One of the sur- Ampex EX+ DGA 9011, 59 min., torio Negri's direction include three mo- prises this month is a release by RCA $8.95). The Mehta version still holds an tet and three Mass -movement tape firsts Red Seal (R8S 1115, $6.95), in which interest, especially because it shows so -to say nothing of the incomparable Igor Buketoff attempts to rejuvenate young and (at the time) inexperienced sound of the San Marco Basilica. Tchaikovsky's 1812 Overture by includ- a conductor achieving success with a Two tape premieres from Deutsche ing not only the familiar band, cannon. monumental work. But the first -rate Grammophon /Ampex have a more spe- and chimes. but adult and children's London recording is admittedly over- cialized appeal. Hans Pfitzner's Cantata. choruses as well. Von Karajan may have shadowed by DGG's more impressively Von deutccher . Seele. Op. 28. performed started a trend in giving the /8/2's broad. solid, and natural sonics. The by the Bavarian Radio Chorus and Orches- opening hymn to the Don Cossacks choir Berliners far surpass the Viennese musi- tra under Joseph Keilberth (DGK 9158, in his recent Deutsche Grammophon reel cians and the conductor will surprise EX +. double -play. 91 min.. $11.95), and cassette tapings, but Buketoffs St. even his detractors by the depth of his is. for all its moments of genuine beauty, Ambrose Cathedral Choir goes beyond involvement in this unfinished symphony. just too Teutonic for my taste. Schoen - this by joining the new Philharmonia My immense respect for Von Karajan berg's First String Quartet, in D minor, Orchestra and Royal Air Force Band as a superb executant often has been Op. 7. is played with conviction by the in the finale, while the St. Ambrose Chil- counterbalanced by my annoyance over New Vienna Quartet ( DGC 9360. EX +. dren's Choir is heard in two folk song his interpretative quirks and mannerisms 46 min.. $7.95). In this early quartet, passages. The result makes for a pleas- -none of which are in evidence here. there is nothing atonal or even aurally ant change. Unfortunately the reading This package would have been well -nigh difficult. The closely miked sonics are and performance lack punch and the perfect except for the exasperating side both attractive and admirable for their recording has been too closely miked. break between the second movement's microscopic detail. But. unfortunately, Nonetheless it has merit if only for the Trio and the repetition of the Scherzo. every time I hear it. I can't help remem- inclusion of two unusual Rachmaninoff bering Cecil Gray's quaint explanation choral works: the relatively early (1902) Something Wrong -Yet Well Worth (in his .Surrey of Contemporary Music) Spring Cantata. Op. 20. for baritone While. Some months ago I wrote a re- for the "curiously disconcerting" impres- (John Shaw). chorus, and orchestra, and view of a fine bargain-priced reel con- sion this quartet makes on some listen- the relatively late (1926) set of three taining four multiple -harpsichord con- ers: "A comparatively daring or uncon- Russian Folk Songs, Op. 41, for alto certos of Bach's by German soloists with ventional passage will come to an end and bass voices with orchestra. Listeners the Saar Chamber Orchestra under the with an ordinary dominant /tonic cadence, who know Rachmaninoff only by his late Karl Ristenpart (Nonesuch /Ampex giving one much the same disagreeable big piano and orchestral works will find EX+ NSE 1019, 33/4 ips, 66 min., $4.95). sensation that one experiences in falling these little pieces irresistible. Buketoff The review was crowded out of print first out of bed onto the floor in the middle directs with obvious understanding and by space exigencies and then by the ap- of the night." the sonics are fine. pearance, on the same label. of a com- One release I find particularly pleas- The hodgepodge of selections from the plete set of all the Bach harpsichord con- urable is the first tape representation of film 200/: A Space Odyssey (Columbia certos by French soloists conducted by MQ 1067, 48 min., $7.95: 8 -track car- Roland Douatte (NSW 3001, reviewed tridge. 18 11 0090. $7.95) contains. on December 1968). I was therefore de- one side, the Sunrise opening of the lighted to be given a second chance to R. Strauss Also sprach Zarathustra and praise the Ristenpart program now that it the complete J. Strauss II Blue Danube is seemingly available in 8 -track cartridge Waltzes (conducted by Ormandy); Ligeti's format as NEM 81019, $6.95. But after Atmosphères (conducted by Bernstein) listening to it first on auto trips, then at and Lux Aeterna (Gregg Smith Singers), home, I find the tempos sound brisker, and the Adagio from Khachaturian's the strings less equably balanced with the Gayne Suite No. 2 (conducted by Kurtz) soloists than I remembered from the -loosely linked by "electronic inter- reel. Direct A/B comparisons have ludes" by Morton Subotnik. The other proved to me that while the right Bach side of the reel is devoted to a reissued concertos are played here (S. 1062- Suite from Blomdahl's space opera 3-4-5 ), the performances are not Risten- Aniara in the Janssen -led performance part's but those included in the Douatte originally released (in disc format only) complete set. I hope my rectification of in 1961 and out of print in recent years. this artist -identification error will stimu- The last -named remains one of the most late the release of the remainder of the Rintsky- Korsakov: "swashes" are relished. effective examples of orthodox and elec- set in 8 -track format.

128 CIRCLE 64 ON READER -SERVICE CARD -3

www.americanradiohistory.com The snap -in, pop -out home stereo tape system.

Snap -in Cassette Convenience. Spectacular stereo sound. The Sony TC -130 is a cas- sette 4 -track stereophonic tape recorder, mounted in an attractive walnut wood cab- inet, with two matching full -range Stereo speakers. Amplifier delivers 15 watts of Pop -out Cassette Ejector. Push the button, dynamic power for big -console sound. the lid flips up, the cassette pops out. Snap a new cassette into place in seconds.

Tape Sentinel Lamp. Vis- ually indicates when tape is in motion and when the end of the tape has been reached. Additional features: Pause control. Sonymatic Recording Con- Three -digit tape counter. trol. Automatically adjusts Public- address capabil- recording level and stereo ity. Stereo headphone balance so you never have jack. And many more. to touch a knob. Ensures perfect stereophonic or monophonic recording from any source.

Noise -Suppressor Switch. Special filter eliminates undesirable hiss that may exist on older pre- recorded tapes.

Push -Button Tape -Transport Controls. Just push a button for forward, rewind, fast - forward or stop. Safety interlock prevents accidental erasure of recorded tape. Sep- Sony Model TC -130 Easymatic Stereo arate controls permit continuously -variable Cassette -Corder" Consolette System. stereo balance, tone, and volume. Less than $229.50 complete with two matching walnut speakers. For your free copy of our latest catalog, please write Mr. Phillips, Sony/ Superscope, 8144 Vineland Avenue, Sun Valley, California 91352.

SONY SUPER COPE You never heard it so good.

www.americanradiohistory.com WRITE FOR ADVEP TISI\ G I \DEX Key No. Page No. Key No. Page No.

QUOTATION 2 .. Acoustic Research, Inc. 7, 61 41... Lafayette Radio Electronics . 26, 27

FACTORY SEALED CARTONS 31 .. Acoustron Corp. 105 42 London Records 102 FRANCHISED DISTRIBUTOR 4 ...Altec Lansing 91 QUICK SHIPMENT 5 .. Ampex Corp. 41 43. .. Marantz Co., Inc. 81, 87

Angel Records 101 45 McIntosh Lab., Inc. 99

7... Audio Sales 124 46.... Mercury /Philips 98 Audio Unlimited, Inc. 122 WE GIVE 47... Neshaminy Electronic Corp. 8

9 Benjamin Electronic Sound Corp... 74 DISCOUNTS 10... Bose Corp. 97 44 Panasonic 12, 13 ON HI -FI 11.... Boston Audio Co. 124 27 Perpetuum Ebner 16 Bozak 43 49... Pickering & Co. 2

COMPONENTS 103 .. British Industries Corp. 5 48 Pioneer Electronics U.S.A. Corp. . 93 50 .. Ponder & Best 29 12.... Carston Studios 121

13.. Citadel Record Club 16 51....Qualiton Records 104 SOUND Classified Ads 124 REPRODUCTION 14.. Columbia Records 72, 73 52 Rabsons -57 St., Inc. 125 16 Craig Corp. 103 53 RCA Records 82, 83

INC. 17 _ .. Crown International 6 54 Rectilinear 33 460 CENTRAL AVENUE Crown Radio 32 56. Rheem Roberts 71 East Orange, New Jersey 07018 18 (201) 673-0600 19 Deutsche Grammophon 57.. Sams, Howard W. & Co., Inc. ....120 CARD CIRCLE 66 ON READER -SERVICE Gesellschaft 109 58 Sansui Electronics Corp. .. 95 SUBSCRIBERS -PLEASE NOTE: 20 Dixie Hi Fidelity Wholesalers ... 123 100 . Scott, H.H., Inc. 15, 17, 19 Please include a HIGH FIDELITY label to 21 Downtown Audio 121 insure prompt service whenever you write 55... Sherwood Electronics Laboratories, us about your subscription. The numbers 22 Dual 85 Inc. Cover IV and letters on the label are essential in Dressner 127 Shure Brothers, Inc. helping our Subscription Department quickly 23... 59. 64 identify your records. 24 .. Dynaco, Inc. 23 60 Shure /SME Limited 114

Use this form for 61 _ Skye Record Co. 119 26... Eico Electronic Instrument Co., CHANGE OF ADDRESS: 62 . Sony Corp. of America 24, 25 Inc. 32 Please let us know at 63 ...Sony /Superscope, Inc. 18 least 6 weeks before 25... Electro- Voice, Inc. Cover III 64....Sony /Superscope, Inc, 9, 129 you plan to move. For 27.... Elpa Marketing Industries, Inc. ... 16 faster, more accurate 66 Sound Reproduction, Inc. 130 31 Erath, L.W., Co. 105 service, attach maga- 67 Stanton Magnetics, Inc. 88, 89 zine address label in space provided, fill in 32.. Fairfax Industries 10 68 Stereo Corp. of America 127 your name and new 33 Finney Co., The 123 Stereo- Spring Edition 117 address, and mail to: 30. Fisher Radio Corp. .... Cover II, 1, 38 HIGH FIDELITY 69....Superex Electronics Corp. 121 Subscription Service Department 103 Garrard 5 70 ..Teat Corp. of America 107 2160 Patterson Street Toujay Designs 36 Cincinnati, Ohio 45214 34 Harman- Kardon, Inc. 31, 37 71....Trusonic 125 35 .. Heath Co. 34, 35 New Address: 36... Hi-Fidelity Center 122 22... United Audio Products, Inc. 85

74. . University Sound 111 name 37 laico .. 127

38 _ .. JVC America, Inc. 11 address 75... Vanguard Records 96

39 Kenwood 62, 63 city 76 ...Warner Bros. 122

40 . KLH Research and Development state zip Corp. 115 78 Yamaha 14

I30 HIGIi Fiiwi I IN' MAGAZINE

www.americanradiohistory.com 7arguments in favor of building your own speaker system from scratch.

with a compact that fits The easiest way to buy high fidelity 3. You enhance the illusion of "live" being "stuck" budget but can't meet your ul- speakers may not always be the best. music by hiding or disguising the sound today's pre -packaged sys- source. You listen to the music - not timate listening goals. Because a complete to study the tem may be far from what you need. the speakers. Take a few minutes of the advantages of between fine variety of Electro -Voice component Consider some 4. You end the conflict to component loudspeakers: and handsome decor by making speakers. 21 models from $14.00 separate sound super- tweeters to giant the speaker system an integral part of $250.00. From 1. You choose from an almost infinite Consider how they can the room or the furniture. 30" woofers. variety of sizes and levels of perfor- aid in creating a speaker system that only for mance. Your system will exactly reflect 5. You save money by paying uniquely expresses your musical needs. your specific listening preferences. performance. And ask your Electro -Voice high fideli- You can up -date your component his recommendation. 2. You save space by building speakers 6. ty specialist for system as often as you wish to meet the time to listen carefully. into walls, ceilings, closet doors, even Finally, take advances in the state of the art. It's at the nub in floors! Or use existing cabinets or Freedom of choice. custom -built enclosures that better suit 7. You can use the building -block meth- of high fidelity. your decor than any mass -produced od of planned improvement as your ELECTRO-VOICE, INC., Dept. 594H, 619 Cecil Street, Buchanan, Michigan 49107 system. budget permits. There's no problem of

cr o c

C n

CIRCLE 25 ON READER -SERVICE CARD acz A SUBSIDIARY OF GULTON INDUSTRIES, INC.

www.americanradiohistory.com match your auto -turntable to the quality of a Sherwood 6000

The No- Compromise "Sound Center" for Limited Space. Now get maximum performance in a mini -space! Sherwood's new 6000 is the full -feature, 120 -watt music power AM /FM "STEREO SOUND CENTER" that provides unlimited choice of matching components. Choose any automatic turntable-any magnetic cartridge. Mount perfectly on the pre -cut oiled walnut cabinet. Choose any speaker. Big or little, low or high efficiency. Your Sherwood 6000 has the power to spare for clean, pure, wall -to -wall sound. Compare features. FET FM tuner for ultra-sensitivity. Front -panel tape dubbing and headphone jacks. Stereo and mono extension speakers. As the high -performance heart of the finest component system, the Sherwood 6000 takes no more space than "compromise compacts." It's the modern solution to big sound in small space. Features: 120 watts music power, 1.8 µv IHF sensitivity, -95 db crossmodulation rejection, automatic FM stereo switching, zero- center tuning meter, front and rear panel tape inputs /outputs, mono speaker output. Perfect match for your 6000 -Sherwood's new Berkshire II speaker system: slim 9" deep cabinet with 12" woofer, 5" mid range, 160 "omni- polar" tweeter, 28- 22,000 Hz response.

INNOVATORS IN FINEST QUALITY TUNERS / AMPLIFIERS / RECEIVERS / SPEAKERS 4300 North California Avenue, Chicago, Illinois 60618 Write Dept. 5H Any of the Dual (current models) or Garrard SL55 or SL65.

CIRCLE 55 ON READER -SERVICE CARD www.americanradiohistory.com