Twelve Stereo Phono Cartridges Composers and the Zodiac*Basic Repertoire Updated

Home , Aldo Bertocci, Ruth Buzzi

FORMERLY HI Fl /STEREO REVIEW StQre JULY 1969 60 CENTS LABORATORY TESTS: TWELVE STEREO PHONO CARTRIDGES COMPOSERS AND THE ZODIAC*BASIC REPERTOIRE UPDATED

;76u 14 84Y 673,1

H 69r 3S/S LO H 9 CLd3S 96C7rib 792 ZWGZ ler500 -TX is the

yen Tune it manually. Traditionalists can tune AM and FM stations in the normal way, with Fisher's SW% ultrasmooth flywheel drive.

Or by push button. Preset your four favorite FM stations on the miniature dials. After that, tune to any one instantly, at the touch of a button... The station will be locked in electrically, so there'll be no drift.

Or by AutoScan :~- Touch one of these two buttons and the next FM station up or down, the dial is automatically tuned in, dead center. Hold down either ' button and all FM stations up or It having to switch mendous sensitivity. (Usable sensitivity down the dial come in, one by one. the stereo mode. 1.7 microvolts.) And it has a highly se- >r -channel speaker lective crystal filter that lets you pull in emote speaker any - weak, distant stations located right next to stronger, local stations. In our tests If you connect a the 500 -TX was able to receive more you'll to able to clear stations than any other receiver or k, or both tracks, tuner, regardless of price. reo speakers with a And speaking of price, that's the best ion itor switch. feature of all. nisher 500 -TX has It costs less than other, less power- le connection of an ful, less versatile, less sensitive receivers. id an extraordinary It's $449.95. (Walnut cabinet, your stereo sound. $22.95. Prices slightly higher in the Far Or by remote control.. ler for details.) West.) With this optional accessory the 500 -TX. (the Fisher RK-30, $9.95) e about the Fisher * 190 watts -t1dB at 8 ohms. Other receivers that claim big power are nearly always you can operate the AutoScan low. rated at 4 ohms. Their power into normal tremendous power 8 -ohm speaker systems is actually less. from your easy chair or bed. 500 -TX offers tre-

CIRCLE NO. 26 ON READER SERVICE CARD The 190 -watt Fisl world's mostyen

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88 90 92 94 ¶6 98 100 102 104 106 108

:9 55 93 65 70 80 0IIII] 110 120 140 160

You'll be able to do more things with mono speaker withot Mail this coupon the new Fisher 500 -TX than with any the receiver out of for your free copy of The Fisher Handbook, 1969 other receiver in nistory. Simply use the cent( j edition.This reference guide In addition to being able to choose connection to feed a r to hi-fi and stereo also your favorite FM station manually, or where in your home! includes detailed information on all three ways automatically, the 500 -TX And there's mcr( Fisher components. lets you control speakers throughout stereo tape recorder Fisher Radio Corporation 11-35 45th Road your home. monitor either trac Long Island City,N.Y.111O1 1 You can set up, and control, a center - through both your ste II channel speaker in your main stereo set- special mode/tape n Name up. Plus, you can set up remote stereo And more. The speakers in another room and listen to facilities for the simp Address it just the rernote speakers. Or just the accessory that will ac II City State Zip main stereo system. Or all at the same reverberation effect t( 0207691 11 time. (Ask your Fisher dea Plus, since the 500 -TX delivers an Other features of enormous 190 watts into an 8 -ohm load, There's even mor The Fisher you'll have enough power to feed still an- 500 -TX you should kr other pair of stereo remote speakers. In addition to its PRICFT. SI IGHTLY 111,111 R IN THE EAR WEST. Plus, you can feed a single, remote and versatility, the Do this. Or dothis. Or dothis. Or do this. ,f 14P1 ' 6 11/11 , cc c cc IP I 11:41101,1 yurlsn2niv 'TS "DNII "03 DNIGNIii A:11VMM SEMOG Aq punog State of the art in automatic turntables. Be critical. Motors: 3 types -2 good -1 better

The Induction Motor ... most popular, The Synchronous Motor ...correct The Synchro-Lab MoterTbf... perfect least accurate. Most automatic turn- speed, incorrect choice. At first glance speed, perfect ch Ace. A motor that com- tables are built around induction mo- the ideal turntable motes would seem k bines high staring torque and synchro- tors. Some are given special names be the conventional synchronous type nous speed accuracy has obviously (usually describing their pole structure This rotor never "slips' to affect turning been needed. The Garrard Laboratories or starting torque). When well designed accuracy because it is locked it to tEe designed the Synchro-Lab Motor to and manufactured, they have high start- precise 60 -cycle frequency of the power meet these needs, by combining the ad- ing torque ... get the platter up to full supply. Turning speed cannot vary vantages of loth types of motors. This speed quickly ... and are relatively free when voltage fluctuates ... when room new synchronous motor reaches the cor- from rumble. But, the rotor of the in- and/or motor temperatures change . . rect speed instantly and locks in to the duction motor "slips" in relation to the or when record loads increase. How- 60 -cycle cursent... no matter how the magnetic field and varies the motor's ever, the conventional synchronous mo- power line vdtage varies ... or the tem- speed with changes in power line volt- tor also has its drawbacks. Startirg perature changes . .. or now many rec- age, turntable load and temperature. torque and running power are often tec. ords you play at one time. For the many Under less than ideal conditions, as in low. And, to increase the torque ar_d people whose musical senses are easily your home, these speed changes can power means to increase noise arc distressed by variations in pitch, the raise or lower not just the tempo, but rumble levels ... and involves dispro- Synchro-Lab Motor will be a constant the pitch of your recorded music. portionately high expense. assurance of listening pleasure. There are, of course, other benefits which stem from the Synchro-Lab Motor, notably the elimination of the need for variable controls to obtain proper speed, and of heavy turntables which tend to cause rumble through accelerated wear on the important center bearing over a period of use in your home. The Synchro-Lab Motor powers five Garrards, priced from $59.50 to $129.50 for the SL 95 Automatic Tran- scription Turntable shown above. These units incorporate other Garrard -engineered innovations such as anti -skating compensation; cueing and pause controls; highly advanced, low -mass tonearm systems. Feature -by -feature descriptions of all models are to be found in a com- plimentary Comparator Guide. Let ns send you one. Write Garrard, Dept. AG59, Westbury, N.Y. 11590.

World's Finest StFORMERLY HI FI/STEREO REVIEW ereoReview JULY 1969 VOLUME 23 NUMBER 1

THE MUSIC SERIOUS MUSIC-AND ALL THAT JAZZ! A review of a new book by Henry Pleasants DON Fl ECKMAN 34 THE BASIC REPERTOIRE Updatings and Second thoughts for 1960 MART IN BOOKSPAN 38 THE SANG PRIZE FOR MUSIC CRITICISM Winners Eric Salzman and Michael Steinberg discuss their craft 64 STELLAR COMPOSERS AND MUNDANE ASTROLOGY A disquisition on relations between music and the spheres ROBERT OFFERGELD 68 THE PERSISTENCE OF ELVIS Still with us fifteen years later DON H ECKMAN 112

THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 18 AUDIO QUESTIONS AND ANSWERS Advice on readers' technical problems LARRY KLEIN 22 AUDIO BASICS How Many Speakers? HANS H. FANTEL 28 LABORATORY TESTS OF TWELVE STEREO CARTRIDGES Full reports on current models JULIAN D. HIRSCH AND GLADDEN B. HOUCK 57 INSTALLATION OF THE MONTH "Inspired" Stereo WILLIAM Wol I IM 67 TAPE HORIZONS Live versus Recorded CRAIG SrARK 121

THE REVIEWS BEST RECORDINGS OF TIIE MONTH 75 CLASSICAL 79 ENTERTAINMENT 107 STEREO TAPE 119

THE REGULARS EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 6 GOING ON RECORD JAM s GOODERIEND 30 INTRODUCING THE STAFF: ERIC SAI.ZMAN JAMES GOODERIEND 104 ADVERTISERS' INDEX; PRODUCT INDEX 124

COVER: PHOTO BY BRUCE PENDLETON: DESIGN BY BORYS I'ATCHOWSKY Copyright ©1.969byZiff -Dads Publishing Comnany.Allrightsreserved.Stereo Review, July,1969, Volume 23, Number I.Published monthly at 3(17 North Michigan Ave., Chicago. Illinois 601101, by Ziff -Davis Publishing Company-also the publishers of Airlinehi:in:teen...tit anti Marketing, Boating. Business & Commercial Aviation. Car and Driver. Cycle. Electronics %%Mild. Flying. Modern Bride. Popular Electronics, Popular Photography, Skiing, Skiing Area News, Skiing Trade News, and Travel illeekly. One year subscription rate for U.S.. U.S. Possess oils anti Canada. 80.1111;all other countries. $7.00. Secord El:1,s postage paid at Chicago. Illinois and at additional mailing offices. Authorized as second class mall by the Post Office Department, Ottawa. Canada. and for paynrent of postage in cash. SUBSCRIPTION SERVICE: Forms 3576 anti till subscription correspondence should be addressed to Stereo Review, Circulation Department. Portland Place. Boulder. Colorado 80302. Please allow atleast sin weeks for change of address. Include your old address. as well as new-enclosing If itossibfe an address label from a recent Issue. .4 --CIRCLE NO. 103 ON READER SERVICE CARD 3 FORMERLYStereo HI FI/STEREO Review REVIEW PUBLISHER PHILLIP T. HEFFERNAN EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE MUSIC EDITOR JAMES GOODFRIEND TECHNICAL EDITOR LARRY KLEIN EDITORIALLY SPEAKING ASSOCIATE EDITOR ROBERT S. CLARK THE CASSETTE-GETTING READY ART DIRECTOR BORYS PATCHOWSKY a good part of the staff of this magazine (the first five names in the column ASSISTANT TECHNICAL EDITOR 1 at left, for example), I am what is known as a Moon -child, born under the WILLIAM WOLLHEIM constellation Cancer, a sign whose denizens arc reputed to be home -loving, fond CONTRIBUTING EDITORS of good food and drink, reverent toward the past, sentimental, essentially rather CLIVE BARNES conservative, and, as a result, somewhat resistant to rapid change. Well, all right MARTIN BOOKSPAN HANS H. FANTEL . . . guilty as charged, and it comforts me that I keep good company-Proust, WILLIAM FLANAGAN DAVID HALL Rembrandt, and Franz Schubert, among others. I must say, though, that the last DON HECKMAN JULIAN D. HIRSCH part of it-''resistant to rapid change"-does tend to make life in the fast-moving GEORGE JELLINEK IGOR KIPNIS field of audio rather difficult. But we Cancerians also have a firm sense of duty, PAUL KRESH and it was for that reason that I undertook last month a quick tour of European REX REED PETER REILLY equipment manufacturers and record companies to check on the progress of the ERIC SALZMAN CRAIG STARK latest industry phenomenonthe tape cassette.I had heard from a number of EUROPEAN EDITOR domestic sources the rather alarming (to me) prediction that the cassette would FREDERIC GRUNFELD be the primary format for new releases of recorded material within ten years LONDON EDITOR (how's that for "rapid change"?), and this round of polite industrial spying was HENRY PLEASANTS intended to unearth any corroborating evidence from abroad-where, of course, ADVERTISING MANAGER the concept got its start. JAMES J. SULLIVAN First stop was Hildesheim, Germany, where I was the guest of Blaupunkt, ADVERTISING known in this country principally for its car radios, but also manufacturers of TV SERVICE MANAGER ARM SC. MORAN receivers, home and portable radios, and stereo playback equipment. And last, a ASSOCIATE PUBLISHER number of hurried interviews and innocent questions later, was Swindon, England, LARRY SPORN home of Garrard turntables. The whole trip made a neater package than I had Editorial and Executive Office. till -Davis Publishing Company originally thought it would --what, for example, have a German manufacturer of One Park Avenue, New York. New York 10016 212 679-7200 Michael Lands, Royce Richard car radios and an English producer of record turntables to do with one another? Office 307 North Michigan Avenue, Chicago, Illlnola 60601 The answer is the cassette. Blaupunkt had recently brought out, just in time for 312 726-0892 NlitiwetLern Ads ert sing Nlanager: Royce Richard Western Office the 1969 Hanover Industrial Fair, its first car -cassette unit (mono record, stereo 9027 Wilshire Boulevard Beverly Hills. California 00211 21:3 CRestview 4-0267: BRadshaw 2-1101 playback). And Garrard, when tweaked with the suggestion that they may soon Western Advertising Manager: Bud Dean Japan: James tact, 4, Sakuragaoka. shibuya-ku have reason to make common cause with buggy -whip manufacturers, replied by Ishikawa Mansion Tokyo. Japan Telenhone; 462-2811-3 showing me through their new cassette -player facility, one which at that moment Circulation Office Portland Place. Boulder. Colorado 80302 EDITORIAL CONTRIBUTIONS must be accompanied was busily turning out the mechanical and pre -amplifier sections for-you guessed by return postage and will be handled with reasonable care; however. sapublisher assumes no responsi- bility for return or fety of art work, photography it-Blaupunkt's new car unit. Garrard already has several contracts for its cassette or manuscripts. Member Audit Bureau of Circulations equipment in this country, and further has on the drawing boards a number of improvements, for both mechanical and electronic efficiency, that appear at the moment to be just this side of science fiction. Though Philips, who started it all, has recently had to double the production capacity of all its European prerecorded cassette factories (in Holland, France, England, Spain, and Germany), Igathered from the many record -industry LILL -DAVIS PUBLISHING COMPANY peopleI isstill William Ziff. President talked with that there a good deal of cautious pessimism W. Bradford Briggs. Executive Vice President Hershel B. Sarbin, Senior Vice President coupled with a measure of wait -and -see. This is understandable on two counts: Philip Sine, Financial Vice President Walter S. Mills, Jr., Vice President. Circulation Stanley R. Greenfield, Vice President. Marketing all these companies have enormous investments in disc -pressing facilities, and, ',MIDI, T. Heffernan. Vice President, Electronics Division Frank Pomerantz. Vice President. Creative Services Arthur W. Buttow,Vice President, Production since recorded material comes into being in tape form originally anyway, a switch - Edward D. Muhlfeld Vice President, Aviation Division Irwin Robinson, Vlce' President, Travel Division Furman Ilebb. Administrative Vice President over to cassette production is, though complicated and expensive, less a tooling -up George Morrissey, Vice President Sydney H. Rogers. Vice President problem than that faced by equipment manufacturers. Or perhaps it's just that they have their own Cancerians to deal with.

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The Only Watch Ever to Win Shocker Idare say that certain companies with 10 World's Fair Grand Prizes. 28 Gold Your May cover is a shocking and unfor- tuners in the $700-$1000 range are finding a Medals. Highest Observatory Honors for givable offense to decency and good taste. more restricted market for their sales than Accuracy. Official Watch for World's Any violinist with so wild a bow arm and so Leading Sport Associations. anticipated, because any audiophile would incredible a left-hand wrist position ought think twice before pouring all that money Longines honors are your guarantee not to be permitted on the front of a serious into a tuner to listen to the worn recordings of the finest. The inherited skills musical journal-think of all the young vio- the broadcasters have on hand. of generations of craftsmen in the linists reading your magazine whose minds PAUL TARTELL Longines factory at St. Imier, Switzerland might be corrupted by such a display. But I Roslyn, N. Y. are your bond of quality. Add Longines' was highly pleased by William Anderson's unchallenged style leadership and you editorial,in which, as usual, style,intelli- Cage have the World's Most Honored Watch. gence, and sanity gratifyingly prevailed. In the article on John Cage in the May HARM' WELLS MCCRAW * Longines start at $75; Automatics issue, Richard Kostelanetz says, "pursuing from $95; Ultra-Chrons from Hattiesburg, Miss. the logic of his previous intellectual devel- $120. Creations D'Art to $15,000. opment, Cage took the aesthetic leap that See them at your Franchised Harmonica's Hard Times made his music even more indeterminate in Longines-Wittnauer Jeweler. Iwas most pleased and enlightened to both conception and execution, so that each read Fritz Kuttner's article "The Long Life performance of a piece would he hugely dif- and Hard Times of the Harmonica" (May). ferent from all the others." This follows a The harmonica has been a large part of my mention of a fixed, "permanentform"work life since I made my first public appearance of 1952. The next mention is of a "free, free, on radio at the age of three, winning a con- free" piece of 1957. test for harmonica amateurs. Unfortunately, Mr. Cage himself states, in his own chro- public rejection of this instrument has forced nology of his works and methods, that his me to base my livelihood as a music teacher first"indeterminate" works were done in and entertainer on other instruments. Occa- 1958. Given that it might have been 1957, as sionally, at the club where Iwork,Iwill Mr. Kostelanetz says, there is an interesting play a few light classics on the harmonica, historical -musicological leap somewhere be- but always with the result Mr. Kuttner men- tween 1952 and 1957. tions-the generalattitude seemstobe, Could this leap be connected with the fact "Why waste time and effort on a toy?" This thatin1952Earle Brown wroteseven attitude, I believe, stems largely from the works, the most pertinent to the point being way the public is exposed to the harmonica. December 1952 and a prototype sketch of Sales displays usually setit alongside such 25P.1.C.0entitled 1953? Both of these, as items as the kazoo and the jaws -harp, and far asI and others can determine, are the The Incomparable Ultra-Chron.#8150 the harmonica has also become associated first examples of indeterminate and "open Guaranteed accurate to a minute a month' with comedy and slapstick humor. form'' music, by Cage's own definition of Water Protected to a Depth of 20 Atmospheres 10K gold cap on stainless steel case But the battle for acceptance is slowly be- the word in his book Silence (-composition gilt dial, bold, matching link bracelet $160 ing won. Here in Canada, a few years ago, which isindeterminate with respect to its the Toronto Conservatory of Music finally performance''), allowing improvisation and acceptedtheaccordionasaninstrument free realization on the basis of the graphic worthy of serious music. It won't be long implicationswithanysoundmaterials. now. Would not these seem to be the works which PAI' I. PALACE took the "aesthetic leap"? As Heinz -Klaus

Winnipeg, Can. Metzger has said, "There is . . . reason to \4 remind the public of Brown's early experi- THE WORLD'S MOST HONORED WATCH* FM Transmission mentalpioneerachievementssincetheir Of what value are the magnificent FMglory has been dimmed by Cage's experi- I_OIN GIMES tuners and receivers available to the public, ments which followed right afterward." LONGINES-WITTNAUER WATCH COMPANY with their highsensitivity,low signal-to- SARAH MENEELY Since ta67 Watches of the Highest Character. noise ratio, low distortion values, and other Baltimore, Md. Longines.Wittnauer Building. New York Sold & Serviced In 150 Countries Around the World. fine specifications when so many FM stations transmit their music in such a haphazard LII necessary, will be adjusted to this tolerance by Mr. Kostelanetz replies: "Miss Meneelvi's Longines Jeweler. Guarantee is for one full year. fashion? To haveitplaying over superb quotation of Cage's authority notwithstand- equipment only accentuates die defects of ing (no source is given), 33" (1954) is a the transmission. (Continued on page 8) 6 STEREO REVIEW revolutionary sound Effect Amplifier.

Unique "S.E.A." Sound Effect Amplifier tone control system of models 5001 and 5003 eliminates conventional bass and treble controls. Provides ini:lividual control of the five different frequencies that comprise the total toral spectrum; 60, 250, 1000, 5000 and 15000 Hz.

In systems to be used either independently or simul- ntroducing the striving an solid state 60 watt SEA Ffec,:cnc., C,tro, Ct a,acreosbcs 5001 and 140 watt 5043 AM/FM Multiplex Stereotaneously.Indicativeoftheir unchallenged per- le Tuner Amplifiers, JVC brings the stereo fan a newformance is their refined styling. All controls are _ dimension In stereo enjoyment-the complete con -arranged for convenient operation. The attractive black window remains black when the power is off, trot of sound effects. ow4liiidm.....,., This exciting innovation is made possible throughbut reveals both dial scales and tuning meter when ...... memm...1. the incorporation of a butt -in Sound Effect Ampli-the power is on. For the creative stereo far, the JVC 41111111KVAL. fier (S.E.A.), a versatile component that divides the5001 and 5003 are unquestionably the finest medium outdo range into five different frequencies.It en-and high powered receivers available today. ables the 5001 and 5003 to be tailored to the acous- :1411.44111\11,...Aril How the SEA System Works Lcal characteristics of ary room or to match the 10, sound characteristics of ary cartridge or speakerGlance at the two charts appearing on this page. In system, functions that were once reserved for ex-looking at the ordinary amplifier frequency charac- Ordonary e'regency Cha ac ter,si,c pensive studio equipment. But even without theteristics where only bass and treble tone controls S.E.A. system. the 5001 and 5003 would beare provided, you can see how response in all fre- outstanding values. They offer Improved standardsquency ranges at the low and high levels Os clipped in FM sensitivity and selectrrity by utilizing the latestoff. Compare this chart with the one showing the FET circuitry with lour IF limiters in the frontend ofSEA frequency response characteristics. and the the 5001 and five in the 5003. They both deliver adifference is obvious. No clipping occurs in the SEA wire 20 to 20,000Hz power bandwidth while holdingsystem. It offers run control of sound in 60,250,1,000, distortion down to less than 1%. They feature com-5,000 and 15,000Hz frequency ranges from -10 to oletely automatic stereo switching with a separation+10db. For the first time ever, you have the power "figure of better than 35dB. They allow two speakerto determine the kind of sound you ward to hear.

For aed,t oval informa:ion and a copy of our new full color catalog write Dept. SR: WC America, Inc., A subsidiary of Victor Company of Japan, Ltd., c/o Delmonico International Corp. 50-35 56th Road. Maspeth. N. Y. 11378, Subsidiary of Elgin National Industries, Inc

Mar ufact red by Victor Company of Japan, Ltd. CIRCLE NO. 32 ON READER SERVICE CARD JULY1969 7 thoroughly indeterminate work; so isMusic for Piano, 4-19( 1953), among other pre - 1958 pieces. There is indeed a case to be made for the work of Earle Brown, but Miss Meneely could do more for her cause by con- centrating on him, rather than sniping at Mr. Cage and his admirers." In Richard Kostelanetz's article on John Cage, he says that Time Records' recording of Cage'sAriaand Foni.m., Mix (S 8003) has been deleted from our catalog. Please be advised that this recording, and several others which contain the works of John Cage in our Contemporary Sound Series,arestill available. CHET WOODS National SalesManag, ;- Time Records, Inc. New York, N. Y. To Amplify or Not to Amplify?

In your April issue, in the article -Electro- Awustics i the Concert Hall," you printed excerpts from two New York Tinter pieces, by Henry Pleasants and Harold Schonberg, on whether or not to amplify singing voices. Over the years I have become an enthusiastic partisan ofthegreatmajorityof Henry Pleasants' ideas on music, especially the controversial ones. This question of amplifica- tionis,to the best of my recollection, the one time 1 have ever seriously disagreed with him. Do you recall Nino Martini in the movies? He sounded likeaserious competitor of Gigli. As it turned out, he had a good top, but was justa charming tenorino whose voice, through amplification, took on enormously impressive dimensions. The same was true of a chap who sang in a film with Grace Moore-Michael Bartlett. They did theBohivneduet, as I recall, and he sounded like a cross between Caruso and Fleta. Of course he was nothing of the kind. It isn't merely the volume of the voice which is affected by amplification. Certain voices,if they are cleanly produced and forward, are helped by the building up electronically of the natural timbre. In other words, it's not just thesizeof the voice that is affected. A truly fine singer never sings at the top of his voice. There is always something to spare.Itisa matter of technique. But in high and/or dramatic passages there isal- ways an inevitable tension-not to be confused with forcing-and no amount of amplification can obviate the needtoreally, -give- at such moments. If one gives less voice in the belief that the difference can he made up by the mike, then there is an inevitable drop in artistic intensity, in ''thrill.'' As far as phrasingisconcerned,a fine artist always pays attention tothiscritical

aspect of the vocal art. I question whether a singer with a small voice will phrase any better when he is helped by amplification if he is notartisticallymotivated to do so. Being able to give less voice can, in cer- taincases,help good articulationofthe words. But then, many great singers got their words out in spite of pouring out big sound Quality stereo in high gear.Shift up to the sound of the Blaupunkt -Caruso, Flagstad, Tibbett, Thomas, Frankfurt stereo car radio, and enjoy the ultimate in stereo sound tailored to your Peerce, Gedda, Farrell. And then what do individual taste. It's an automobile radio that combines AM/FM stereo with con- you do duringa stage performance when venient push -buttons, and blends beauti'ully into the instrument panel. Get the you have several singers with voices of dif- details on the complete line of Blaupunkt car radios and auto/portables. See your ferent sizes? Must you cast either all large unamplified voices or allsmall beefed-up Blaupunkt dealer or write to Robert Bosch Corporation, 2800 South 25th Avenue, voices? Broadview, Illinois 60153. New York Chicago San Francisco (Continued on page 1 =0 CIRCLE NO. 9 ON READER SERVICE CARD 8 STEREO REVIEW Why didover 4million record collectorspay$5 to join ANNOUNCING... SPECIAL INTRODUCTORY Record Club of America HALF-PRICE MEMBERSHIP when other record or tape clubs ONLY $2.50 would have accepted them free? MAIL COUPON BELOW TODAY! compare / Columbia COMPLETE TAPE SERVICE AT NO Columbia Capitol RCA Victor Stereo Tape Record Club Record Club Record Club Cartridge Cubs/ as advertised (as advertised(as advertised Service RECORD CLUB OF AMERICA and see in Stereo Review in Look in N.Y. Times (as advertised April 1969) Feb. 4, 1969)Feb. 16, 1969) in Playboy 79%_ PRICES AS May 19691 LP DISCOUNTS TO CAN YOU CHOOSE FROM Choose any LP or tape LOW AS99 PER RECORD! ALL LABELS? on any label! No excep- Lions! Over 300 differ - Typical all -label " xtra Discount" sale LP's OR TAPES, manufacturers INCLUDING NO NO NO NO YES! ent BUDGET SERIES AT 1/2 PRICE CARTRIDGE, includingCapitol, Co - $ .99 CASSETTE AND lumbia, RCA Victor, An - Frank Sinatra Petula Clark Glen Campbell REEL -TO -REEL gel, London, etc. Nat Cole Dean Martin Dave Brubeck TAPES? Jack Jones John Gary and others... MUST YOU BUY No obligations!No A "MINIMUM" yearly quotaTake as BUDGET SERIES AT 1/2 PRICE $1.25 NUMBER OF NONE! many, as few, or not!). Wooc'ie Guthrie Oistrakh Richter Callas RECORDS OR 11 10 4 3 ing at allif you so de TAPES? tide! Roc McKuen Tebaldi Steinberg Krips HOW MANY? Peter Seeger Munch Casals and others... HOW MUCH You don't have to spend BEST SELLERS AT 1/2 PRICE $2.49 MUST YOU $43.78 $39.80 19.92 zEpn a penny-because you're SPEND TO -- not "legally obligated" Herb Alpert Simon & Garfunkel Ramsey Lewis FULFILL YOUR TO TO TO $27.80 DOLLARS tobuy even a single Belafonte Supremes Mamas & Papas LEGAL $54.78 $49.80 $23.92 record or tape! OBLIGATION? The Cream Eddie Arnold Monkees and others... CAN YOU BUY Your discoi.nt up to plus from 50% toashighas 79% discount on ANY RECORD 79% OFF.Guaranteed famous obels: RCA Victor, Capitol, Columbia, Decca, OR TAPE YOU Liberty, MotoNn, Elektra, Vanguard, and others. NO NO NO NO ALWAYS!never less than a third! WANT AT A No exceptions! DISCOUNT? There are no cards TAPE DISCOUNTS- 331/3% -ALL LABELS DO YOU EVER which you must return. Cartridges, Cassettes and Reel -to -Reel RECEIVE Only therecords and UNORDERED YES YES YES YES NEVER!tapes you wait are sent * Choose any LP or tape * Every record and tape RECORDS OR -and only when you ask TAPES? on any label! No excep- brand new, first quality, us to send them. tions! Cartridges and factory fresh-and guar- HOW LONG cassetes included! anteed fully returnable! MUST YOU 5 to 6 5 to 6 5 to 6 NO LONG Yourorderprocessed WAIT FOR 5 to 6 same day received. No * No "quotas" to buy. * All orders shipped SELECTIONS weeks weeks weeks weeks WAITS! shipping on cycle. Take 0 records or tapes same day received -no TO ARRIVE? or 100! long waits! * Save! Discounts up to * No "hold back" on 79%! Prices as low as exciting new records and AT LAST A RECORD CLUB WITH NO "OBLIGATIONS"-ONLY BENEFITS! 99C per LP! tapes! This is the way you want it-the BEWARE ... pen with check or money order World's largest Master Catalog of only record and tape club with no Of -.rmtationall label" clubs -NOT for regular $5.00 fee-but For example. Records Unlirnded available LP's to choose from when strings attached! Ordinary rec- secretly owned by Columbia only HALF THAT PRICE ... FREE! ordortape Records. They don -t send a Trnas clubs make you er CF. catalog- with all labels fwe just$2.50. You SAVE $2.50. you join Record Club of America choose from just a few labels- send one wah over 15.000 listingsThis entitles you to LIFETIME on all labels) The, announcements Lists over 15,000 available LP's on all labels! Clas- usually their own! They make stress Columbia products and they MEMBERSHIP-and you never sical-Popular-Jazz-Folk-Broadway & Hollywood you buy up to 12 records or tapes pay another club fee. 5','Irergl=nCi'r"tTfent'lhecronVpIr4 sound tracks-Spoken Word-Rock and Roll-Comedy a year usually atfull price-to tell.ng us what labelr to push and Look What You Get -Rhythm & Blues-Country and Western-Dancing- fulfill your obligation. And if you mere rsany ,;;;,. =roller,Lifetime Membership Card- Listening-Mood! No Exceptions! forgettoreturn their month), any tape at all, So beware of nn. card-they send you a record or record or, still the only rna.or guarantees :Jou brand new LP's Master Tape Catalog of available car- record and tape club NOT OWNED and tapes at discounts up to 79% tape you don't want and a ball OR CONTROLLED BY any record tridge, cassette and reel-to-reel tapes for $4.98, $5.98 or $6.95! In ef- or tape FrianUfaCturer ... Never less than 1/3 off. FREE!sent on request at no extra member- fect, you may be charged almost double for Free Giat t Master Catalog - lists available ship fee. your records and tapes. LP's of allabels! Over 15,000 listings! Also, But Record Club of America FREE Master Catalog of Tapes sent on r RECORD CLUB OF AMERICA X917...1 Ends All That! request. We're the largest and only all label record Disc Guide-The Club's FREE Magazine, Club Headquarters, York, Pa. 17405 and tape club in the world. Choose any LP and special Club sales announcements which 0 Yes Rush me lifetime Membership Card, Free Giant Master or tape, including cartridges and cassettes bring you news of just -issued new releases Catalog(s) (check box below) and Disc Guide at this limited .on any label... including new releases. and extra discount specials. Special Introductory Half Price membership offer. I enclose No exceptions! Take as many, or few, or no Guaranteed Same -Day Service -NOT the regular $5.00 membership fee-but only $2.50. selections at all if you so decice. Discounts Record Club of America's own computer (Never another club fee for the rest of my life.) This entitles are GUARANTEED AS HIGH AS 79% system ships order same day received! Every me to buy any LP's and Tapes at discounts up to 79% plus a OFF! You never pay full -price! You get best record brand new, fully guaranteed. small mailing and handling charge.I am not obligated to buy sellers for as low as 99c, plus a small han- any records or tapes-no yearly quota. If not completely de- dling and mailing charge. Money Back Guarantee lighted I may return items above within 10 days for imme- How Can We Break All Record If you aren't absolutely delighted with our diate refund of membership fee. and Tape Club Rules! discounts (up to 79%)-return items within We are the only major record and tape club 10 days and membership fee will be re- Send Master LP Catalog CI Send Master Tape Catalog NOT OWNED ...NOT CONTROLLED ... funded AT ONCE! Join over one million Also send Gift Membership(s)at $1.00 each to the budget wise record and tape collectors now. names on attached sheet. Indicate master catalogs required. NOT SUBSIDIZED by any record or tape Mail coupon to: Record Club of America manufacturer anywhere. Therefore, we are I enclose Total of $ covering one $2.50 Lifetime never obliged by company policy to push Club Headquarters, York, Pa. 17405 Membership plus any Gift Memberships at $1.00 each. any one label, or honor the list price of any manufacturer. Nor are we prevented by dis- Your $2.50 membership fee entitles you to buy or offer gift memberships to friends, Print Name tribution commitments, as are other major relatives, neighbors for only $1.00 each record or tape clubs, from offering the very withfullprivileges. You cansplitthe newest records and tapes. total between you-the more gift members Address Join Record Club of America glow and take you get-the more you save! advantage of this special INTRODUCTORY State lip HALF PRICE membership offer. Mail cou- 38 (d) 1969 RECORD CLUB OF AMERICA, INC. L City CIRCLE NO. 42 ON READER SERVICE CARD JULY 1969 stereo receivers"Sansui? Oh, they make the yes, in the world"... greatest Sansill 350 46 watts S199.95 -

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CIRCLE NO 46 ON READER SERVICE CARD JULY 1969 13 No, hereIsubscribe to all that Harold to the New York Times, was talking about opera singers) to sing differently, certainly Schonberg says. Except the business about popular singers, prompted by Harold Schon- to produce their voices differently.It'sa Barbra Streisand. It is through the drive and berg's suggestion that what makes Barbra lighter production and, in the good ones, intensity of her singing that you can judge Streisand is a mike. If that were trite, any more forward, which probably accounts for hether her voice carries well -and it does. girl with healthy pipes and a microphone their superior enunciation and may well An electronically beefed-up Dinah Shore or could be a Barbra Streisand. It may well be serve good phrasing. And being bred to the Doris Day can become as loud as Streisand, that it's the mike that makes a Barbra Strei- mike, they use it better than opera singers but the basic oomph is missing. sand possible -or a Crosby, a Sinatra, an do, exploiting it rather than offering their GEORGE LONDON Andy Williams, or a Billie Holiday. But it voices for exploitation. Frank Sinatra, in an Artistic Administrator doesn't make a Barbra Streisand. That's all article "The Secrets of My Success" for Life J. F. Kennedy Center God, musical and artistic sensibility, a com- magazine, wrote: 'Many singers never unfor the Performing Arts municative instinct, and a lot of hard work. derstood, and still don't, that a microphone Washington, D. C. Come to think of it, was Barbra amplified is their instrument. .. Instead of playing a when she was singing in I Can Get It for saxophone, they're playing a microphone.' Mr. Pleasants replies: "I'm happy to as- You Wholesale? "My own guess, if I may revert to my sure my old friend George London that we "But there is an element that Mr. London, normal controversial self, is that the operatic don't disagree at all.11''e are talking about I think, overlooks. The fact of the micro- style of vocal production will die with opera. different things. He is talking about opera phone, and its potentiality both as auxiliary The microphone renders it obsolete. Opera singing, and is talking sense. I, in my letter and critic, has prompted singers (excepting will be with us for another generation or so, maybe longer, and as long as itis,I side with George London and Harold Schonberg inoptingfortheunamplifiedvoice -in opera! But even granting amplification, as we must in moving pictures, TV, and rec- uniCLUB ords,does Mr. Londonreallyremember saves you more Nino Martini sounding like a compititor to Gigli, or Michael Bartlett suggesting a class on more of what you want! between Caruso and Fleta? 1 don't." English Music and American Conductors RECORDS TAPES STEREO GEAR BOOKS Iwas delighted that William Flanagan found Leonard Bernstein's recording of the logrziol :Y./17. 9 I -1*--111 Vaughan Williams Fourth Symphonyan 4 to -electrifying"performance(February).It comes very near to achieving the hectic, exhilarating vitality of the composer's own 78 - Here are10 factsabout uniCLUB.uniCLUB supplies hi -fidelity equipment of vir- rpm version, which dates from 1937, and They are 10 reasons to clip the cou-tually every manufacturer at tremendous sav- gives the lie to the unfortunate belief, held pon and join now! ings. This month's "Hi-Fi Special" is a Garrard only too widely in England, that foreign SL95 turntable; List 5129.50, to members only conductors cannot do justice to English mu- S 83 00 9. BOOKS OF ALL PUBLISHERS sic. Mr. Bernstein's compatriot Andre Previn 1. Any LP or tape on every U.S. or foreign The Book Division -only uniCLUB has it -of- has been doing sterling work (with the Lon- label available. Columbia -Capitol -RCA -fers members at least 25% off on any book in don Symphony Orchestra) on the Vaughan London & 350 more. No exceptions. print.* You get only original publishers' edi- Williams symphonies, and it will be inter- 2. You save a minimum of 35% on LP's; 33%tions. uniGUIDE listsbest-sellers,just -pub- esting to compare his version of the Fourth, on tapes and 25% on books. lished works and book "Specials." *Texts are reduced 10%. which he recorded recently in London, with Mr. Bernstein's. LP's LIST uniCLUB 10. FOUR CLUBS IN ONE uniCLUB is really a time-saver. It makes join- I can only hope that these issues will be $1.98 $1.35 ing many clubs unnecessary. Now you can buy successful enough for the American compa- 2.98 1.95 all your records, tapes, auto -cartridges, books nies to consider recording some more English 3.79/98 2.49 and stereo -gear from one convenient source. works. Above all, there still remains unre- 4.79/98 3.09 We hope you'll join today! 5.79/98 SAVE MONEY EVEN ON YOUR corded the stupendous -Gothic" Symphony 3.79 MEMBERSHIP FEE of Havergal Brian, whose catalog includes Give gift memberships with full lifetime privi- thirty-two symphonies, more than any other 3.You can save even more by taking advan-leges for only $2.50 each. Splitting the cost with tage of the regular extra discount "Specials."one other person lowers cost to $3.75; enrolling composer has written in this century. The Save up to 80% off list price. Right now, forfive at a time brings cost down to only $3 each. -Gothic- is the largest symphony known - example, the entire RCA Red -Seal catalog is bigger than Mahler's Eighth -and calls for $2.75 mono; $3.25 stereo. The Vox $4.98 seriesrSendmy Free Schwann catalog; order a vast choir of adults and children, four so- is $1.75 mono and stereo. loists, four brass bands, and an enormous 4.Never a requirement to buy. No monthly blanks & uniGUIDE by return mail. "stop -order" forms to return. You receive just $5 enclosed guarantees me: orchestra with a percussion section including what you order. 1. LIFETIME MEMBERSHIP in uni- chimes, chains, a thunder machine, and bird CLUB scares! 5. LIFETIME MEMBERSHIP 2. 35%-80% savings on LP albums, 1/2 off The club membership fee is $5. This is for life- on tapes, 25% on books. EDWARD JOIINSON time privileges which are increasing all the time. 3. No requirements ever to buy anything. London, England 6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. Members regularly receive "uniGUIDE" advis- I must be delighted with uniCLUB or within Record Clubs ing them of the latest releases, recommended 30 days I will let you know and receive a William Anderson's editorial in the April best -buys and extra discount "Specials." When full refund. you join you receive a free 300 -page Schwann issue must have been read with interest by record catalog listing every available record many. Hardly a month goes by,itseems, and its price. You receive a free Harrison tape uniCLUB Inc.. without aletter tothe editor complaining catalog if you specify. 730 5thAvenue Dept. HS 79 7. FASTEST SERVICE ANYWHERE NewYork,N. Y. 10019 about high prices for discs of poor quality. Your orders are not only processed but shipped And Mr. Anderson's remarks hit directly at the same day we receive them. This unique serv- NAME a second of our -the record -buying public's ice is possible because your orders are picked -prob!ems: where can we get what we want from an inventory of over 250,000 LP's & tapes. ADDRESS when we want it? His praise of King Karol You get factory -new sealed albums and tapes CITY only. Defects are fully returnable at no charge. STATE ZIP is certainly justified, but even they cannot I=1 Send giftmemberships at $2.50each to names put a i'friendly local" within reach of every 8. SAVE UP TO 50% ON and addresses listed on attached sheet. STEREO GEAR DI am also interested in pre-recorded tapes. j potential record buyer. The only solution, Individual components or complete systems- (Continued on page 16) CIRCLE NO. 59 ON READER SERVICE CARD 14 STEREO REVIEW There's a lot more en.ovment coming your way magnetic phon3, tape moritcr and auxi iary. Out- 'noir the brand new Pioneer CUTPERFORMERS standing sensilivi-y. Music power is a scud 40 naffs Vie are introducing an e

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POWER os PIONEER West Coact Regional Office: 1335 West 134th St. Gardena, Calif. 90249 (213) 323-2374 and 321-1076 In Canada: SH. Paker Co. Ontario CIRCLE NO. 39 ON READER SERVICE CARD JULY 1969 15 Another though fault it has, is for us to buy our rec- Sorry, Wrong Number! KING KAROL ords by mail, which, as Mr. Anderson point- David Hall's endorsement of the Karajan ed out, is becoming more prevalent. recording ofBruckner's Ninth Symphony Mail Order Special! NONA May I suggestthat STEilEo REvIEW plan (February)led me to send away immedi- an article discussing the relative merits of THE ENTIRE MOVIE ,f(i(14,4149,), ately for thisrecording. The record ire- the various mail-order record dealers, such ceived, however, was afinerenditionof SOUNDTRACK and as the all -label clubs (Iiniclub,RecordClub Schubert's Eighth and the overtures Leono,e ORIGINAL B'WAY CAST of America, etc.), the big -name clubs (RCA, 111 and Corio/an by Beethoven. This was Columbia), and the non -club dealers such as Deutsche Grammophon SLPM 13900I. the RECORD SERIES X. King Karol ? Many of us would appreciate number David Hall usedtoidentifythe Reg. $5.98 such anarticle,sinceitcould inform us Bruckner Ninth. and $6.98 where we could get the most reliable and ROBERT P. HonAN economical service. New Bedford, Pa. NOW ONLY....'4"EACH GARY L. ROOT GAO WW1( Marshall, Mich. 1Ve apologize for the error, and are re- [HI- GOOD Ihrisissm. lieved that Mr. Hogan 'del what he got! DEBADi ivessisa Ire have tried to "plan" such an article HE DM,. many times, but have been repeatedly foiled Flanagan Fancier

by the impossibility of making it really help- I want to thank William Flanagan for MUP'xciopko vro ful. If we were, for example. to set up a his many fine and helpfulrecordreviews, dummy name and address, join eve') club. which often lead to my best buys. I have just and order a mess of records, of what worth gotten the Desto recording of his songs and would the experience thus gained be to oth- cycles, as well as the same label's Rorem re- CHECK ALBUMS DESIRED AND SEND ers?lVe might be very lucky and receive 100 NOW WITH REMITTANCE AND COUPON lease, which Flanagan reviewed (March), The Vikings UAS-5003 per cent service, prompt and errorl:ss, on and both are delightful. The Big Country UAS-5004 Never On Sunday UAS-5070 everything we ordered; or we might well DUNCAN FRASER Phaedra UAS-5102 strike out on all counts. The results would Mondo Cane UAS-5105 Johnstown, N. Y. The Great Escape UAS-5107 depend on what we ordered, :then, and the Dr. No UAS-5108 Irma La Douce UAS-5109 condition of the mails and the bookkeeping Reissues It's A Mad. Mad, Mad, Mad World UAS-5110 Tom Jones UAS-5113 efficiency of the clubs at the time (both are In regard to the World Series recording D From Russia With Love UAS-5114 The Seventh Dawn UAS-5115 subjtc/ to change). Geography is also a lac- of the Kodaly First String Quartet performed Goldfinger UAS-51 17 tor, and together with the other important Topkapi UAS-5118 by the Roth Quartet, I believe this recording How To Murder Your Wife UAS-5119 variable makes even assessment difficult, let wasfirst The Greatest Story Ever Told UAS-5120 announcedin1951as Mercury E What's New Pussycat (Bacharach) UAS-5128 alone pi./ction. 10146. It is unfortunate that Mercury is not The Knack UAS-5129 0 A Race To Live UAS-5130 more scrupulous about identifying the pro- 17 Billie UAS-5131 Group Listening Thunderball UAS-5132 venance of its World Series releases. Reissu- Anya (Orig. Broadway Cast) UAS-5133 William Anderson's editorial on group Tom Jones/Irma La Douce UAS-5134 ing at these prices isa fine idea, but other O Viva Maria! UAS-5135 listening in the February issue was particu- companies are more straightforward about Lord Love A Duck UAS-5137 0 Cast A Giant Shadow UAS-5138 larly interesting to me, because i have been what they are offering. D Duel At Diablo( lierti) UAS-5139 Khartoum UAS-5140 playing records for small groups in my home REV. JEROME F. WEBER Africa Audio UAS-5141 for twenty years. My recipe is simple: choose The Russians Are Coming UAS-5142 Syracuse, N. Y. Hawaiii E. Bernstein UAS-5143 people who are genuinely interested in clas- Funny Thing Happened -Way To ForumUAS-5144 The Fortune Cookie UAS-5145 sical music and turn the lights off. Ihave According to a Mercury Records represen- Return Of The Seven (Bernstein) UAS-5146 A Man And A Woman UAS-5147 had as many as twelve guests in my living tative. Mr. nber is absolutely right about After The Fox UAS-5148 room, though usually we are eight. Iplay The Way West UAS-5149 the Kodaly recording-it is a reissue. and is King Of Hearts UAS-5150 not more than four compositions, with a chat How To Succeed In Business UAS-5151 electronic stereo. Although itis Mercury's Marat/Sade UAS-5153 about the music, or the arts in general, be- policy, as it is that of most record companies, You Only Live TwiceI Barry 1 VAS -5155 Eight On The Lam UAS-5156 tween numbers. And when the music is on, to comply with the FTC ruling that demon- OThe Birds, The Bees And The ItaliansUAS-5157 17 The Corrupt Ones UAS-5158 my guests are as quiet as mice, obs ioi.sly ab- ically reprocessed discs he clearly labeled as The Honey Pot UAS-5159 sorbed.Ihold a musical evening once a 7 In The Heat Of The Night(Q. Jones)UAS-5160 such- -vide the recent reissues on the lrorld E The Whisperers UAS-5161 month during the winter, and itis only the Series label of Mozart's Zaide, Gluck's Or- niTriple Cross UAS-5162 Divorce American Style VAS -5163 lack of comfortable seating space that pre- phee and others-the Kodeily recording man- niLive For Life UAS-5165 n Hour Of The Gun VAS -5166 vents me from inviting all those who at one a,ged to get part all the checkpoints without n Up The Down Staircase UAS-5169 time or another have been my guests and 7 The Penthouse UAS-5170 being identified as a stereo "impostor." F Battle Of Algiers UAS-5171 who, I am sure, would be glad to come more 7 The Good, The Bad, And The Ugly UAS-5172 ElFitzwilly UAS-5173 often. A typical program. Beethoven's Quar- Chagrin 7 Billion Dollar Brain UAS-5174 tet, Op. 132; Kodaly's Sonata for Cello and n Here We Go Round The Mulberry BushUAS-5175 I do not wish to he impolite, but never- D The Scalphunters UAS-5176 Piano, Op. 4; and D\ or.ik's Symphony No. ElCharge Of The Light Brigade UAS-5177 theless Idefinitely wishtovoiceacom- OHang 'Em High UAS-5179 2.I'd be delighted to have Mr. Anderson plaint. On George Jellinek's recommenda- 171 House Of Flowers(B'way Cast) UAS-5180 OYours, Mine And Ours UAS-5181 join us. tion in his -Essentials of an Opera Library" OThe Thomas Crown Affair UAS-5182 Wt. B. HOLLIDAY 01We Still Kill The Old Way UAS-5183 (December) I purchased the London record- El A Man And A Woman(English) UAS-5184 K4mloops, B. C., Canada ORevolution UAS-5185 ing of Don Giovanni and found to my cha- 17 Inspector Clouseau UAS-5186 O Salt And Pepper VAS -5187 grin that a libretto was not enclosed with the OChitty Chitty Bang Bang UAS-5188 The Editor replies :I"Delighted! better records. OThe Big Gundown VAS -5190 O The Night They Raided Minsky's UAS-5191 with the lights out." Gentlemen, Itrusted Mr. Jellinek's judg- riBuona Sera Mrs. Campbell VAS -5192 OIlya Darling UAS-9901 ment and that ofthe editors of STEREO OPromises, Promises VAS -9902 The Stone Flower REVIEW.Ifitisnotpossible totrustthe FREE Shipping Anywhere in USA, APO & FPO Addresses! (Add 15% for Foreign Shipments- In reviewing excerpts from Prokofiev's quality of your periodical, please do not con- Min. charge $1.50) Send check or M.O. score for the ballet The Stone Flower ( Jan- tinue to publish it. uary),EricSalzmanraisedthequestion WERNER K. OSTMANN KING KAROL RECORDS DEPT SR -7 whether Prokofiev had also composed the Providence, R. I. P.O. Box 629, Times Sq. Station, New York, N.Y. 10036 score fora Russian film by the same title Enclosed find $ Send to: and whether there was some connection be- We're impressed with the strength of Mi. NAME tween the film and the ballet. According to Ostmann'sconvictions-otherreadersask ADDRESS the May 51,1947, issue of The Monthly only that we cancel their subscriptions, But CITY STATE ZIP Film Bulletin of the British Film Institute, we are certain that the omission of a libret- *N.Y. State residents please include local Sales Taxes the music for the film The Stone Flowerto was the resultof a lapse in London's OUR RETAIL STORES STOCK EVERYTHING! was composed by L. Schvarts. quality control, and that the company :till WEST SIDE EAST SIDE KURTZ MYERS gladly send Mr. Osimann a copy if he writes 111 West 42 at 6th Ave. 940 3rd Ave. at 57 St. Detroit, Mich. to them and asks for one. CIRCLE NO. 35 ON READER SERVICE CARD 16 STEREO REVIEW "The tracking was excellent and distinctly better in this 08 BO DD respect than any other cartridge wehave tested,,The frequency response of the Stanton 681EE was the flattest of the cartridges tested, within ±1 dB over most of the audio range."

From the laboratory tests of eleven cartridges, conducted by Julian D. Hirsch and Gladden B. Houck, as reported in HiFi/Stereo Review, July, 1968.

To anyone not familiar with the Stanton You don't have to be a professional to 681, this might seem to be an extraordinary hear the difference a Stanton 681 will make in statement. But to anyone else, such as profes- your system, especially with the "Longhair" sional engineers, these results simply confirm brush that provides the clean grooves so essen- what they already know. tial for flawless tracking and clear reproduction. Your own 681 will perform exactly the The 681EE, with elliptical stylus,is same as the one tested by Hirsch -Houck. That $60.00. The 681T. at $75.00. includes both an is a gmarantee. Every 681 is tested and mea- elliptical stylus (for your record0 sured against the laboratory standard for fre- and an interchangeable conical sty- quency response, channel separation, output, lus (for anyone else's records). For etc. The results are written by hand on the free literature, write to Stanton Mag- specifications enclosed with every 681. netics, Inc., Plainview, L.I., N.Y.

CIRCLE NO. 55 ON READER SERVICE CARD JULY 1969 17 NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

Electro-Voicehas introduced arm set -down is determined automatically, and the arm two new "Musicaster"portable will not lower onto the turntable unless a record isin outdoorspeakersystems.Both place. The cartridge shell has a manual adjustment for units, the Model IA (shown) and vertical -tracking angle to compensate for the number of theModel HA useglass -filled records on the turntable. Price: S99.50. An optional wood polyester enclosures housing a1 2 - base (shown) is S. A dust cover is also available for$7, inchwide -rangespeaker.The and an automatic 45 -rpm spindle is $4.95. speakerissilicone treated and a Circle 147 on reader service card 1/4 -inch "Acoustifoam" barrier between the speaker and the grille provides additional weath- Craigis offering a free illustrated folder covering its erproofing. Both units have an 8 -ohm impedance and a line of audio products. Included are portable andcom- power -handling capacity of 30 watts. Frequency response ponent reel-to-reel tape recorders, mono and stereo cassette of the IA is 80 to 10,000 Hz, and the IIA has a response recorders, home and automobile tape -cartridge players, and of 80 to 16,000 Hz. Weight is about 30 pounds. Prices: tape recording accessories. Pictures, descriptions, and prices Model IA, 569.90; Model IIA, $88.50. of all the items are included. Circle 145 on reader service card Circle 148 on reader service card

Kenwood has introducedthe Model KR -100 AM/ Pioneerhas announced the CS -4I stereo FM receiver, rated at 110 watts total music power two-way speaker system. The drivers (IHF )into 8 ohms. The continuous -power output, both are an 8 -inch air -suspension woofer and channels driven, is 66 watts into 8 ohms. Other amplifier- a21/2 -inch cone tweeter; the crossover section specifications include less than 0.5 per cent har- frequency is 2,500 Hz. Overall frequen- monic distortion and less than 0.5 per cent intermodu- cy response of the system is 35 to 20,000 lationdistortionatrated power output. Power band- Hz. Maximum power -handling capacity width (THE) is 18 to 30,000 Hz. Signal-to-noise ratios are is 25 watts; amplifiers rated at 10 watts -60 dB at the magnetic-phono inputs, and -70 dB at the per channel can he used. The oiled -wal- auxiliary inputs. FM sensitivityis1.8 microvolts (IHFH nut enclosure measures 19 xIIx 91/, The capture ratio is 2.5 dB, FM signal-to-noise ratio is 60 inches and has a wood -lattice grille over a dark brown grille cloth. Price: $67.50. Circle 149 on reader service card Epicure Productshas brought out its first product, the EPI Model 100 bookshelf speaker system. The drivers are an 8 -inch acoustic -suspension woofer crossing over at 1,800 Hz to a1 -inch tweeter. Overall frequency response of the system is 40 to 18,000 Hz ±3 dB. Minimum recom- dB, FM harmonic distortionislessthan 0.5percent, and stereo separation is 35 dB.

The controls include five pushbuttons for high- and low- frequencyfilters,interstation-noise muting, tape monitor,

and loudness compensation. There is a six -position input- selectorswitch, a five -position mode selector,volume, balance,a combined power/speaker-selector switch, and separate bass and treble controls for each channel. There are front -panel jacks for a pair of stereo headphones and for connecting a second tape recorder. There are separate mended amplifier power is18 watts; maximum power - preamplifier -output and power -amplifier input jacks on the handling capacityis60 watts. Dimensions of the oiled rear panel. Overall dimensions of the receiver are 161', x walnut enclosure are 9 x 11 x 21 inches. Each speaker 121/t x 51/2 inches. Price, including a walnut -grained metal comes with a graph of its frequency response and a ten- cabinet: $299.95. year warranty. Price: S109. Circle 146 on reader service card Circle 150 on reader service card

Elpa Marketinghas added RCAhas augmented its "Starmaker- line of dynamic the Model PE -2018 toitsim- microphones with six new models, three with cardioid pick- ported line of Perpetuum-Ebner up responses and three omnidirectionals. All six micro- automatic turntables. The three - phones come with cables and holders, and are packed in speed unit(331'3,15, and 78 attache -type carrying cases. Five of them are of dual -im- rpm )has a single lever to con- pedance design, which permits switching from high (15,000 trol both the turntable operation ohms) to low (200 ohms) impedance by rotating the five - and tone -arm cueing. Specifications include flutter and wow pin connector. The exception is the HK -105, which has a of 0.01 per cent and rumble of less than dB (both by fixed impedance of 200 ohms. The HK -105 has a frequency theDINstandard). A pitch control permits varying the response of -0 to 12,000 Hz. Itis made of die-cast metal, speed by ±3 per cent.Anti -skating compensation isset weighs 5 ounces including the 10 -foot cable, and measures automatically when the tracking force is established. Tone continu (»!/,d,(c20) 18 CIRCLE NO. 51 ON READER SERVICE CARD -Ow ThenewSony savings plan: '119.50

Four -Track Stereophonic and Mono- phonic Recording and Playback. Seven- inch reel capacity provides hours and hours of stereo enjoyment. Stereo headphone jack for private listening. A Really Spectacular Buy. The new solid- Automatic sentinel shut-off. Two VU state stereophonic Sony model 252-D meters. Pause control. Three -digit tape is loaded with exciting quality features counter. Record interlock. Separate including sound -with -sound! Hand- record selector buttons. Vertical or somely mounted in a low profile walnut horizontal operation. wood cabinet. Here is the most tape deck recorder for the money. And it's a Sony! Non -Magnetizing Record Head. Head magnetization Scrape Flutter Filter. Special build-up-the most com- precision idler mechanism mon cause of tape hiss- located between erase and has been eliminated by an record/playback heads elim- exclusive Sony circuit inates tape modulation dis- which prevents any tran- tortion. This feature formerly sient surge of bias current found only on professional to the record head. studio equipment.

Sound -with -Sound. A versatile feature that enables you to re- Instant Tape Threading. Ex- cord on one channel while lis- clusive Sony Retractomatic tening to the other. Ideal for pinch roller permits simple learning or teaching foreign one -hand tape threading. languages as well as perfecting An automatic tape lifter diction, singing and instru- protects heads from wear mental music. during fast forward and rewind.

Vibration -Free Motor. An important new Scny Mode 252-D. Just $119.50! For your Sony development utilizing 'floating" free copy et our latest tape recorder cata- shock absorber action to iso ate com- log, please write to Mr. Phillips, Sony/ pletely any motor vibration from the tape Superscope, Inc., 8146 Vineland Avenue, mechanism. Sun Valley, California 91352.

SONY, SLIPERSCOPE Rem, se Stowe You never heard it so good. NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

approximately 41/2 inches long by 1 inch in diameter. List a pilot light and a front -panel headphone jack. The ampli- price: $20. The other two omnidirectionals are the HK -I.11 fier's dimensions are 151/, x 9 x 43/, inches. Price: $149.95. and HK -112. The 111 has a frequency response of 50 to An optional walnut enclosure (shown) is available for an 20,000 Hz. It comes with a removable windscreen and 20 additional $22.95. feetofcable.Itsdimensions are101/2inches by11/2 Circle 153 on reader service card inches. List price: $78. The HK -112 has a frequency response of 100 to 13,000 Hz. It comes with a metal desk Garrardhasintroduced stand and 20 feet of cable. Its dimensions are 5 inches by the X-10 "Module," a three - 11/4 inches. List price: $50. speed (331/4, 45, and 78 rpm) automaticturntablethatis premounted on a base with dust cover and comes with a factory -installedstereocar- tridge. The turntable has interchangeable automatic- and manual -play spindles. Storage space forthe unused spindle is built into the base. One lever setsboth the turntable speed and indexes the arm The three cardioid units are the models HK -103, 106, set -down.A cueing lever is provided. The cartridgeisa and 110. The HK -103 (left) has a frequency response of ceramic type with a turnover diamond stylus. The relative- 100 to 15,000 Hz and is meant for vocal and orchestral ly high output of the cartridge makes the unit suitable for recording. It is- inches long by 1 inch in diameter. List use as a replacement turntable in consoles or with inex- price: $93. The HK -106 (right) has a low -frequency roll- pensive amplifiers that do not have magnetic -cartridge in- off and is intended for voice applications outdoors or in puts. The dust cover is designed so thatit can either be other locations with high ambient noise. Its frequency re- lifted off, tilted hack and locked into place, or slid off if sponse is 150 to 10,000 Hz. List price: $64. The HK -110 the unit is placed under a shelf limiting overhead space. has a built-in windscreen and on/off switch and is suitable Price: $52.50. for close -talking applications. It has a frequency response Circle 154 on reader service card of 100 to 12,000 Hz. List price: $78. Circle 151 on reader service card Harman-Kardonhas introduced the Nocturne Three Thirty AM/stereo FM receiver rated at 70 watts (both chan- Telex is offering free a new eight -page brochure cov- nels combined) music power into 4 ohms. Total music ering its line of communications and dictation headphones, power into 8 ohms is 65 watts. Both intermodulation and pillow loudspeakers, and accessories. The brochurecon- harmonic distortion are less than 0.8 per cent at rated out- tains photographs, specifications, prices, and information put. The signal-to-noise ratios are 80 dB at the high-level on applications for all of the products included. It is avail- inputs, and 60 dB at the low-level inputs. The FM -tuner able by requesting catalog BI -2166 from the Telex Corn- section has a sensitivity of 2.7 microvolts (IHF) and a munications Division, 9600 Aldrich Avenue South, Min- capture ratio of 3 dB. Spurious -response rejection is 75 dB neapolis, Minn. 55420. Circle 152 on reader service card - Fisher's newest stereoamplifier,the Model TX -50, EMI tisiiti,s has a continuous -power output of 20 watts per channel at 1.000 Hz into an 8 -ohm load. Other specifications include MITI io harmonic distortion of 0.5 per cent at 1,000 Hz, intermodulation distortion of 1 per cent, and a power bandwidth and stereo separation is 30 dB. The controls include vol- (IHF) of 25 to 25,000 Hz into 8 ohms. Hum and noise ume, balance, bass, treble, and a five -position input selector. An indicator light shows which input the receiver is set to. Six rocker switches control power on/off, main and remote speaker systems, mono or stereo mode, tape monitor,and loudness compensation. There isa front -panel headphone jack and a signal -strength tuning meter. The receiver measures 13 x 153/s x 41/4 inches. Price: $199.95. An optional walnut enclosure (shown) is $24.95. Circle 155 on reader service card Revox is importing the Bib tape -head maintenance kit. Included in the kit are a bottle of special tape -recorder figures are -55 dB at the magnetic phono inputs, and -65 cleaning fluid, two plastic tape -head cleaning swabs, two dB at the high-level auxiliary inputs. The controls include tape -headpolishers,tencottonswabs,adouble -ended power on-off/volume, mono or stereo mode, balance, bass, brush, and a packet of cleaning tissues. The various items, treble,andathree -positioninput -selectorswitch.Four along with an instruction leaflet, are packed in a foldable rocker switches control main and remote speakerson -off, plastic "wallet." Price: $2.95. high -frequency filter, and loudness compensation. There is Circle 156 on reader service card

20 STEREO REVIEW 901/Vatts. AM/FM.

19995 And that's only the beginning.

Most receivers that cost about It's beautiful.It has big speaker systems without stress

$200 are severely compro- power. (90 watts, 1 HF, 1 db.) or distortion.) mised. If they have reasonable Ultra -wide -band sound. A truly The Three Thirty is at your power, they lack features.If sophisticated AM/FM tuner. Harman-Kardon dealer now. they have features, their power And every important feature See and hear it soon. We think is usually marginal. And most you could possibly want in a re- you'll agree thatit delivers a $200 receivers are less than ceiver. Like function indicator degree of excellence never be- elegant looking. The kindest lights. Defeatable contour. fore available at such a modest thing you can say about them is Headphone receptacleTape price. that they are adequate. For monitor switch. And front panel For complete technicalin- $200, we don't think adequate switching for stereo in two formation write: Harman- is good enough. So we've intro- rooms, separately or at once. Kardon, Inc., Dept. SR7, 55 duced our Nocturne Three (The Three Thirty has enough Ames Court, Plainview, N.Y. Thirty. reserve power to drive 4 11803.

1101131.1

111;141111 1. FM 3,, 3:i 1:), 3d 36 3 l0 i103 MC

SASS TREBLE VALANCE Val -U.6 FUNCTION TUNING

Harman-Kardon receivers range from $199.95 to $330.00

harmankardon A subsidiary of Jervis Corporation CIRCLE NO. 28 ON READER SERVICE CARD .11'1Y 1969 21 AUDIO QUESTIONS & ANSWERS Magnetic-Phono Sensitivity Same Products, Different Results QThe magnetic-phono input sensi- the past yearI have no -

tivity on my amplifier is rated at nWithin,016ticed thatSTEREO REVIEWand 7.1millivolts. My phono cartridge, ac- LIIronic) Worldhad checked the same cording to its manufacturer, has an out- model receiver, but with different results. put of 3.-i millivolts. What, if any, had Ifind that odd, since the Hirsch -Houck effects could result from this mismatch? Laboratoriesareconductingtestsfor ROBERT HOGAN both magazines. New Bedford, Pa. ARNOLD WILSON Chicago, Ill. AWhat thesensitivityratingof

your amplifier means is that a ANo two samples of any product

signal of1.4 millivolts in each channel in this world are going to check will drive the amplifier to its full rated out identically in all areas, and I would power outputifthe amplifier's volume find it odd if they did. control is fully turned up. Since no one runs an amplifier wide open in that way. Phono-Cartridge Frequency acartridge that puts out1.4millivolts Response would probably not have enough output QIt has been stated numerous times to achieve a good signal-to-noise ratio .in your publication that frequen- with your amplifier. cy -response figures without a qualifying You should be aware that although toleranceI plus or minus so many dB) the input sensitivity rating of amplifiers are essentially meaningless. However,I is pretty well standardized. all manufac- notice that several of the top -name man- turers are not using the same output -rat- ufacturers of phonograph cartridges give ing method for cartridges. But in any the frequency response of their cartridges case,a phono-cartridge output of 3.4 without such qualifications. Why is this? millivolts sounds about right for your PHILIP POTZMAN amplifier's sensitivity. Long Branch, N.J. In general. the more expensive the amplifier.the higher its input sensitivity: AOddly enough. the cartridge man-

and the more expensive the cartridge, ufacturers do have some justifi- the lower its output voltage. In respect cation for their omission. A phonograph Ask Stereo Review. to the cartridge, this comes about be- cartridge is designed to play a recording Their latest cartridge report ratedit #1in cause inordertoreduce the moving and deliver. ideally, an exact electrical lightweight tracking ability. 11h155 and thereby increase the cartridge's analog of the physic -al motion imposed And chartedits frequency response as vir- performance capability, the manufactur- upon its stylus by the record groove. Un- tually flat, with a picture -perfect square wave. er has had to physically minimize the fortunately. however. there exists no in- voltage -generating elements in the car- dustry -wide standard thatdefinesthe Ask England's Hi Fi Sound. tridge. However, since a high -quality car- thetestrecord, measuring equipment, They call it "a remarkable cartridge... a real tridge is usually used with a high -qual- or procedure to he used in checking a hi-fi masterpiece." ity amplifier, the signal levels end up cartridge's frequency response. In addi- well matched. Ask High Fidelity. tion. the cartridge's response will vary There's one possible difficulty. Some They know the 999VE needs "only 0.8 -gram depending on the mechanical character- stylus force to track the demanding bands amplifiers that have high enough sen- isticsofthetone arm,theelectrical 6 & 7 of CBS test record STR-120, and the sitivity to operate well with low -output characteristics (shield -to -inner -conductor cartridges are not able to take the out- capacitance) of the tone -arm cable, and glide tone bands of STR-100." put of a medium- or high -output car- the electrical characteristics of the ampli- Ask any stereo expert. Then ask yourself what tridge without going into overload clip- fier's input circuit. As a matter of fact. you've been waiting for. ping on loud high -frequency (high -ve- a cartridge's frequency response will even THE 999VE $74.95 locity) recorded passages. In the latest be influenced by the relative hardness amplifier designs this is being taken care of the vinyl in the test disc. of either by circuits that are designed to It would follow. therefore. that for a IVIEMPIRE handle a wide range ofsignal levels company legitimately to specify a fre- Empire Scientific Corp. or by the useofaphono-sensitivity 1055 Stewart Avenue, Garden City, N.Y. 11530 switch. (continued on page 25) CIRCLE NO. 24 ON READER SERVICE CARD 22 STEREO REVIEW the audiobraggadosi:

* He's the mcster of sound ... the audio genius with acres Df equipment and mounds of controls. He's got the best of everything, and he's always more than ready to tell the world about it!

to help him sound -off, Ampex Stereo Topes sound better!

Now Braggadosio is so easy to listen to . . . and so is recording labels ... pop, rock, folk, jazz, soul, classical, all his beautiful equipment. Why? Because he's playing showtunes and spoken word ... available on open reel Ampex Stereo Tapes. And who minds a little aoasting for tne ultimate stereo sound ... also 4 -track cartridge, when there's sound really worth listeningto. Ampex 8 -track cartridge, cassette and micro cassette. For every sound ... brilliant sound! Sound that comes through your kind of tape player/recorder, Ampex has itall! tape equipment like the original live performarce. Look for the AMPEX name on the carton ... it's the And Ampex offers all kinds of sounds. Every major quality name! It's Artistry in Sound. artist, all the latest releases are on Ampex Stereo Tape We've made it easy for you to build your own tape for the kind of quality sound that Braggadosio brags library with our great new Ampex Stereo Tape Catalog. about! Over 5,000 selections from more than 65 different For your copy send 504 to: Catalog, Dept. S-70-2, P.O. Box 7340A, Chicago, II:inois 60680. AMPEX STEREO TAPES Ampex Stereo Tapes Division AMPEX CORPORATION Elk Grove Village, Illinois 60007 CIRCLE NO. 4 ON READER SERVICE CARD The portable Concord F-400 a superb stereo tape deck Combines cassette handling convenience with record and playback performance comparable to some of the finest reel-to-reel units. How? A newly engineered transport mechanism and an electronically- controlled capstan motor that all but eliminate the wow and flutter bugs. Plus narrow gap, flux -field heads for wide range frequency response. Has inputs for recording live, off -the -air, from records or from reel-to-reel tapes, or other program source. And outputs for playback thru ex:ernal speakers, or thru your own home Operates on batteries system power amplifier as well as AC. So you and speakers. can also enjoy it away from home. Make live recordings on field trips get-togethers-indoors, cutdoors-anywhere. VU meters, or you can use the automatic record -level control.) Or you can entertain with pre-recorded cassettes. or your own. Has built-in stereo power amplifiers and matched stereo speakers. The portable Concord F-400 a superb tape recorder

The Concord F-400 is like getting two instruments in one. Under $180 complete withmicrophone, patch cords and cassette. Modern solid-state circuitry throughout. Concord Electronics Corporation,1935 Armacost Ave., Los Angeles, Calif. 90025. Subsidiary of Ehrenreich Photo -Optical Industries,Inc.

CIRCLE NO. 14 ON READER SERVICE CARD quency response for acartridge,they would have to state all the conditions and test equipment used to derive the response-which would not be particularly helpful to the user who had different equipment. Now the finest From a practical point of view, however. the situation is not as bad as the above might make it appear. Bumps and dips of 3 or 4 dB. whose placement and costs less than$200. amplitude would be dependent upon the test conditions, would either not be particularly audible in normal playback. or could have theireffectneutralized by thespeakersystems'mid -rangeand toeeter level controls or by a slight off- setting of the amplifier's treble control.

Turn -Off Wear and Tear nIhave a solid-state receiver that I 06. use about four hours a day. I have heard that turning an amplifier on and off ages the components as much as several hours of play. What isyour opinion on this? A. R. KHAN Ann Arbor, Mich.

ALet'sfirstlook at what happens ., with tube equipment. Stress occurs in several areas of the circuit at the moment it is turned on. Tube filaments, which have a low resistance when cold, experience a very large rush of current (this is the reason that light bulbs tend to burn out at the moment they are switched on). and the input filter capacitor. particularlyifthe unit has a silicon rectifier, is hit with an abnormally high voltage (perhaps 500 to600roils). An additional factor. the initial charging current through this same input filter capacitor. may cause an abnormally high level of current to be drawn from the power supply. The rectifier diodes are also stressed at the moment of turn -on for several other reasons. Obviously, transistors have eliminated We're talking _bout Kodak's finest- the tube -filament warm-up problem. And the voltage levels in transistor circuitry the Instamatic M9 movie camera. Now are so much lower-say, 35 to 70 volts you -can own one for less than $200. -that the other parts are not stressed And what a camera it is. Just drop in the film cartriige and particularly during u -arm up. Probably you're ready shoot. The 5 -to -1 zoom lens lets ycu capture the only components in a transistor am- the long shots by telephoto, anc give you the broaA view by plifier that might suffer from repeated wide argle. Ycu've got your choice of fingertip power zoom on -off switching would be the pilot lamps or manual zoom. and (possibly) the power -supply rectifier Four Elmini speeds from slow motion to fast action let diodes that have to supply the capacitor - charging current surges at the moment you set the pace. Through -the -lens CdS electric eyegives the amplifier is switched on. However, it you the correct exposure automatically. Andthe sports -type ts not expensive for the manufacturer to finder lets you see action outside the area you're filming. provide overrated large -current rectifiers There's even provision for remote control and for single - and thereby to eliminate that potential frame exposure for animation. breakdown area. The Kodak Enstamatic M9 movie camera with u_tra-fast f/1.8 pcwer zoom lens is waiting for you for less Wan $200. ttaloe the number of qucltiorrs we See your Kodak dealer. Price Rablect to change with.ut notice. receive each numth is g,reater than we can reply to indri,iduolly, only Kodak InstamatieM9 movie camera. thosequestionsselectedforthis column canbe answered.Surly!

C3CLE NO. 23 ON RE.C.DERERVICE CARD JULY 1969 25 KENWOOD: RECEIVERS, RECEIVER SYSTEMS, AMPLIFIERS, TUNERS No better way tosay "Stereo Excellence"!

A. TK-140X . 200 -Watt, FET, IC, Solid State, FM, AM Stereo Receiver... $349.95" B. KR -100 . . 140 -watt, FET, IC, Solid State, FM AM Stereo Receiver... $299.95' C. KR -77 75 -Watt, FET, IC, Solid State, FM AM Stereo Receiver... $239.95' D. KR -70 75 -Watt, FET, IC, Solid State, FM Stereo Receiver... $199.95' E. KR -44 48 -Watt, FET, IC, Solid State, FM AM Stereo Receiver... $179.95* F. KT -7000 FET, IC, XTAL, Solid State, FM 'AM Stereo Tuner... $249.95" G. KA-6000 .... 180 -Watt, Solid State Stereo Amplifier ... $249.95* H. KRS-44 48 -Watt, FET, IC, Solid State, FM 'AM Stereo Receiver and 2 Speakers... $239.95* I.KS -33 30 -Watt, FET, Solid State, FM/AM Stereo Receiver and

2 Speakers . . . $199.95" .1. KT -3500 FET, IC, Solid State, FM 'AM Stereo Tuner ... $119.95* K. KA-2500 70 -Watt, Solid State Stereo Amplifier ... $119.95" L. KT -1000 FET, Solid State, FM /AM Stereo Tuner ... $89.95* M. KA-2000 40 -Watt, Solid State Stereo Amplifier ... $89.95" 'INCLUDING CABINET e-.. 0111MIWOCIO 9,,VE *It PEO ANIPltrtGF4 141006., KA--aesce 410.K0,..w000 a...T....no-m.1 SI, POSO TLINSt K * .- - --.5 K

... thesound approach to quality

All these fine KENWOOD products are available at yournearest KENWOOD Dealer now. Come in and "sound test- them today. 3700 S. Broadway Pl., Los Angeles, Calif. 90007 69-41 Calamus Ave., Woodside, N. Y. 11377 Exclusive Canadian Distr. - Perfect Mfg. & Supplies Corp. Ltd. CIRCLE NO. 34 ON READER SERVIICE CARD whocares about your stereo after youtake AUDIO BASICS it home? HOW MANY SPEAKERS? WHENa "Supersound Deluxe Console" or any of its pre-packaged cohorts are touted in banner headlines as having "a total of six"-or ten,or twelve --speakers, the manufacturer implies that there issome virtue in the numbers. that more speakers automaticallymean better sound. This is pure myth -making you do... In practice, the number of speakers employed ina speaker system is irrelevant- except to the design engineer. What, counts is the system's abilityto cover the entire musical frequency range evenly and witha minimum of distortion. The and listener should therefore be primarily concerned with the final result,and not get hung up on the question of how it is achieved. Scott does! A speaker designer has a number of options. Hemay choose a simple woofer and tweeter combination with Looking at stereo equipment? Take a sufficiently wide range. Or he may decide to add an extra minute and look at war- a separate mid -range unit, thereby narrowing the frequency band handled by ranties. They'll tell you a lot about each speaker. Decisions of this sort are not arbitrary, Theengineer must weigh a manufacturer's confidence in his the relative merits of his alternatives. Adding the mid-range unit, for example, own product. Scott has a full two- year, no -fooling -around warranty, frees the woofer and tweeter from the need of extendinginto that part of the backed by the most stringent and audio spectrum. This, in turn, may permit theuse of a large -cone woofer (large expensive testing program in the woofers have difficulty handling mid-range and higher frequencies) with greater audio industry. The Scott warranty power -handling capacity in the bottom reaches. is our assurance to youof match - less performance andunceasing If three driver units are used in the system, problems ofoverall balance may reliabilityinour arise that must be overcome through elaboration of thecrossover network. If the product. You care designer is constrained by cost, he may have to about how your cut corners to produce a three-way stereo works after system (which may be requested by the sales department) withina budget that you take it home, would have permitted him to createa possibly better -sounding two-way system. and two weeks lat- The advertisements would probably stress the fact of theextra speaker as if that er, and two years in itself were assurance of merit. later, and twenty years later . .. andTWO YEAR Advertised ambiguities of this kind also abound inregard to speaker enclosures. Scott cares, too! WARRANTY A friend of mine who lives ina converted barn with a room of baronial dimen- All H. H. Scott professional quality tuners. amplifiers, receivers, compact stereo music sions prides himself on two enormouscorner -horn speakers for which he claims systems, and loudspeaker systems are war- ranted against defects in material and work- inherent superiority in all areas. He got into quitean argument with an audio- manship for two years from the date of sale to the consumer. The unit must be delivered phile neighbor who was convinced that the acoustic-suspension design is ob- to and picked up from either an authorized Scott warranty service station or the Cus- jectively "the best." The cheerful fact is that bothmen own superb loudspeaker tomer Service Department, H. H. Scott, systems, and neither type has any kind of overriding Inc., 117 Powdermill Road, Maynard, Mas- a priori merit. Again, the sachusetts 01754. choice between equally promising design options depends This warranty covers repair and/or replace- on the engineer's ment of any part found by the manufac- "taste" and what he is aiming for. If he wantstop efficiency (lots of clean volume turer, or his agent, to be defective, including any associated labor cost. from low amplifier wattage) and hasno objection to bulk, his choice may be the The above warranty does not apply to (1) accessory parts explicitly covered by the horn. If he wants compactness and is willingto sacrifice efficiency (thus requiring field warranty of an original manufacturer; (2) units subjected to accidental damage or a more powerful amplifier), he'll choose acoustic suspension.However, either misuse in violation of instructions; (3) nor- design can be executed well mal wear and tear; (4) units repaired or or badly. To claim inherent superiority for any speaker altered by other than authorized service agencies; and (5)units with removed or using ally principle-no matter how theoretically sound theprinciple seems to be defaced serial number. -is a mistake. This applies to 1968 and later model year units. The point I'm rather obviously pounding in is this:as far as the listener iscon- cerned, engineering choices should be leftto the engineers. Advertisements mak- SCCorT H. H. Scott, Inc., Maynard, Mass. 01754 ing much of specific design principles should betaken with a grain of salt until Export: Scott International, the speaker-or whatever-provesout in practice. Maynard, Mass. 01754 0 1969, H. H. Scott, Inc. 28 STEREO REVIEW Scott introduces AM highfidelity POWERFUL NEW SCOTT 382C AM/FM STEREO RECEIVER MAKES BOTH FM AND AM LISTENING A PLEASURE

Ready for an incredible listening experience?Then try Listen to the AM section of the new 382C at your dealer. the AM section of the new Scott 382C. It pullsin stations You'll hear an incredible improvement in AM sound. Then switch to FM or records ...the 382C is identical in de- so strongly ...eliminates interference and drift so thor- sign to the 342C FM stereo receiver introduced so suc- oughly ...delivers sound of such clarity ...that you'll think you're listening to the FM section. The onlydiffer- cessfully a few months back. In addition to the totally new ence is the programming! AM section the 382C has all these advanced 342C features: (1) Perfectune . . .a light that snaps on automatically when you're Until now, the high fidelity fan has either had tomiss perfectly tuned to an FM station. (2) Quartz crystal lattice filterIF section.. . your 382C will neverneed realignment. (3)"Wire-Wrap" out on programming available only on AM orhe has had ... a permanentconnection technique that eliminates solder joints. latest FET and (4) New IC multiplex section.. . for better stereo performance and to forego good sound. Now, using all the reliability.(5)Printed circuit modules . . . which snap into the Integrated Circuit techniques, Scott engineers have de- main chassis. signed a brilliant new AM section. The result ...the new 382C SPECIFICATIONS: Scott 382C AM/FM Stereo Receiver, the first highfidelity Power (±1 dB), 110 Watts; IHF Dynamic Power @ 4Ohms, 45 Watts per channel; IHF Continuous Power @4 Ohms, 33 Watts per channel; AM ever available! In AM or FM stereo, the 382C re- IHF Continuous Power @ 8 Ohms. 25 Watts perchannel; Selectivity, Weak 40 dB; Frequency response ±1 dB, 20-20,000 Hz;Hum and noise, ceives both strong and weak stations perfectly. phono, -55 dB; Cross modulation rejection, 80 dB;Usable sensitivity, stations burst forth loud and clear. Strong stations never 1.9 AV; Tuner stereo separation, 30 dB; FM IFlimiting stages, 9; Capture ratio, 2.5 dB; Signal to noise, 65 dB; Phonosensitivity, 3 mV; distort. Dimensions: 15%" L x 5" H x 11'42" D. 382C 110 -Watt AM/FM Stereo Receiver ... ONLY $299.95. Scott introduces 4 AM circuit innovations 342C 110 -Watt FM Stereo Receiver ... $269.95. New Scott 4 -pole LC filterimproves selectivity. Use Walnut finish case optional extra. of IC's and FET's in the AM IF amplifiergives better signal/noise ratio, lower distortion, and bettersignal - handling capacity. New FET mixer gives improved cross S C 01'17 modulation rejection and adjacent -station interference. H. H. Scott, Inc., Dept. 245-07, Maynard, Mass. 01754 New Scott transistor oscillatordramatically reduces drift Export: Scott International, Maynard, Mass. 01754 and pulling. 0, 1969, H. H. Scott, Inc. EADER SERVICE CARD CIRCLE NO. 100 ON R 29 JULY1969 casionally even a little harmonic daring. But itis all directed toward the accom- plishment of a very small thing-what really keeps up the interestisthe social picture: the gardens of Vauxhall. the great democratic meeting place where urbaneroyaltymixedwithcountry bumpkins, the demi-monde, and the in- tellectuals,allinsearch of entertain- impulse ment; the outdoor orchestral pavilion, the fireworks, the pageants, the homely bits of banter between waiter andcus- tomerateverytable.Vauxhalland places like it preoccupied the minds of Londonersfor overacentury,filling what seems to be a basic need of Eng- power. lishmen: to do something civilized, hut to do it outdoors. Thomas Rowlandson made a wonderful water -color painting -AC The of a scene with identifiable personages of the time. But the youngest Bach's songs power of recreate the scene equally well,ifdif- ferently, and link (as does the painting) jazz with artistry with social history to produce something more delightfully entertaining than either would have been alone. Olki- -41 thee NI( GRTAINLY, there is no one who will passion deny that at least half the appeal of GIRL TALKShirley Scott AS -9141 something like a Neapolitan boat song, of soul! Viennese Schrammelmusik, or Parisian Gal musette is extra -musical; that itlies ahmad in the pictures of a different life they jamal evoke. And we cannot insist at the top that the value of the music of such national- poinciana revisited minded composers as Smetana, Dvofak, ARCHIE SINE1910 Sibelius, Rimsky-Korsakov, Elgar, and 'Ilan, For A 'Nark, Villa -Lobos (to give a mere half -dozen One Far A Ilimr instances)lies completely in the music and not in the nationalism. The music- even intentionally-is not just about itself;it has a subject, and that subject is part of the music's appeal. The music tells us something-perhaps something AT THE TOP - POINCIANA quite important-about a place anda REVISITED: Ahmad Jamal AS -9176 time. What ittells us is nonverbal, of course, but verbalized knowledge is not the only knowledge there is. THREE FOR A OJARTER AS -9162 I have a small group of records at ONE FOR A DIME: Archie Shepp home that I keep separate from the rest of my collection. I call it my sociology shelf,anditcontainsrecords whose musical value is dubious but whose social efflorescence isso pungent thatit sustains interest by itself. A few titles: Average Girl and Average Boy, by a duo called Paul and Paula; The Brew- er's Big Horses Can't Run Over Ale (a

temperance song) sung by Homer Rode- heaver with Mrs. Rodeheaver at the piano; the black preacher T.N.T. Jones BLUES FOR 1A1E Mel Brown AS -9180 giving a sermon (with singing) called "Let God Fight Your Battles"; Primrose Hill, by the Daniels-Deason Sacred Harp Singers (a Fa -Sol -La group). Someone KARMA: Pharoah Sanders AS -9181 in the future will be quite interested in such records:aesthetic pleasureaside, they will give him a more immediate impulse! and penetrating insight into social cir- RECORDS PROOUCF Of RC 11,00C.1 INC su.S.IPv OF A1.1111CANISOMAOCStING COMPANIES INC cumstances in the United States during thefirstsixty years ofthetwentieth century than a dozen books will. CIRCLE NO. I ON READER SERVICE CARD 32 STEREO REVIEW NEW.P1IfifC12 HOME ENTERTAINMENT DISTRIBUTION WIRING SYSTEM FOR DO-IT-YOURSELFERS

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CIRCLE NO. 25 ON READER SERVICE CARD 33 ,I1'11' 1969 music. Now he broadens his definition, suggesting that recent jazz has wound up in the same cul-de-sac as contemporary Serious music-that is, it has be- comeingrown,infantile,andaimed solely toward the sterile objective of sat- isfyingits own needs, rather than at- temptingtoreachawideaudience. Pleasants is aware (though he gives it fairly short shrift) of the obvious retort that music-or, indeed, any art-intended to please a great number of people can,like Lyndon Johnson's politics of consensus, lead to numbing mediocrity. A better solution might be to determine the definition of excellence that the Henry Pleasants' popular -music forms-jazz, rhythm-and- blues, motion picture scores, and the rest -provide for themselves. For example, Serious Music-and All That Jazz! although Pleasants is willing to group A Book Review by Don Heckman these forms under a geographic/chrono- logical category which he refers toas HLNR1' PLEASANTS, an Establishment of its decline." And again, writing of the the "Afro-American Epoch," he seems needier from 'way back (The Ag- dependence of the Serious music per- to me too little willing to accept the im- ony of Modern Music, 1955), has lostformer upon precise interpretation of plicitaesthetic standards of excellence not one whit of his remarkable ability to written notes: "It must seem inevitable, that such a grouping implies. When he get to the heart of musical matters in his however, that any musician constantly writes that jazz owes the explicit beat latestbook,Serious Music-and All subject to such inhibitions and restraints (and the propulsive characteristics that That Jazz! It is, in fact, essentially two will be-or become-emotionally andare derived from it) and "...certain perceptive books running concurrently. imaginatively handicapped and stunted." One is a brilliantly catholic survey of related melodic characteristics of attack, And, in a final indictment: "... a som- contour and cadence ...to the black contemporary music that describes ev- nolent Establishment, obese and obso- musician," he isnot only minimizing erything from chance music, serialism, lescent, but still greedy... has spawned othersignificantinfluencesstemming and neoclassicism to rhythm-and-blues, and continues to sponsor... a degrada- from African music, but fails to specify jazz, country-and-western, and pop. The tion and debasement of the arts, a mor- the aesthetic importance of the influ- other is tification of the senses, a mockery ences he has first advanced by Pleasants in the mid- intelligence, a repudiation of the spirit And more seriously, he accepts, with Fifties,thattwentieth-centurySerious and a celebration of impotence.. .." little comment, the pattern of black in- (the capitalization is Pleasants') music And so on-words that are not precise. novation and white exploitation that has failstofulfillthefirstcriterion ofa ly calculated to win him friends in the recurred again and again in popular mu- truly viable contemporary music -----that musical groves of academe. sic. The effects of this exploitation upon of communication. But I assume they are intended to in- black performers-especiallythe hop- Remarkably, before Serious 'Music- fluence people. And the real question pers of the Forties-may more appro- and All That Jazz!, no single book had the book raises is whether Pleasants has priately be a topic for the social anthro- managed to explore the many intersect-provided an argument effective enough pologist,but they surely might have ing streams of contemporary American to break through the deepening slumber played some role in a book that empha- music. But, as Pleasants so exhaustively of that "somnolent Establishment." The sizes so strongly the importance of a points out, most of the available litera- kernel of his proposal offers viability- music which has received most of its ture has been supplied by authors who or,if you will, the potential for wide creative energies from black culture. have a vested interest in supporting the popularity-as the true test of music. He aimsofthemusicalEstablishment. is willing, perhaps eager, to throw out FINALLY, I am not as convinced as Pleasants, on the other hand, far from the traditional attitude that a work of Pleasants seems to be that both contem- avoiding a confrontation with the Es- art possesses implicit value. To Pleas- porary Serious music and contemporary tablishment, seems to take delightin ants, it is a work's effect, rather than its jazz are lacking in communicative value. twitting it. In his description of the de- content, thatisits significant measure, The levels at which art-and the art of cline and fall of Serious music asa sig- and toward this end he writes extensive- music in particular-communicates are nificanttwentieth-century force, he ly-and knowledgeably-of the impor- diverse indeed.Isuspect that a Mc- provides an editorial commentary that tance of style in all forms of music. But Luhanized society, in which perceptual will surely raise hackles everywhere in the full thrust of his argument comes images of all sorts are fragmented, over- virtually symphonic proportions-from through in a paragraph which tells us lapped, multiplied and divided, may be Academies to Cultural Foundations to that "Art is no more a profession than more responsive to the non -melodic, or- Centers for Performing Arts. excellence is a profession, or mediocrity. ganized sound of young contemporary Consider, for example, his suggestion It is a distinction, the name we give toa musicians than Pleasants realizes. that"European music grewsteadily superior craft of communication-mu- Obviously, Serious Music-and All more intellectual during the nineteenth sic, painting, theater, literature, etc.; and That Jazz! is a book that merits reading, century ... Wagner especially having the artistis, or should be, the master discussion, and argument, and that's been a kind of intellectual monster-but craftsman." about all any author can expect. For this may well be considered a symptom Inevitably, this leads him to the forms anyone-repeat, anyone-who cares of music described by Serious musicians about the condition of music today, it is Serious Music-and All That Jazz!, by (usually pejoratively)as Popular. In necessary reading, even if you have to Henry Pleasants, Simon and Schuster, New The Agony of Modern Music, Pleasants hide it under a copy of the Journal of York (1969) $5.95. advanced jazz as the true contemporaryMusic Theory. 34 STEREO REVIEW Fisher introduces the world'sfirst faultless headphones.

Audiophiles have always been aware that, As a result, wearing the at least theoretically, headphones are the ideal HP -100 is as pleasant physi- particularly cally as listening to loud- way to listen to reproduced music, speakers. In fact, to some stereo. people the sound does not "Direct coupling" to the original. appear to originate in the With headphones, the information re- phones but seems to come ceived by the microphones is channeled from a certain distance, as in directly to the ears, completely bypassing the loudspeaker listening, but unpredictable acoustics of the living room.The with a much more pro- microphones become, in effect, the listener's nounced stereo effect. ears and only the original concerthall acoustics are heard. This "direct coupling" to the concert hall is, of No more boominess. course, impossible with conventionalloudspeakers, as Eliminating the single air cavity of conventional is the 100% stereo separation inherent in headphone headphones also gets rid of another common fault: listening. boomy bass. The low -frequency response of the Fisher We said theoretically. Because, in actual use, HP -100 is amazingly smooth and is essentiallyflat headphones have thus far been hampered by a num- down to 19 cycles, which is just about the low -end ber of practical disadvantages. cutoff of the human ear. Fisher engineers have never believed that these As a matter of fact, the overall frequency re- disadvantages are insurmountable. But it took them sponse of the HP -100 is essentially uniformfrom 19 until now to solve all the problems to their satisfaction. to 22,000 Hz, an unprecedented achievement due, in The result is a pair of headphones called the part, to the sophisticated driver design, which borrows Fisher HP -100 which can truly be considered the first from advanced microphone technology. It is, in effect, commercially available model with all plusses and no a reversed dynamic microphone withthe coil driving minuses. Listening to them, or rather with them, is a the lightweight diaphragm, instead of vice versa. new and different experience. Thetheoretical poten- Which brings us to another unique advantage of tial of headphones has finally been realized.. the HP -100. The comfort factor. Smooth treble response. One of the main objections to conventional head- Nearly all headphones exhibit a certain rough- phones is that they are uncomfortable. After wearing ness in their high -frequency response curve.Not the them for half an hour, the listener wants to go back to HP -100. The light microphone -type diaphragm pro- loudspeakers. vides completely smooth treble and superb transient Excessive weight and unpleasant clamping of the response, so that the sound has the airyimmediacy head are only the lesser reason, although most head- known only to owners of exceptionally fine tweeters. phones are certainly much too heavy and confining. Needless to say, distortion is nonexistent at nor- More important is the uncanny isolation of the listener mal listening levels. The impedance of the HP -100 is from the audible world around him, as though his head compatible with all types of amplifiers and receivers. were encapsulated. This, of course, isdue to the more Power input for average listening levels is 2 milliwatts. or less airtight "cup" that fits overthe entire ear, to The phones are supplied with a fully adjustable provide close coupling of the acoustic cavity of the vinyl -covered headband,velvet-soft, non-stick foam phone to the eardrum. Otherwise, with conventional pads that are removable (and therefore washable!), headphones, there would be a serious loss of bass. and 8 feet of cable. The Fisher HP -100 solves this problem in a highly. After reading all this, you will be prepared for an imaginative way. The phones are not only extremely important listening experience when you first trythe light but are also allowed to rest lightly against the ear Fisher HP -100. Only on large, flat foam -rubber cushions,leaving the perim- But you are not yet prepared for the price. eter of the ear unconfined.The diaphragm of thedriver $34.95. Which may be for the makers of the world's is completely covered by the foam rubber and acousti- first faultless headphones, the greatestachievement cally "sees" the thousands of tiny air bubbles in it,in- of all. stead of a single cavity. This, combined with special (For more information, plus a free copy ofThe acoustic delay slots in the back of the driver, main- Fisher Handbook, 1969 edition, an authoritativeref- tains proper bass loading without the conventional erence guide to hi-fi and stereo, use couponon front airtight seal and its attendant discomforts. cover flap.)

The Fisher®).1.6, IN, LONG ISLAND CITY. N.Y. 11101. AP ISHCR RADIO CORPORATION. INC.. 111.7S ASTI. NOM LONG ISLAND CITY, N.Y. 51301. OVTASEASAND CANADIAN FICSICEN, I, CIRCLE NO. 26 ON READER SERVICE CARD 35 JULY1969 Praise -Winning StereoComponents

HEATHKIT AR -15 Deluxe Stereo Receiver

The World's Finest Stereo Receiver . . . the Heathkit AR -I5 has received high praise from every leading audio & electronics magazine andevery major consumer testing organization. Here are some of the many reasons why. The AR -15 delivers 150 watts music power from its 69 transistor, 43 diode, 2 IC's circuit- 75 watts per channel. Harmonic and IM distortion are both less than 0.5%at full output for clean, natural sound throughout the entire audiorange at any listening level. The FM tuner has a cascode 2 -stage FET RF amplifier andan kit AR -15 Wired ARW-15 FET mixer to provide high overload capability, excellent cross modulation and image rejection. The use of crystal filters in the IF section is a Heath first in the 13995* $52500* industry and provides an ideally shaped bandpass and adjacent channel selectivity impossible with conventional methods. Two Integrated Circuits in the IF amplifier provide hard limiting, excellent temperature stability and increased NOW, THE TUNER AND AMPLIFIER OF reliability. Each IC is no larger than a tiny transistor, yet each contains 28 TIE HEATH AR -15 RECEIVER ARE actual parts. The FM tuner boasts sensitivity of 1.8 uV, selectivity of 70 dB and harmonic & IM distortion both less than 0.5% . .. you'll hear stations you AVAILABLE AS SEPARATE COMPONENTS didn't even know existed, and the elaborate noise -operated squelch, adjustable phase control, stereo threshold control and FM stereo noise filter will letyou hear them in the clearest, mos: natural way possible. Other features include two front panel stereo headphone jacks, positive circuit protection, transformerlessout- puts, loudness switch, stereo only switch, front panel input level controls, re- cessed outputs, two external FM antenna connectors and one for AM, Tone Flat control, a massive electronically filtered power supply and "Black Magic" panel lighting. Seven circuit boards & three wiring harness make assembly easier and you can mount your completed AR -I5 in a wall,your own custom cabinet or the rich walnut Heath cabinet. For the finest stereo receiver anywhere, order your AR -I5 now. 34 lbs. *Optional walnut cabinet AE -I6, $24.95. NEW kit AJ-1 5 18995* HEATHKIT AJ-15 Deluxe Stereo Tuner For the man who already owns a fine stereo amplifier, Heathnow offers the superb FM stereo tuner section of the AR -15 receiver asa separate unit. The new AJ-15 FM Stereo Tuner has the exclusive FET FM tuner for remarkable sensitivity, exclusive Crystal Filters in the IF strip for perfectresponse curve and no alignment; Integrated Circuits in the IF for high gain, best limiting; Noise -Operated Squelch; Stereo -Threshold Switch; Stereo -Only Switch; Ad- justable Multiplex Phase, two Tuning Meters; two Stereo Phone jacks; "Black Magic" panel lighting. 18 lbs. *Walnut cabinet AE -18, $19.95.

HEATHKIT AA -15 Deluxe Stereo Amplifier NEW kit AA -15 For the man who already owns a tine stereo tuner, Heathnow offers the famous $16995* amplifier section of the AR -15 receiver separately. Thenew AA -I5 Stereo Amplifier has the same superb features: 150 watts Music Power; Ultra-Low Harmonic & IM Distortion (less than 0.5'7, at full output); Ultra -Wide Fre- quency Response ( I dB, 8 to 40,000 Hz at 1 watt); Front Panel Input Level Controls; Transformerless Amplifier; Capacitor Coupled Outputs; All -Silicon Transistor Circuit; Positive Circuit Protection. 26 lbs. *Walnut cabinet AE -I8, $19.95.

HEATHKIT AS -48 High Efficiency System

Our finest Heathkit System... the new AS -48 uses famous JBL''' speakers custom -designed for Heath. The specially constructed 14" woofer employsa 4" voice coil, a massive I11/2 pound magnet assembly and an inert, self -damping material to suspend the cone to deliver clear, full bodied bass down to 40 Hz. Crisp,open NEW kit AS -48 highs, up to 20 kHz come from the 2" direct radiator. A three position high frequency control conveniently mounted on the rear panel lets you adjust the bal- 1169" ance to your taste. Easy, one -evening assembly. Just wire the high frequency control, and the 2500 Hz. LC -type crossover, then install the speakers. Allcom- ponents mount front the front of the one-piece cabinet for easier assembly and a more solid sound. And the beautiful pecan finish will blend graciously with any decor. For very high performance stereo, order two of these remarkable bookshelf systems today. 43 lbs.

HEATHKIT AS -38 Bookshelf System

The new Heathkit AS -38 is a medium priced system that's small enoughto be used in apartments, yet delivers sound that readily qualifies it foruse with the very best of components. The 12" woofer and 2" tweeter, custom -designed for Heath by JBL" produce clean, lifelike response from 45 Hz to 20 kHz and the NEW kit AS -38 variable high frequency level control lets you adjust the sound toyour liking. For easier assembly and more realistic reproduction, allcomponents mount '144" from the front of the one-piece walnut cabinet. Build thenew AS -38 in an evening, enjoy rich, complete sound for years. Order two forstereo. 38 lbs. 36 STEREO REVIEW HEATHKIT AJ-14 Transistor Stereo Tuner You 'e read about this low cost, high quality Heathkit Stereo Tuner with performance that far exceeds that of assembled units inits price range ... and ov.ners, experts, leading testing organizations agree! Advanced circuitry is the key to the AJ-I4's superlative performance. 14 transistors, 5 diodes in all. 3 transistors in the "front-end" tuning section ... 4 transistors in the 4 -stage IF section insure high sensitivity and selectivity. A solid-state transformer -operated power supply. Filtered outputs for heat -free stereo tape recording. Only 4 controls for simple operation ... On -Oil Switch, flywheel tuning knob, Mono - Stereo switch, and Stereo Phase control for maximum separation. Also has an The famous Heathki: AJ-14 & AA -14 are automatic stereo indicator light, edge -lighted slide -rule dial, and antenna connectors. Prealigned, preassembled "front-end" tuner and one circuit board make used in the Heathkit AR -14 Receiver assembly fast, easy ... finish in one evening. Team it with the AA -14 amplifier. and Heathkit AD -27 & AD -17 Compacts 6 lbs. Walnut cabinet AE -25 $9.95; beige metal cabinet AE -35 $3.50. HEATHKIT AA -14 Solid -State 30 -Watt Stereo Amplifier In the traditional Heath concept of fine performance at less cost ... the AA -I4 amplifier out -performs, by far, comparable factory built units ... a fact confirmed by the experts. Delivers a cool 30 watts IHF music power (20 watts K MS) at ± I dB over the wide 15 to 50,000 Hz range ... thanks to a generous power supply design. The transfiirinerless complementary output circuit insures minimum phase shift and lossdistortion. A 6 -position source switch handles your records, tuner or tapes ... stereo or mono. For independent adjustment of each channel there's a clutched volume control ... full -range tandem controls for bass and treble boost and cut. Edge -lighted dial; and a front panel mounted stereo headphone jack, plus a speaker -off switch lOr pris ate listening. Easy to build too, with fast circuit board construction ... choice of 3 -way installation. 11 lbs. Walnut cabinet AE -25 $9.95; metal cabinet AE -35 $3.50. HEATHKIT AR -14 30 -Watt FM Stereo Receiver Kit AR -14 The superb AR -I4 is today's best value in the transistor stereo marketplace. It is a marriage of the AJ-14 tuner and AA -I4 amplifier above. Two preamplifiers and two power amps deliver the coolest 30 watts of music power you've ever heard ... at4-I dB from 15 to 50,000 Hz. And its sensitive FM tuner pulls in stations far and near. Other features include: advanced transformerless output circuit for lower phase shift, lower distortion, and wider response; 6 -position source switch selects tuner, tape, or records, stereo or mono; adjustable phase control; dual concentric volume control; tandem treble control with push-pull power switch; tandem bass control With push-pull speaker on -oft switch; front Kit AD -27 panel stereo headphone jack; stereo indicator light; filtered output for heat -free stereo taping. 18 lbs. Walnut cabinet AE -55 $12.95; beige metal cabinet AE -65 $3.95. Assembled ARW-14, 22 lbs. (less cabinet)...$169.95 '179" HEATHKIT AD -27 FM Stereo Component -Compact We call the AD -27 a "Component -Compact" because itismasterfully engineered trout the proven high quality Heathkit stereo components shown above modified only physically to fit into a handsome walnut cabinet with sliding tambour door, and a top performing BSR McDonald 500A Turntable added. The amplifier delivers an honest IS watts of music power per channel and has output impedance from 4 to 16 ohms. Frequency response is virtually flat from 12 Hz to 60 kHz. The FM stereo tuner portion boasts S uV sensitivity and 27 dB channel separation. Harmonic & IM distortion throughout the system are both less than ... order yours today. 41 lbs. HEATHKIT AD -17 Stereo Compact Using the same proven Heathkit stereo component approach of the AD -27, Kit AD -17 Heath engineers took the solid-state stereo amplifier section of the AD -27, matched it with a high quality BSR-400 Turntable and put both of these fine '10995* components in a handsomely styled walnut finish cabinet. The resultis the "17" - featuring 30 watts music power, 12 Hz to 60 kHz response, auxiliary and tuner inputs, less than 1",; Harmonic & IM distortion, adjustable pressure and anti -skate control and much more. Circuit hoard construction and wiring harness make assembly fast and easy. 29 lbs. HEATHKIT Miniature Acoustic Suspension Speaker System The AS -18 Speaker is perfect for all the Heathkit stereo components shown on this page. Features famous high quality Electro-Voice. speakers -- 6" woofer, 21/2" tweeter and assembled walnut cabinet. Handles 25 watt program material, 50 suits peak. And you can save an extra .5",; by ordering a complete system. Here's all you do: (I) pick a separate amplifier and tuner, match them with speakers and you have a system; (2) choose a receiver, add a turntable and speakers; or (3) choose a stereo compact and speakers and you also have a system. Then just add up the cost and subtract 5",; from the total price (the complete system must be ordered at the same time). That's all there is to it! r HEATH COMPANY, DepL4C.7 Benton Harbor, Michigan 4902 NEW aSchtumbergercompany pies shipping. FREE 1969 CATALOG! I7 Enclosed is $ Now with more kits, more color. Please send model (si_ Fully describes these along with I7,Please send FREE Heathkit Catalog. Li Please send Credit Application. over 300 kits for stereo/hi-fi, color TV, electronic organs, etec- Name tric guitar & amplifier, amateur radio, marine, educational, CB, Address home & hobby. Mail coupon or write Heath Company, Benton City State Zip Harbor, Michigan 49022. *Mail order prices; F.O.B. factory. Prices & specification: subject to charge without notice. HF-227 4_ CIRCLE NO. 29 ON READER SERVICE CARD JULY 1969 37 THE BASIC REPERTOIRE Updatings and Second Thoughts for 1969 By MARTIN BOOKSPAN

THIS magazine was just a few months old in the 1. Only recorded performances that are readily avail- summer of 1958 when David Hall, music editor able in record shops throughout the country are con- 'at that time and now senior record critic, phoned sidered in these comparisons. It is the Schwann catalog to ask me to prepare a series of monthly articles, each and the supplementary catalog of imported records that installment focusing on a different work from the stan- are my sources for determining the general availability dard repertoire and assessing the available recordings of of discs; similarly, the Harrison catalog servesas my that work. The point of departure was Virgil Thomson's guide to available tape performances. remark, made when he was music critic of the New York 2. The judgments offered necessarily reflect my own Herald Tribune, that the backbone of the orchestral lit- tastes. I feel very strongly that the performer is given a erature consisted of "fifty pieces,'' and the initial plan sacredtrust:he mustdistillamusicalmasterpiece called for a five-year "Basic Repertoire" series, by which through his own psyche and experience, and yet reveal it time the fifty backbone items would have been exhausted. to the listener as a timeless and universal work. I am But in the years since Thomson made his statement, the therefore not so much concerned with a note -perfect literature of the concert hall has expanded greatly, mak- projection of the printed score as I am with a direct and ing the figure of fifty no longer valid. So before long we passionate communication between performer andlis- decided to broaden the coverage and let the series run tener. It is this elusive quality of communication that is indefinitely. Thus the Basic Repertoire has continued un- such a rarity in the music -making of our time-even rar- interrupted in these pages since November 1958. er, for understandable psychological reasons, in the re- In any twelve-month period, new versions of many cording studio than on the concert platform. of the Basic Repertoire pieces are bound to be added to the recordings catalog, and others are withdrawn. I am Fin.i.owity(iare my recommendations, updated for therefore constantly called upon to do more listening and 1969, of the best performances of the works of the Basic re-evaluation; the resultis my annual "updatings and Repertoire. For those many readers who have written second thoughts," of which the following is the eleventh. over the years asking for complete reprints of the original The efficient and concise format of last year's "updat- essay versions of the Basic Repertoire articles, I am hap- ings" is used again this year, with all one hundred and py to report that Doubleday has recently published my fourteen items so far included in the series covered in a book, 101 illasteipieces of iliusic and Their Compusers, single installment. In every case where a satisfactory reel- which contains greatly expanded historical and analyti- to-reel tape version is available, I indicate a choice in cal material on the Basic Repertoire works, along with this medium; unless otherwise specified, the speedis biographies of the composers,a glossary of musical 7th ips. terms, a check -list of recommended discs and tapes, a Before going on to the recommendations, however, bibliography of supplementary reading, and a complete I want to state once again the principles that may be index. The book is now available at $7.95 in book and called my critical procedure in the Basic Repertoire series. music shops and departments throughout the country.

REPRINTSofthis1969reviewof the"BasicRepertoire areavailablewithoutcharge.Circlenumber 160on readerservicecard

38 STEREO REVIEW Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary

BACH: Lucerne Festival Strings/Baumgartner (Deut- Despite the release of several worthy new inte- Brandenburg Concertos sche Grammophon ARC 198142/3) gral recordings during the past year, my first Vienna Concentus Musicus/Harnoncourt choice remains the consistently satisfying, if un- (Telefunken S 9459/60, 9459/60) spectacular, performances conducted by Rudolf Tape:Saar Chamber Orchestra/Ristenpart Baumgartner. My tape preference is now Risten- (Nonesuch A 3013) part's Nonesuch reel, more stylish and imaginative than Klemperer's, my former choice.

BACH: Szeryng, violin (included in Deutsche Gram- Both Szeryng and Szigeti bring to this music a Chaconne, in D Minor, from mophon 139270/ t /2) senseoffieryandpassionateconviction; Violin Partita No. 2 Szigeti, violin (included in Vanguard BG Szeryng's, a much more recent recording, has 627/8/9) far better sound. Segovia's performance on the Segovia, guitar (Decca DL 79751) guitar gives evidence of similarly high artistic Tape: none available commitment.

BACH: Soloists, Chorus, New York Philharmonic/ Bernstein's continues to be my preferred disc Magnificat, in D Bernstein (Columbia MS 6375, ML 5775) version because ofitsspontaneity and unin- Soloists, Munich Bach Choir and Orchestra/ hibited exhilaration. Tape fanciers are directed Richter (Deutsche Grammophon ARC to Ristenpart's imaginative performance. 198197) Tape: Soloists, Saar Chamber Orchestra and Chorus/Ristenpart (Nonesuch E 1011)

BARTOK: New York Philharmonic/Bernstein (Colum- On discs, it is a toss-up between Bernstein's sear- Concerto for Orchestra bia MS 6140) ing intensity and Solti's drama and power. As for London Symphony/Sold (London CS 6469) tape, RCA has now apparently withdrawn Leins- Tape: Amsterdam Concertgebouw Orchestra/ dorf's more controlled performance, leaving Hai- Haitink (Epic EC 814) tink's rather high-strung version as my favorite.

BEETHOVEN: Gilels, with Cleveland Orchestra/Szell (in- The recent Gilels-Szell collaboration, in their Piano Concerto No. 3, in cluded in Angel S 3731) integral set of the Beethoven piano concertos, is C Minor Fleisher,withClevelandOrchestra/Szell an unusually light -textured and intimate per- (Epic BC 1138; tape EC 828) formance. The Fleisher-Szell version is more Rubinstein, with Boston Symphony/Leinsdorf heroic; Rubinstein and Leinsdorf lean toward (RCA LSC 2947; tape RCA TR 3-5038) breadth and elegance.

BEETHOVEN: Rubinstein, with Boston Symphony/Leinsdorf Rubinstein'sperformance hasanimpressive Piano Concerto No. 4, in G (RCA LSC 2848; rape TR 3-5019) stately dignity, Schnabel, with Philharmonia Orchestra/Dob- timacy, and Istomin's a gentle introspection and rowen (included in Angel GRE 4006) poetry. All three are highly recommended. Istomin,withPhiladelphiaOrchestra/Or- mandy (Columbia MS 7199)

BEETHOVEN: Serkin, with New York Philharmonic/Bern- Serkin's remains outstanding among available Piano Concerto No. 5, in stein (Columbia MS 6366, ML 5766; tape versions for brilliance, intensity, and spontane- E -flat, "Emperor" MQ 489) ity, with Bernstein matching him all the way.

BEETHOVEN: Francescatti, with Symphony Orchestra/Wal- Francescatti'sis a tender, loving performance; Violin Concerto, in D ter (Columbia MS 6263; tape MQ 409) Stern's is more impassioned but no less loving. Stern, with New York Philharmonic/Bern- stein (Columbia MS 6093, ML 5415)

BEETHOVEN: Rubinstein (RCA LSC 2654) All three of these pianists bring remarkable Piano Sonata No. 14, Moravec (Connoisseur Society S 1566, 1566) powers of evocation to their performances. Ru- "Moonlight" Tape: Serkin (Columbia MQ 582) binstein's, for me, is the most consistently be- guiling of all.

BEETHOVEN: NBC Symphony Orchestra/Toscanini(in- This genial, unhurried performance is one of the Symphony No. I, in C cluded in RCA Victrola VIC 8000) finest of all Toscanini's Beethoven recordings. Cleveland Orchestra/Szell (Epic BC 1292; Szell's benefits from much more recent and far tape EC 843) more clearly defined sonic reproduction.

BEETHOVEN: Royal Philharmonic/Beecham (Angel S 35509) All three of these are invigorating accounts of Symphony No. 2, in New York Philharmonic/Bernstein (Colum- this rollicking score; Beecham's is particularly bia MS 7084) treasurable. Tape: Cleveland Orchestra/Szell (Epic EC 843)

BEETHOVEN: BBC Symphony/Barbirolli (Angel S 36461; The confidence and power of Barbirolli's per- Symphony No. 3, in tape YIS 36461, 33/4 ips) formance gain in their impact on me with the E -flat, "Eroica" New York Philharmonic/Bernstein (Colum- passage of time. Bernstein, too, delivers a most- bia MS 6774; tape MQ 775) ly satisfying account which improves after a rather breathless first movement.

BEETHOVEN: BBC Symphony/Toscanini (included in Sera- This early Toscanini-BBC Symphony recording Symphony No. 4, in B -flat phim IC 6015) isfar -nore spontaneous and genial than his London Symphony/Monteux (RCA Victrola later NBC Symphony reading. Those who must VICS/VIC 1102) have up-to-date sound are directed to Monteux, Tape: Suisse Romande Orchestra/Ansermet Schmidt-Isserstedt, or Ansermet. (London K 80057)

JULY1969 (Continued overleaf ) Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary

BEETHOVEN: Amsterdam Concertgebouw Orchestra/Szell London has apparently again withdrawn the Symphony No. 5, in C Minor (Philips PHS 900169) mighty recording by Erich Kleiber andthe Chicago Symphony/Reiner (RCA LSC 2343; Amsterdam Concertgebouw. In its absence, the tape FTC 2032) Szell-Concertgebouw version is my recommendation, with Reiner's headlong and inspired performance a good second choice, despite badly overloaded sonic reproduction.

BEETHOVEN: Columbia Sy mphony/Walter (Columbia MS Walter's decade -old recording remains unrivaled Symphony No. 6, in F, 6012; tape MQ 370) for gentle and relaxed lyricism. "Pastoral"

BEETHOVEN: Columbia Symphony/Walter (Columbia MS Here Walter's blend of athletic vigor and dy- Symphony No. 7, in A 6082) namism produces a performance of compelling Tape: Suisse Romande Orchestra/Ansermet vitality. (London K 80052)

BEETHOVEN: Marlboro Festival Orchestra/Casals (Colum- The descriptionofWalter's way withthe Symphony No. 8, in F bia MS 6931, ML 6331) Seventh above applies with equal validity to Tape: Cleveland Orchestra/Szell (Epic EC Casals' version of the Eighth. 831)

BEETHOVEN: Soloists, Chorus, and Vienna Philharmonic/ No performance of the past twelve months has Symphony No. 9, in D Minor Schmidt-Isserstedt (London CS 1159; tape displacedthelucidandbrilliantlyrecorded 90121) Schmidt-Isserstedt disc as my first choice among Soloists, Chorus and Bayreuth Festival Or- modern recordings. Furtwiingler's is an acquired chestra/Furtwangler (Angel GRB 4003) taste-full of personal idiosyncrasies, but deeply moving.

BEETHOVEN: Istomin/Stern/Rose Trio (Columbia MS 6819) Still unrivaled for poetry and personal involve- Trio No. 6, in B -flat, Tape: still none available! ment isthe performance by Eugene Istomin, "Archduke" Isaac Stern, and Leonard Rose.

BERLIOZ: Suisse Romande Orchestra/Ansermet (Lon- It takes Ansermet a while to warm to the task, Symphonic fantastique don CS 2101) but from the third movement onward, his is a London Symphony/Davis (Philips PHS 900- completely convincing account that emphasizes 101) the diablerie of the music with bone -chilling Tape: Boston Symphony/Munch (RCA FCT effect. Davis and Munch represent traditional 2113) polarities in their attitudes toward this score: Davisisthe more formal, Munch the more flamboyant.

BERLIOZ: Primrose and Boston Symphony/Munch (RCA The new Trampler-Pretre account scores in re- Harold in Italy, for LSC 2228) corded sound, but I continue to prefer the ele- Viola and Orchestra Lincer and New York Philharmonic/Bern- gance of Primrose -Munch or the unbridled emo- stein (Columbia MS 6358) tionalismofLincer-Bernstein. On tape,the Tape: Menuhin and Philharmonia Orchestra/ rather soporific account by Menuhin and Davis is Davis (Angel ZS 36123) preferable to the unidiomatic version by Bar- shai and Oistrakh.

BIZET: New York Philharmonic/Bernstein (Colum- The recent Bernstein recording is a fleet and Symphony No. 1, in C bia MS 7159) fluent performance of this minor masterpiece, a French National Radio Orchestra/Beecham reading easily the equal of the best previously (Capitol SG/G 7237) available. Tape: Suisse Romande Orchestra/Ansermet (London L 80090)

BRAHMS: Fleisher,withClevelandOrchestra/Szell I find the recent Serkin-Szell performance disap- Piano Concerto No. 1, (Epic BC 1003; tape EC 802) pointingly heavy-handed. Both Fleisher and Cur- in D Minor Curzon, with London Symphony/Szell (Lon- zon (with the indefatigable Szell conducting don CS 6329; tape L 80126) for them both) deliver much more satisfying performances.

BRAHMS: Barenboim, with New Philharmonia Orches- Each of these four performances has its special Piano Concerto No. 2, tra/Barbirolli (Angel S 36526) virtues. I lean toward the ripe Romanticism of in B -flat Serkin, with Cleveland Orchestra/Szell (Co- the Barenboim-Barbirolli approach, but an equal- lumbia MS 6967, ML 6367; tape MQ 891) ly persuasive argument could be made on be- Watts, with New York Philharmonic/Bern- half of any of the others. stein (Columbia MS 7134; tape MQ 999) Horowitz, with NBC Symphony Orchestra/ Toscanini (RCA LCT1025;tape TR 3- 5027) (Continued on page 42)

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41" Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary BRAHMS: Oistrakh, with French National Radio Or- The measured and somewhat monolithic ac- Violin Concerto, in D chestra/Klemperer (Angel S 35836) count by Oistrakh and Klemperer is my own Heifetz,withChicagoSymphony/Reiner choice; those in search of a less Teutonic ap- (RCA LSC 1903; tape FTC 2151) proach are directedtothe brilliant Heifetz- Reiner performance. BRAHMS: Francescatti and Fournier, with Columbia The rich, warm lyricism of the Francescatti- Concerto in A Minor, Symphony/Walter (Columbia MS 6158) Fournier-Walter performanceisstilldeeply for Violin and Cello Heifetz and Feuermann, with Philadelphia satisfying to me. Orchestra/Ormandy (RCA LCT 1016) Tape: Schneiderhan and Starker, with Berlin Radio Symphony/Fricsay (Deutsche Gram- mophon C 8753)

BRAHMS: Philharmonia Orchestra/Klemperer (Angel S DeSpiteratherharshandunfocusedsound, Symphony No. 1, in C Minor 35481) Klemperer's account isstill my preference:it Philadelphia Orchestra/Ormandy (Columbia is a noble and majestic reading. The now deleted MS 6067) Steinberg tape is my recommendation,if you Tape: Pittsburgh Symphony/Steinberg (Corn- can find it; Walter's (Columbia MQ 337) is a mand GRT 22002) reasonable alternative. BRAHMS: Vienna Philharmonic/Monteux (RCA Vic- Both Monteux and Kertesz have the benefit of Symphony No. 2, in D trola VICS/VIC 1055) the lustrous sound of the Vienna Philharmonic Vienna Philharmonic/Kertesz (London CS in their generally mellow accounts of this mel- 6435) lowest of the Brahms symphonies. There is no Tape: no satisfactory version available satisfying tape version to be had at the moment. BRAHMS: Philharmonia Orchestra/Klemperer (Angel S Klemperer continues to be the conductor who, Symphony No. 3, in F 35545) in my view, responds most intuitively to this ClevelandOrchestra/Szell(Columbia MS score's possibilities, but again his sound is dated. 6685, ML 6085) Both Szell and Walter get better sonic treat- Tape: Columbia Symphony Orchestra/Walter ment, and both offer persuasive accounts of the (Columbia MQ 371) score.

BRAHMS: NBC SymphonyOrchestra/Toscanini(in- Though several new performances have been re- Symphony No. 4, in E Minor cluded in RCA Victrola VIC 6400) leased in the past year, my preferences remain Columbia Symphony Orchestra/Walter unchanged: Toscanini's is in a class by itself for lumbia MS 6113; tape MQ 323) surging drama and architectural splendor, and Cleveland Orchestra/Szell (included in Co- both Szell and Walter provide good alternatives lumbia D3S 758, D3L 358) in modern sound. BRUCKNER: Berlin Philharmonic/Furtwangler (included Despite several new releases in the past year, Symphony No. 7, in E in Odeon S 91375/6/7/8S) Furtwiingler's hypnotic account is still my num- Bavarian Radio Symphony/Jochum (Deutsche ber one choice, with Jochum's suggested for Grammophon 139137/8; tape K 9138) those who want up-to-date sound.

BRUCKNER: Berlin Philharmonic/Furtwangler (included As before: Furtwangler if you seek a mystical Symphony No. 9, in D Minor in Deutsche Grammophon KL 27-31) experience, with Haitink and Mehta as persua- Amsterdam Concertgebouw Orchestra/Hai- sive spokesmen for the younger generation's tink (Philips PHS 900162) view of this marvelous score. This DGG "Furt- ViennaPhilharmonic/Mehta(London CS wangler in Memoriam" album has been deleted, 6462; tape L 80170) but I am told the Bruckner Ninth will reappear on Heliodor in the fall.

CHOPIN: Ashkenazy, with London Symphony/Zinman Rubinstein's most recent recording lacks some- Piano Concerto No. 2, (London CS 6440; tape L 80173) thing in conviction; I continue to prefer the in F Minor Vasary,withBerlinPhilharmonic/Kulka totally committed performances by Ashkenazy (Deutsche Grammophon 136452; tape P or Vasary, Ashkenazy having the better ofit 6452) sonically.

COPLAND: New York Philharmonic/Bernstein (Colum- Idoubt that the absolutely brilliant Bernstein Ballet Suites-Billy the Kid bia MS 6175, ML 5575; tape MQ 397) performances will ever be surpassed. and Rodeo

DEBUSSY: Suisse Romande Orchestra/Argenta (London The Boulez -Cleveland Orchestra disc of the Iberia, No. 2 from STS 15020) complete Images, on the way from Columbia, Images for Orchestra Tape: Suisse Romande Orchestra/Ansermet may alter things; for now, either Argenta or (London L 80085) Ansermet gives most pleasure. Argenta's reading is just a mite more zestful, but Ansermet has more modern sound reproduction.

DEBUSSY: NBC Symphony/Toscanini (RCA Victrola Despite the enthusiasm for Boulez's account La Mer VIC 1246) (CBS 32 11 0056) in other quarters, I find con- PhilharmoniaOrchestra/Giulini(AngelS siderably more passion and personality in any 35977) of these three versions. Tape: Suisse Romande Orchestra/Ansermet (London L80178)

42 (Continued on page 44) Because accuracy of reproduction is essential to him, Virgil Thomson listens to music using AR -3a speaker systems.

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DVORAK: Casals, with Czech Philharmonic/Szell (Angel To the classic performances by Casals and Ros- Cello Concerto, in B Minor COLH 30) tropovich may now be added the Gendron disc Rostropovich,withCzechPhilharmonic/ -not quite so blindingly brilliant as the other Talich (Parliament 139) two, but a fully matured performance that bene- Gendron, with London Philharmonic/Haitink fits from a superb orchestral performance and (Philips PHS 900189) crystal-clear sonic reproduction. Tape: Fournier, with Berlin Philharmonic/ Sze11 (Deutsche Grammophon K 9120)

DVORAK: London Symphony/Kertesz (London CS 6402; Kertesz and Szell, both of them Hungarian -born, Symphony No. 7, in D Minor tape K 80189) respond with the deepest conviction to this most Cleveland Orchestra/Szell (Epic BC 1111; Bohemian of Dvofak's symphonies. tape EC 823)

DVORAK: London Symphony/Kertesz (London CS 6358; Again, both Kertesz and Szell offer performances Symphony No. 8, in G tape K 80193) that are fully sympathetic to the music; Kertesz Cleveland Orchestra/Szell (Epic BC 1015; receives better recorded sound. tape EC 806)

DVORAK: NBC Symphony/Toscanini (RCA Victrola Toscanini's is another of his finest recorded in- Symphony No. 9, in E Minor, VIC 1249) terpretations, and the sound is rather good, con- "From the New World" Cleveland Orchestra/Szell (Epic BC 1026; sidering its age. Among the many other versions tape, included in E3C 848, 33/4 ips) listed in the catalog,Ilike Bernstein, Kertesz, Klemperer, Maazel, and SzeII. (The SzeII tape also includes his fine performances of Dvoiiik's Symphonies Nos. 7 and 8.)

ELGAR: NBC Symphony/Toscanini (RCA Victrola To my previously recommended Toscanini and Enigma Variations VIC(e)/VIC 1344) Barbirolli recordings I must now add Colin London Symphony/Davis(Philips PHS Davis' new performance, an affectionate and 900140) carefullypreparedversion,well played and Halle Orchestra/Barbirolli (Vanguard Every- recorded. man 184SD, 184; tape C 1915)

FRANCK: Morini and Firkusny (Decca DL 710038, No new performances have been released since Violin and Piano Sonata, in A 10038) last year, so Morini-Firkusny and Stern-Zakin Stern and Zakin (Columbia MS 6139, ML remain my choices. 5470) Tape: none available

FRANCK: New York Philharmonic/Bernstein (Colum- Bernstein's is an impassioned, dramatic reading; Symphony, in D Minor bia MS 6072, ML 5391) Klemperer's is noble and sober; Monteux's glows New Philharmonia Orchestra/Klemperer with a special warmth. All three rate superla- (Angel S 36416) tives. For some reason, RCA has withdrawn the ChicagoSymphony/Monteux(RCA LSC tape of the Monteux performance; I continue to 2514; tape FTC 2092) list it because of its quality. GERSHWIN: New York Philharmonic/Bernstein (Colum- Here again we have an exuberant performance An American in Paris bia MS 6091; tape MQ 322) by Bernstein; the Fiedler reading cooks on a Boston Pops/Fiedler (RCA LSC 2367; tape lower burner, but it is effective on its own terms. FTC 2004) GERSHWIN: Wild, with Boston Pops/Fiedler (RCA LSC Both these performances are full of the sparkle Piano Concerto, in F 2586; tape TR 3-5006) and vitality that are at the heart of this score. Previn, with Kostelanetz Orchestra (Colum- bia CS 8286) GERSHWIN: Bernstein, with Columbia Symphony/Bern- Bernstein is somewhat freer in his approach than Rhapsody in Blue stein (Columbia MS 6091; tape MQ 322) Wild, but both deliver highly idiomatic and sat- Wild, with Boston Pops/Fiedler (RCA LSC isfying performances. 2746; tape TR 3-5006)

GRIEG: Lipatti,with Philharmonia Orchestra/Gal- Of the several new versions that have been re- Piano Concerto, in A Minor liera (Odyssey 32 16 0141) leased since last year, the one by the twenty- Rubinstein, with Symphony Orchestra/ four -year -oldBrazilian pianist Nelson Freire Wallenstein (RCA LSC 2566; tape FTC moves close to the top of the list:it is a stun- 2100) ningly brilliant and musically alert performance. Freire,with Munich Philharmonic/Kempe Lipatti'sisstrongly impassioned, Rubinstein's (included in Columbia M2X 798) more deliberate and studied. HANDEL: Soloists, Chorus, and English Chamber Orch- Both performances are extraordinarily sensitive Messiah estra/Mackerras (Angel S 3705) andkeenlyattunedtoBaroque performing Soloists,Chorus, and London Symphony/ practices-especially Mackerras'. Davis (Philips PHS 3992; tape R 3992) HANDEL: Complete: Bath Festival Orchestra/Menuhin Menuhin's continues to impress me as a highly Water Music (Angel S 36173; tape Y2S 36279, 31/4 ips) imaginative treatment of the complete score; Harty Suite: London Symphony/Szell (Lon- SzeII's, of the versions of the Suite arranged by don CS 6236; tape L 80089) Sir Hamilton Harty, is the most vigorous. 44 (Confirmed on page 46) Introducing Scott'snew Q100 Quadrant The first successful 360'fullrange speaker system. There have been many attempts to develop a speaker system that would reproduce the full -frequency soundand 3 -dimensional audio effect of an actual live performance. Until now, all of these attempts have failed. Either the frequencyrange was limited, or speaker placement was critical, or the listener had to sit in a limited area, or the expense involved was beyond the average audiophile. Now, Scott engineers have succeeded! The Quadrant speakerhas four sides. An 8" wooferis mounted on side One. Another 8" woofer is mounted on side Three. Four 3" mid-range/tweeters are mounted on all four sides, one to a side. Woofers radiate sound in a

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HAYDN: Royal Philharmonic/Beecham(Angel S To the bubblingly vital Beecham reading I would Symphony No. 94, in G, 36242; tape, included in Angel Y3S 3658, now add the more sedate but superbly balanced "Surprise" 33/4 ips) Szell account, which also boasts exceptionally ClevelandOrchestra/Szell(Columbia MS clear orchestral reproduction. 7006)

HAYDN: Royal Philharmonic/Beecham (Angel S Beecham's "Clock" exhibits the same qualities Symphony No. 101, in D, 36255; tape, included in Angel Y3S 3659, that distinguish his version of the "Surprise" "Clock" 33/4 ips) above. Woldikeislessairborne but solidly Vienna State Opera Orchestra/Woldike (Van- convincing nonetheless. guard Everyman S 187; tape, included in Vanguard F 1916)

HAYDN: Royal Philharmonic/Beecham (Angel S As in the versions of the two Haydn symphonies Symphony No. 104, in D, 36255; tape, included in Y3S 3659, 33/4 ips) above,Beecham'ssparklingvitalitymakes "London" Vienna State Opera Orchestra/Woldike (Van- irrelevant his use of corrupt orchestral scores. guard Everyman 166SD; tape, included in But in this particular work, Wo!dike outdoes F 1916) him even in performance-and employs authentic orchestral parts as well.

LALO: Perlman,withLondonSymphony/Previn The recent Perlman-Previn performance isa Symphonic espagnole (RCA LSC 3073) unique blend of intimacy and virility. Along Stern, with Philadelphia Orchestra/Ormandy with the Stern-Ormandy recording, it is now at (Columbia MS 7003) the top of my list. Only Ricci's somewhat less Tape: Ricci, with Suisse Romande Orchestra/ elegant version is available to tape collectors. Ansermet (London K 80046)

LISZT: Richter, with London Symphony/Kondrashin Richter's is still a masterly performance; of those Piano Concerto No. 1, (Philips PHS 900000; tape, C 900000) released since last year, Martha Argerich's is in E -flat Argerich, with London Symphony/Abbado superbly played, brilliantly recorded, and vis- (Deutsche Grammophon 139383) cerally exciting.

MAHLER: Vienna Philharmonic/Bernstein (London CS Bernstein most movingly communicates to me Das Lied von der Erde 26005; tape N 90127) the poetry, passion, and longing of this score. Vienna Philharmonic/Walter (London 4212) And the mono -only Ferrier-Patzak-Walter set is still magical.

MAHLER: ViennaProMusicaOrchestra/Horenstein Horenstein's aging mono -only recording isstill Symphony No. 1, in D (included in Vox VBX 116) the finest ever of this symphony, with Solti's my London Symphony/Solti (London CS 6401; continuing choice among the modern versions. tape L 80150) Kubelik's recent version (DGG 139331), too, is an attractive, rather easygoing performance.

MAHLER: New York Philharmonic/Bernstein (Colum- At least four new versions of this symphony Symphony No. 4, in G bia MS 6152, ML 5485) have been released in the past twelve months, New York Philharmonic/Walter (Odyssey those conducted by Haitink, Abravanel, Ku- 32 16 0026) belik, and Oistrakh. None of them alters my ClevelandOrchestra/Szell(Columbia MS previous preferences: Bernstein's is an individ- 6833, ML 6233; tape MQ 783) ual but highly persuasive account; Walter's, now available in fake "stereo," has moments of powerful poetic insight; and Szell's, among the more literal performances, seems to me the most impressive.

MAHLER: New York Philharmonic/Bernstein (included Bernstein's reading packs a tremendous emo- Symphony No. 9, in D in Columbia M3S 776; tape M2Q 993) tionalwallop, anditisvery well recorded. London Symphony/Solti (London 2220) Solti's is only slightly less moving.

MENDELSSOHN: Francescatti, with Cleveland Orchestra/Szell Both Francescatti and Stern bring an irresistible Violin Concerto, in E Minor (Columbia MS 6758, ML 6158; tape MQ quality of soaring abandon to their performances. 742) Stern's derives from the "live" concert given Stern,withIsraelPhilharmonic/Bernstein atop Jerusalem's Mount Scopus only a few (Columbia MS 7053, ML 6453) weeks after the six -day war of June 1967.

MENDELSSOHN: New York Philharmonic/Bernstein (Colum- For some unfathomable reason, London has seen Symphony No. 3, in A Minor, bia MS 6976, ML 6376) fit to withdraw the disc version of Maag's abso- "Scotch" Tape: London Symphony/Maag (London L lutely electrifying performance, though the tape 80083) is still listed. Until Maag's disc again becomes available (on the Stereo Treasury label ?), my recommendation is Bernstein.

MENDELSSOHN: Marlboro Festival Orchestra/Casals (Colum- Casals' version continues to dominate the field Symphony No. 4, in A, bia MS 6931, ML 6331) by virtue of its throbbing vitality. "Italian" Tape: Cleveland Orchestra/Szell (Columbia MQ 904)

46 (Continued on page 48) "The finest loudspeakers I've everlistenedtq, regardless ofsize, typeorpricer

That's how Ronald M. Benrey, electron- Of course, both Mr. Benrey and Mr. compLbtely satisfactory... Ihave had ics editor of Popular Science, described Hirsch write for the readers of popular, these Rectilinear IIIunits for a month a pair of Rectilinear III speaker systems large -circulation magazines. But here's now. LatelyI have found myself listen- in the May 1968 issue of his magazine, what Larry Zide wrote for the more ing to them just for the pleasure of it. In an article on "The Stereo System I specialized audience of The American They are among the very best speakers Wish I Owned." Record Guide ("Sound Ideas- column, on the market today." Mr. Benrey went on tojustifyhis October 1968): Of course, all of the opinions above ranking of the Rectilinear III's: "The transient response of the appeDred inpublications that accept "They produce beautiful bass tones speaker is superb...the overall quality advertising.Buthere's what Buyer's without boom, accurate midrange tones is extremen its fidelity to 'live' music. Guide magazine wrote in their August without a trace of coloration, and crys- The bass is solid and firm, the midrange 1968 issue, just in case you're more in- tal-clear treble tones without a hint of is clear and neutral, and highs are bell- clined to trust a consumer review with- harshness. And they do it at any vol- like in their cleanliness. out cds: ume, including 'windOw-rattling' sound "It all conies down to this: there are "Rectilinear III... has had tremendous

levels." only a handful of speakers that I find impact on the hi-fi industry ...This Of course, one expert's opinion may speaker's virtue is the fact that itis the differ considerably from another's. But first and only full -range dynamic here's what Julian D. Hirsch wrote in the speaker system that possesses sound "Equipment Test Reports" of Stereo Re- quality which is directly comparable to view, December 1967: electrostatic speakers. "The Rectilinear Ill ranks as one of ... Flute and violin concertos as the most natural -sounding speaker sys- well as string quartet were reproduced tems I have ever used in my home. Over with honest clarity ...Piano and organ a period of several months, we have music were effortlessly reproduced in a had the opportunity to compare it with manner that suggested the instruments a number of other speakers. We have were being performed live. Jazz and found speakers that can outpoint the rock music were unpretentious and true Rectilinear III on any individual charac- sounding ." teristics-frequency range, smoothness, To such unanimity from such varied distortion,efficiency,dispersion,or sources we need only add the dimen- transient response. However ... none sions and price of the Rectilinear III: of the speakers combine all of these 35" oy 18" by 12" deep, $279.00 in properties in suchdesirablepro- oiled walnut. portions as the Rectilinear III." (Far further information, see your Summing up his test report, Mr. Hirsch audio dealer or write directly concluded: "In our opinion, we have toRectilinear Research Corporation, never heard better sound reproduction 30 tv'cin Street, Brooklyn, N.Y. 11201.) in our home, from any speaker of any size or price." Rectilinear III

CIRCLE NO. 43 ON READER SERVICE CARD Jut 1969 47 Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary

MOUSSORGSKY-RAVEL: NBC Symphony/Toscanini (RCA Victrola Toscanini's dynamic and dramatic performance Pictures at on Exhibition VIC 1273) is still the leader, with Ansermet's a good stereo Suisse Romande Orchestra/Ansermet (Lon- alternative. In spite of the exaggerated stereo don CS 6177) separation and the microscopic sonic spotlight- Tape: New York Philharmonic/Bernstein ing of solo instruments, my choice among tapes (Columbia MQ 538, also included in M2Q is Bernstein. 578)

MOZART: Barenboim, with English Chamber Orchestra/ Some less than perfect ensemble notwithstand- Piano Concerto No. 20, Barenboim (Angel S 36430) ing, Barenboim's recording conveys to me more in D Minor Rubinstein, with Symphony Orchestra/Wal- of the intensity and drama of this concerto than lenstein (RCA LSC 2635; tape FTC 2182) any other version available. If the Rubinstein tape should prove to be elusive-it is no longer listed in the Harrison catalog-my alternative recommendation would be the Haskil-Marke- vitch version (Epic EC 820).

MOZART: Rubinstein, Symphony Orchestra/Wallenstein Despite the fact thatit was Geza Anda's re- Piano Concerto No. 21, in C (RCA LSC 2634; tape FTC 2123) cording of the slow movement, used inthe Lipatti, Lucerne Festival Orchestra/Karajan soundtrack of the film Elvira Madigan, that (Angel 35931) made this concerto a best-seller, I prefer Rubin - Schnabel, London Symphony/Sargent (Angel stein's more intense performance. The older COLH 67) versions by Lipatti and Schnabel are both very special.

MOZART: Boskovsky, with Vienna Octet members (Lon- The calm, genial Boskovsky-Vienna Octet per- Clarinet Quintet, in A don CS 6379; tape L 80145) formance still leads the pack for me.

MOZART: Druian, Skernick, and Cleveland Orchestra/ Szell conducts an elegant performance, and his Sinfonia concertante, in E -flat, Szell (Columbia MS 6625) soloists-first-chair men of their respective sec- for Violin and Viola Tape: Stern, Trampler, and London Sympho- tions in the Cleveland Orchestra-play with a ny/Stern (Columbia MQ 961) good deal of spirit.

MOZART: English Chamber Orchestra/Barenboim Barenboim's absolutely poised and polished per- Symphony No. 35, in D, (Angel S 36512) formance now carriesthe day,with Bruno "Haffner" Tape: Columbia Symphony/Walter (Colum- Walter's the most satisfying among the tape bia MQ 436) versions.

MOZART: Cleveland Orchestra/Szell (Epic BC 1106) The Szell/Cleveland performance has a robust Symphony No. 39, in E -flat Tape: New York Philharmonic/Bernstein vigor and penetration that are quite appropriate (Columbia MQ 942) to the music; in the absence of a Szell tape, Bernstein's is my first choice.

MOZART: English Chamber Orchestra/Britten (London Britten's highly personal approach may not be Symphony No. 40, in G Minor CS 6598) to everyone's liking; itis to mine. Of the ver- Tape: Columbia Symphony/Walter (Colum- sions on tape, Walter's is my first choice. Both bia MQ 611) these conductors,incidentally, adopt a rather free Romantic attitude toward this score.

MOZART: NBC Symphony/Toscanini (RCA LM 1030) Toscanini's heroic performance is still unparal- Symphony No. 41, in C, Columbia Symphony/Walter (Columbia MS leled; Walter'sisgentler, and perhaps more "Jupiter" 6255, ML 5655; tape MQ 436) human.

PROKOFIEV: Flanders, with Philharmonia Orchestra/Kurtz Last year's recommendations still stand: Michael Peter and the Wolf (Capitol SG/G 7211) Flanders takes a no-nonsense (and highly musi- Lillie,with London Symphony/Henderson cal) approach; Beatrice Lillie's gimmicky ver- (London CS 6187; tape L 80061) sion nevertheless contains some characteristically inspired clowning.

PROKOFIEV: Suisse Romande Orchestra/Ansermet (Lon- Ansermet is the more straightforward, Bernstein Symphony No. 5 don CS 6406) the more highly personal (with a very measured New York Philharmonic/Bernstein (Colum- fitst-movement tempo); the powerful drama and bia MS 7005, ML 6405) tragedy of the score are devastatingly communi- Tape:BostonSymphony/Leinsdorf (RCA cated to me by Bernstein. In the absence of the FTC 3007) now deleted Ansermet tape, my recommendation goes by default to Leinsdorf.

RACHMANINOFF: Rachmaninoff, with Philadelphia Orchestra/ The past year has wrought no change: the com- Piano Concerto No. 2, in Stokowski (included in RCA LM 6123) poser's own version is a classic; Graffman and C Minor Graffman, with New York Philharmonic/ Bernstein seem to me to be the most heroic Bernstein (Columbia MS 6634, ML 6034; team among present-day collaborators. tape MQ 657)

48 (Continued on page 50) IF YOU REALLY VALUEYOUR RECORDS DON'T UNDERRATE THE GRAM!

(... a commentary on the critical role of tracking forces in evaluating trackability and trackability claims)

or a high quality automatic turntable arm capable of tracking at TRACKABILITY: 3/4 gram.) The "secret" of High Trackability is to enable the stylus tip to follow the hyper -complex record groove up to and beyond the theoretical cutting limits of modern recordings-not only at select and discrete TESTS: frequencies, but across the entire audible spectrum-and at light Our tests, and the tests of many i'idependent authorities (see Note tracking forces that are below both the threshold of audible record No. 2), have indicated two main points: wear and excessive stylus tip wear. A. At tracking forces over 2 or 21)(2 grams, vinylite record wear is dramatical y increased. Much of the "high fidelity" is shaved off The key parameter is "AT LIGHT TRACKING FORCES!" of the record groove walls at both high and low ends after a rela- A general rule covering trackability is: the higher the tracking force, tively few playings. the greater the ability of the stylus to stay in the groove. Unfortunately, at higher forces you are trading trackability for trouble. At a glance, B. At tracking forces over 11/2 grams, stylus wear is increased to a the difference between 3/4 gram and 1, 11/2, or 2 grams may not appear marked degree. When the stylus is worn, the chisel -like edges not significant. You could not possibly detect the difference by touch. But only damage the record grooves-but tracing distortion over 3000 Hz by a worn stylus on a brand new record is so gross that many your record can! And so can the stylus! instrumental sounds become a burlesque of themselves. Also, styli replacements are required much more frequently. The chart below TRACKING FORCES: indicates how stylus tip life increased exponentially between 11/2 Perhaps it will help your visualization of the forces involved to trans- and 3/4 grams-and this substantial increase in stylus life signifi- late "grams" to actual pounds per square inch of pressure on the cantly extends the life of your records. record groove. For example, using 3/4 gram of force as a reference (with a .2 mil x .7 mil radius elliptical stylus) means that 60,000 lbs. RELATIVE AVERAGE TIP LIFE VS. TRACKING FORCE (30 tons) per square inch is the resultant pressure on the groove walls. At one gram, this increases to 66,000 lbs. per square inch, an increase of three tons per square inch-and at 11/2 grams, the force 120' rises to 75,000 lbs. per square inch, an increase of 71/2 tons per square inch. At two grams, or 83,000 lbs. per square inch, 111/2 tons per square inch have been added over the 3/4 gram force. At 21/2 grams, or 70°. 88,000 lbs. per square inch, a whopping 14 tons per square inch have been added! 20°. The table below indicates the tracking force in grams and pounds, 100°. I- ranging from Y4 gram to 21/2 grams-plus their respective resultant pressures in pounds per square inch.

TRACKING FORCE GROOVE WALL PRESSURE A GRAMS POUNDS POUNDS PER SQUARE INCH 3 2 STYLUS FORCE -CRAMS STVIUS TIP DIAMOND (See Note No. 1) 34 .0017 60,000 No cartridge that we have tested (and we have repeatedly tested of 1 .0022 66,000 +10%(over 3/4 gram) random off -the -dealer -shelf samples of all makes and many models in fulfilling all of the re- 11/2 .0033 75,000 +25%(over 3/4 gram) cartridges) can equal the Shure V-15 Type II (over 3/4 gram) quirements of a High Trackability cartridge-both initially and after 2 .0044 83,000 +38% tracking 88,000 +47% (over 34 gram) prolonged testing, especially at record -and -stylus saving low 21/2 .0055 forces. In fact, our next -to -best cartridges-the lower cost M91Series -are comparable to, or superior to, any othercartridge tested in SPECIAL NOTE: meeting all these trackability requirements, regardless of price. The Shure V-15 Type II "Super -Track" Cartridge is capable of tracking the majority of records at 3/4 gram; however state-of-the-art advances NOTES: in the recording industry have brought about a growing number of 1. From calculations for an elliptical stylus with .2 mil x .7 milradius records which require 1 gram tracking force in order to fully capture contact points, using the Hertzian equation for indentors. the expanded dynamic range of the recorded material. (3/4 gram track- November ing requires not only a cartridge capable of effectively tracking at 3/4 2. See HiFi/ Stereo Review, October 1968; High Fidelity, gram, but also a high quality manual arm [such as the Shure-SME) 1968; Shure has conducted over 10,000 hours of wear tests.

I -II V F=2 V-15 TYPE II SUPER -TRACK HIGH FIDELITY PHONOGRAPH CARTRIDGE Write: Shure Brothers, Inc., 222 Hartrey Avenue, Evanston, Illinois60204 CIRCLE NO. 49 ON READER SERVICE CARD JULY 1969 49 Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary RACHMANINOFF: Cliburn, with Symphony of the Air/Kondra- Cliburn virtually owns this work for our time. Piano Concerto No. 3, in shin (RCA LSC 2355; tape FTC2001) The1958 sonics ofhis disc are now showing D Minor Horowitz,with London Symphony/Coates their age-is there a Cliburn-Ormandy-Phila- (Seraphim 60063) delphia collaboration in RCA's future?

RAVEL: New York Philharmonic/Bernstein (Colum- Bernstein'sisstillthe version that makes the Bolero bia MS 6011, ML 5293; tape MQ 522) most musical sense to me.

RAVEL: Complete: Suisse Romande Orchestra/Anser- Munch has atmosphere and splendid virtuosity Daphnis and Chloe met (London CS 6456) in the orchestral playing; Ansermet gets clearer Boston Symphony/Munch (RCA LSC 2568) recorded sound. Tape: London Symphony/Monteux (London L 80034) Second Suite only: ChicagoSymphony/Mar- tinon (RCA LSC 2806; tape FTC 2196)

RESPIGHI: New Philharmonia Orchestra/Munch (Lon- As in the Daphnis and Chlo,1 above, Munch The Pines of Rome and don21024;tape L 75024) creates a vivid atmosphere, and he secures bril- The Fountains of Rome NBC Symphony Orchestra/Toscanini (RCA liant playing from the orchestra; here he is also Victrola VIC 1244) the beneficiary of luminously clear and vivid sonic reproduction.

RIMSKY-KORSAKOV: Hamburg Radio Symphony Orchestra/Mon- Both Alonteux andKomi rash in-andfor that Capriccio espagnol teux (Vanguard Everyman S 257) matter Argenta, too (London 6006)-translate RCA Symphony Orchestra/Kondrashin (RCA the essential spontaneity of this score into an LSC 2323; tape FTC 2009) exciting experience. Kondrashin's is the best recorded, and he is dealing with brilliantly virtuosic players.

RIMSKY-KORSAKOV: Royal Philharmonic/Beecham (Angel S Beecham's recording is still matchlessly sophis- Scheherazade 35505; tape ZS 35505) ticated and imaginative; Previn'sisa worthy London Symphony/Previn (RCA LSC 3042) new addition to the lists.

ROSSINI: NBC Symphony/Toscanini (RCA Victrola For sheer vitality, Toscanini's performances are Overtures VIC 1274) still in a class by themselves. Tape: London Symphony/Gamba (London L 80096)

SAINT-SAENS: With verses: Coward, with Kostelanetz Or- The straightforward and musically direct per- Carnival of the Animals chestra (Columbia CL 720) formance conducted by Kurtz is very satisfying; Music only: Menuhin and Simon, with Phil- if you like Ogden Nash with your Carnival, the harmonia Orchestra/Kurtz (Capitol SG/G verses are delivered with absolutely perfect sly- 7211) ness by Noel Coward. Tape: no satisfactory reel available

SAINT-SAENS: Boston Symphony/Munch (RCA LSC 2341; The Munch -Boston Symphony performance is SymphonyNo. 3, in C Minor tape FTC 2029) still a model of cumulative tension, brilliantly played and excitingly recorded.

SCHUBERT: Vienna Philharmonic Quintet (London CS The seraphic elegance of the playing by the String Quintet, in C 6441; tape L 80183) Vienna Philharmonic Quintet is still supreme.

SCHUBERT: Peter Serkin and friends (Vanguard VSD Peter Serkin and his colleagues bring great ebul- Piano Quintet, in A, "Trout" 71145; tape C 1713) lience and vitality to their performance.

SCHUBERT: Royal Philharmonic/Beecham (Capitol SG/G Aktazel's reading (DeutscheGrammophon Symphony No. 5, in Bflat 7212) 138685)is perhaps the most imaginative, but Tape: Columbia Symphony/Walter (Colum- this disc has been deleted and may be hard to bia MQ 391) find. Both Beecham and Walter offer affectionate accounts of the music.

SCHUBERT: New York Philharmonic/Walter (Columbia I may always prefer Bruno Walter's unique mel- Symphony No. 8, in B Minor, MS 6218, ML 5618; tape MQ 391) lowness and tender warmth in this score. "Unfinished"

SCHUBERT: Berlin Philharmonic/Furtwiingler (Heliodor The extraordinary vibrancy and fluidity of Fun- Symphony No. 9, in C S 25074) wHngler's reading are truly enhanced by Helio- London Symphony/Krips (London CS 6061; dor's splendid artificial stereo sound. tape L 80043)

SCHUMANN: Rostropovich, with Leningrad Philharmonic/ Continuing to lead the field is the sensitive and Cello Concerto, in A Minor Rozhdestvensky(Deutsche Grammophon penetratingperformance by Rostropovich. 138674; tape C 8674) (Continued on page 52)

50 CIRCLE NO. 60 ON READER SERVICE CARD-* Fouryears ago,the Dual 1019 was yearsahead of its time.

And it stillIs. model also exceeds NAB standards for Of course, the Dual 1019 did start broadcast turntables in rumble, wow, out in life with all the advantages on flutter arid speed accurac,/. (We'll be automatic turntable could have. glad to .end you reprints of the test For example, a tonearm that could results, exactly as published.) track well below the minimum tracking It's no wonder that most force recommended for any car -triage professionals who earn their living in made (and still can). Plus, the ability to the hi-fi business nave Dual turntables spin records at selected variable speeds m their own component systems. for special purposes (as well as Today, there are four Duals cocl-accui cite speed for ordinary available. Ranging from the 1212 at purposes). Anil a unique cueing system $79.50 :;introduc,:_:;ci a few months ago) that not only allows you to lower the dll the way to ouc four-year old 101C' tonearm slowly and smoothly on any at Si 39.50. They're all included in or. portion of the record, but con a.so he full -color brochure ',,,Thichis also yours used with automatic start. for the asking. Atter we dove the 1019 everything \Nhichever one youhoos,-, vie could, sue let the professionals put it be getting a 1969 automatic turntable to the test. with the exclusive Dual features c' -id Resuhs? The 1019 (and every precision performance that keep t other Dual since) has lived up to or years ahead of its time. surpassed every single claim we've United AudioProducts, Inc. York, ever made. . dison r,- Not only that, but every Dual New York 1002'H. Dual Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary SCHUMANN: Lipatti, with Philharmonia Orchestra/Kara- That his performance can be listed along with Piano Concerto, in A Minor jan (Odyssey 32 16 0141) Lipatti'sfleet -fingeredand deeply perceptive Rubinstein, with Chicago Symphony/Giulini version and Rubinstein's noble conception is a (RCA LSC 2997) measure of the success achieved by Freire, a new Frei re,with Munich Philharmonic/Kempe artist on the international scene. (included in Columbia M2X 798) Tape: Fleisher, with Cleveland Orchestra/ SzeII (Epic EC 812)

SCHUMANN: Berlin Philharmonic/Kubelik (Deutsche Despite some patches of less than perfect or- Symphony No. 1, in 13 -flat, Grammophon 1388611; tape C 8860) chestral ensemble, Kubelik's recording seems to "Spring" me more spontaneous and joyful than any other.

SCHUMANN: Berlin Philharmonic/Furtwiingler (Heliodor Again itis a Furtwangler performance, in en- Symphony No. 4, in D Minor S 25073) hanced electronic stereo sound, that is the most New York Philharmonic/Bernstein (Colum- meaningful Version for me. A real surprise is bia MS 62%) the splendid Vanguard Everyman version con- Tape:Cent()SoliOrchestra/Wand(Van- ducted by Gunther Wand, a conductor I would guard E 235) like to know better if this performance is a true indication of his powers.

SHOSTAKOVICH: Symphony oftheAir/Stokowski(United The Stokowski recording is now no longer listed Symphony No. 1, in F Artists UAS8004;tape UATC 2209) in either the Schwann or the Harrison catalogs. But no other conductor currently in the lists has so intuitively captured the brash and boisterous vitality of this score. This one is worth an ardu- ous search.

SHOSTAKOVICH: New York Philharmonic/Bernstein (Colum- The cumulative drama ofthe Bernstein per- Symphony No. 5 bia MS 6115, ML 5445; tape MQ 375) formance makes it the standout version for me, though the Previn-London Symphony reading for RCA is a strong alternative.

SIBELIUS: Vienna Philharmonic/Maazel(London CS Despite the release of several new performances Symphony No. I, in E Minor 6375; tape K 80162) since last year, the passion and drama of Maazel's version still carry the day for me.

SIBELIUS: Concertgebouw Orchestra/Szell (Philips The Crossroads release of the 1959 recording by Symphony No. 2, in D 900092) the late 'T auno Hannikainen adds another first- LondonSinfonia/Hannikainen(Crossroads rate performance tothelists.Szell'sis on a 2216 0226) higher level of emotional intensity, however. Tape:Vienna Philharmonic/Maazel(Lon- don K 80162)

SIBELIUS: New York Philharmonic/Bernstein (Colum- Bernstein still best molds this score's diverse ele- Symphony No. 5, in E -flat bia MS 6749; tape MQ 765) ments-its strength, nobility, sensitivity, poetry -into a totality.

SMETANA: RCA VictorSymphony/Stokowski(RCA Stokowski'ssorcery imbuesthis much -played The Moldau, from My Fatherland LSC 2471; tape FTC 2058) work with a new freshness and dynamism.

STRAUSS: NBC Symphony/Toscanini (RCA Victrola Toscanini's rendering has a quite unique imag- Don Juan VIC 1267) inativeimpetuosity; among modem perform- New York Philharmonic/Bernstein (Colum- ances, Bernstein's is my preference. bia MS6822;tape MQ 779)

STRAUSS: Los Angeles Philharmonic/Mehta (London Mehta's recent recording stamps him as a superb Ein Heldenleben CS 6608) interpreter of this score:it also proves conclu- Royal Philharmonic/Beecham (SeraphimS sively that the Los Angeles Philharmonic now 60041) belongs in the front rank of the world's orches- Tape:BostonSymphony/Leinsdorf (RCA tras. Beecham's budget -price disc is also fine. FTC 3006)

STRAUSS: NBC Symphony/Toscanini (RCA Victrola Toscanini's performance is the one for unbridled Till Eulenspiegel's Merry Pranks VIC 1267) excitement, Bernstein's for snap and spirit. New York Philharmonic/Bernstein (Colum- bia MS 6822; tape MQ 779)

STRAVINSKY: London Symphony/Stokowski (London Stokowski's performance of the more familiar The Firebird-Suite 21026; tape L 75026) sequence of movements from the complete bal- BBC Symphony/Boulez (Columbia MS 7206) let is hair-raising in its orchestral brilliance and sonic splendor.Boulez uses the original 1910 Suite (it omits the Berceuse and Finale), and he, too, scores a triumph.

52 (Conlinued on page .54) Two Grenadiers can make any You hear all the highs whereverdomed tweeter with a Icw-mass room sound like Carnegie Hall ...you are, because Grenadier's wide -aluminum voice coil. no matter where you put them. a igle acoustic lens spreadsthe music All together, a three -was system Because they're the only speakeracross a 160° arc... more thanwith enough magnetic power to lift systems total!). engineered 'of full -couble the dispersion of ordinarya ton of steel. A speaker system that dispersion, ful -fidelity stereo. sneakers, with no need so aim orcan turn 100 watts of anplifier YOJhearifelike, perfectli-bal-angle. power into enough music to filla ancedbasseverywhere,oecause What you hear is spectacularconcert hall. Grenadier wopfers face downward. scund: music as only Crenadier's Or to make your livirg room No otier placement gives yo t. suchmassive drivers can rep-oduceit.sound like one. instant, ful-ci-cle sound dispersion.lass all the way down to 20 cycles No otter design eliminates standingfrom a 15 -inch woofer bLilt around waves for un form sound through - an 18 -pound ceramic magnet struc- THE ROYAL GRENADIER 011: the room, full-bodied sound that k re. Living presence from a match- V, I EMPIRE With imported marble top, 5294. doe.sn't need walls or corners to re- less midrange direct radiator. Crystal - impire Scie itilic Corp. Other Grenadier speaker witeres inforce it. pore highs through an ultrasonic 1055 Stewart Ave., Garden City, N.Y. from $179.95 CIRCLE 21 ON READER -SERVICE CARD Composer and Work Recommended Recordings (Disc/Tape) Capsule Commentary STRAVINSKY: Suisse Romande Orchestra/Ansermet (Lon- The Ansermet performance is a classic of pene- Petrouchka (complete) don CS 6009; tape K 80006) trating interpretation and pellucid reproduction. Boston Symphony/Monteux (RCA LSC 2376; The tape of the Monteux version is now appar- tape FTC 2007) ently no longer being distributed, but is worth looking for.

STRAVINSKY: New York Philharmonic/Bernstein (Colum- Bernstein's is a savage interpretation that has an Le Sacre du printemps bia MS 6010, ML 5277) overwhelming impact, greater even than that of Tape: Columbia Symphony/Stravinsky (Co- the composer's own more objective approach. lumbia MQ 481)

TCHAIKOVSKY: Cliburn, with Orchestra/Kondrashin (RCA Cliburn continues to be my first choice, with PianoConcerto No. 1,in LSC 2252; FTC 2043) Freire very much in the running. B -flat Minor Freire, with Munich Philharmonic/Kempe (included in Columbia M2X 798)

TCHAIKOVSKY: Heifetz,withChicagoSymphony/Reiner The pyrotechnics of the Heifetz account are still ViolinConcerto, in D (RCA LSC 2129) awesome; Perlman's is persuasive, but in a much Tape:Perlman,withBostonSymphony/ gentler way. Leinsdorf (RCA TR 3-5029)

TCHAIKOVSKY: Complete: London Symphony/Dorati (Mer- Dorati's performance of the complete score is TheNutcracker cury SR 2-9013) rich in color and dynamism, with a fine sense of Tape: Suisse Romande Orchestra/Ansermet stage atmosphere. (London K 80027) Suite: New YorkPhilharmonic/Bernstein (Columbia MS 6193, ML 5593; tape MQ 469)

TCHAIKOVSKY: Hamburg Radio Symphony Orchestra/Mon- Both Monteux and Munch bring to their per- Romeoand Juliet teux (Vanguard Everyman S 257) formances a youthful ardor and passion that are Boston Symphony/Munch (RCA LSC/LM quite appropriate to this musical portrait of the 2565; tape FTC 2098) famous love story.

TCHAIKOVSKY: LondonSymphony/Barbirolli(Angel S The strings of the London Symphony provide Serenade inC,for Strings 36269) playing of silky smoothness. The same can be Tape: Philadelphia Orchestra/Ormandy (Co- saidforthePhiladelphia Orchestrastrings, lumbia 431) making their recording the choice among tape versions.

TCHAIKOVSKY: LondonSymphony/Dorati(MercuryST Though slightly cut, Dorati's performance is an Symphony No. 2, inCMinor, 2-9015) imaginative and graceful one. Maazel plays the "Little Russian" Tape: Vienna Philharmonic/Maazel (London score complete-without excisions in the final K 80166) movement.

TCHAIKOVSKY: Vienna Philharmonic/Maazel (London CS For its exhilarating directness and virtuoso play- Symphony No. 4, in FMinor 6429; tape L 80161) ing, I continue to prefer Maazel's recording over all others.

TCHAIKOVSKY: New Philharmonia Orchestra/Stokowski Stokowski's recording can be regarded either as Symphony No. 5, in E Minor (London SPC 21017; tape L 75017) outrageouslypersonalized(wholesaleinstru- Chicago Symphony/Ozawa (RCA LSC 3071) mental changes are made) or as extraordinarily communicative (how he makes the old war- horse come alive!). I tend toward the latter view.

TCHAIKOVSKY: Philharmonia Orchestra/Giulini(Seraphim Giulini's budget -priced version captures for me SymphonyNo. 6, inB Minor, S 60031) the essence of this music more successfully than "Pathetique" Tape: Philadelphia Orchestra/Ormandy (Co- any competing version. The tape fancier should lumbia MQ 368) be forewarned that the earlier Columbia Or- mandy/Philadelphia versionisfar better than the more recent Ormandy/Philadelphia performance for RCA.

VAUGHAN WILLIAMS: Vienna State Opera Orchestra/Boult (West- Boult's long identification with this music makes Fantasiaon aTheme minster WST 14111, XWN 18928) him its ideal interpreter. Gould also delivers an by Thomas Tanis Tape:SymphonyOrchestra/Gould (RCA uncommonly perceptive account. FTC 2164)

VIVALDI: New York Sinfonietta/Goberman (Odyssey Goberman's imaginative awareness of Baroque The Four Seasons, from Cimento 32 16 0132, 32 16 0131) performing practices makes his performance the dell'Armoniaedell'Invenzione Tape: New YorkPhilharmonic/Bernstein one I find most satisfying. (Columbia MQ 736)

54 STEREO REVIEW Anyone who wants the best, and is worried about spending an extra '20, ought to have his ears examined.

Look at what you're gettilg 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 acdition 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 MIR ACORD 50H will not track accurately. that tracks to 1/2 gram. another quality product from \ II N. CIRCLE NO. 7 ON READER SZRVICECARD JULY 1969 Dealers, editors, salespeople and customers are telling us...

"Never before has any high fidelity product received three such rave reviews!"

"you feel you've made some sort of stereo"the illusion of an orchestra spread across discovery ... if your own response to it is likethe wall is uncanny . . .To hear a thunderous ours, you'll be reluctant to turn it off and go lowC' organ pedal . . . or a clean weighty to bed." impact of a large bass drum is truly impres- Norman Eisenberg in High Fidelity, sive . . . There is no doubt that the much - August, 1968 abused term, 'breakthrough,' applies to the BOSE 901 and its bold new concepts." "allthe room -fillingpotency ofthebest Bert Whyte in Audio, December, 1968 acoustic -suspension systems, combined with the tautness and clarity of a full-range elec- Ask your franchised BOSE dealer for com- trostatic speaker . . . I have never heard a plete reprints of these unprecedented reviews. speaker system in my own home which could More important, ask him for an A- B com- surpass, or even equal the BOSE 901 forover- parison of the BOSE 901 speaker system with all 'realism' of sound." the best conventional speakers- regardless Julian Hirsch in Stereo Review, of their size or price. Then, go back to your September, 1968 present speakers - if you can.

You can hear the difference now.

21.415,417MPAFCORP. ° East Natick Industrial Park Natick, Massachusetts 01760

ROSE 901 DIRECT/FIEFLECTINGTkt Speaker System- $476 the Stereo pair, including Active Equalizer. Slightly higher in the west. Pedestal base optional CIRCLE NO. 10 ON READER SERVICE CARD extra. 56 STEREO REVIEW LABORATORY TESTS OF TWELVE STEREO CARTRIDGES Cartridges covered in this report: ADC 25 Elac STS -444-12 Empire 808E and 888VE Goldring G800E Mk II and G800 Super E Grado FTR Pickering XV-15/ 750E Shure M91E, M92E, and M93E Stanton 681SE By JULIAN D. HIRSCH and GLADDEN B. HOUCK

pHONO CARTRIDGES, like most audio components, fashion between two cartridges, we were often able to seem to get better and better each year. As we test- detect and evaluate the very subtle differences that dis- ed a number of cartridges for the annual July car- tinguish the outstanding tridge report, we were struck by the great sonic similarity one. between most of the units, and by the clear superiority For testing, we installed each cartridge in a Shure- of a few of them. SME 3012 arm. Using Cook and Fairchild test records In testing cartridges, we are faced with measurement (no longer available) that have very high recorded veloc- problems not unlike those of speaker testing. Armed ities at low and medium frequencies, we determined the with an imposing array of special test records, we mea- minimum tracking force required to play them. This sured most of the obvious characteristics of a cartridge, force, which in every case was lower than the manufac- including the required tracking force, output -signal lev- turer's recommended maximum, was used for the subse- el, frequency response and crosstalk, square -wave and quent tests. tone -burstdistortion,andintermodulationdistortion. We measured intermodulation distortion (IM) with When you examine our test data, presented in some- the RCA 12-5-39 record at velocities from 4.3 centi- what abbreviated form with the individual cartridge re- meters per second (cm/sec), an average recording level, ports, you may be more impressed by their similarities to 27.1 cm/sec, which is probably far greater than would than by their differences. So were we. Even where a dif- normally be encountered on all but a few commercial ference appeared,it was not always obvious what its stereo discs. This test is a measure of mid -range tracking audible subjective effect,if any, would be. One must ability, and does not correlate particularly well with conclude, as we did, that these tests, valuable as they the way the cartridge handles high -velocity, high -fre- may be as an indication of various factors, are notin quency material. all cases measuring what we hear, since there are some Many of the cartridges tested showed a rapid distor- differences in the sounds of the various cartridges that tion rise above 15 to 20 cm/sec, while some could play do not seem to be related to the measured data. the full 27.1 cm ,'sec without serious distortion. At low Inevitably,as with loudspeaker testing, we rely on levels, a distortion of about 1 per cent is typical, although our ears for the final judgment. By playing astandardized some measure as low as 0.5 per cent. Actually,it ap- series of difficult -to -track musical excerpts, we were able pearsthat theabilitytoplay the high velocities of to determine, in a rough fashion, how well each car- this record has little to do with the more subtle dif- tridge could play heavily cut recordings without "shat- ferences that one hears between cartridges when they are tering" (break-up) distortion. Also, by playing a num- playing normal musical material. ber of commercial pressings, and switching in an A -B Much more important, we believe,is the ability to

JULY 1969 57 play actual records of music without "shattering" distortion. The Shure "Audio Obstacle Course" recordis How to Interpret the Curves our test medium, and by assigning arbitrary numeri- M OE upper (LE\ e in the frequency response and sep- cal demerits every time a cartridge mistracked, we ar- 1 sration graph representstheaveragedfrequency response of the cartridge's right and left channels. The rived at a crude quantitative rating. To show how much lower curve, which startsat 500 Hz, represents the things have improved recently, only two years ago many averagedseparation between channels. The amount of cartridges scored over 100 demerits (not very good), and separation at any frequency is indicated by the vertical scores less than 20 were rare; this year theaveragewas distance between the upper and lower curves, and is in the low 20's, none exceeded 50, and the best were in expressed in decibels. Insetatthe lowerleftof the frequency -response the 8 -to -I 2 region. We do not publish the actual scores, graph is an oscilloscope photograph of the cartridge's which are easily misinterpreted, but we gave them great response to a 1,000 -Hz square wave on a test record. weight in our own evaluation. The shape of the reproduced wave is an indication of We measured output voltage, frequency response, and acartridge'shigh- and low -frequency response and channel separation with the CBS STR-100 record, using resonances. Note that the distortion figures shown inthe dis- an automatic chart recorder to plot the response curves. tortion -vs. -recorded -velocity graph are not directly corn - The curves shown in each cartridge report are exactly as parable, in terms of audible effect, with distortion fig- measured(averaging the two channels)except that ures obtained on other components. The vast majority we have applied a correction factor to the response be- of the program material on discs has velocities well low 500 Hz for an ideal RIAA-reproducing characteris- below 15 cm/sec and rarely hits as high as 25 to 30 cm/sec. The curve is therefore useful as a means of tic. In any case, departures from a flat response belov comparing cartridges, but not as an indicator of abso- 500 Hz result from record and preamplifier characteris lute distortion. 'With most cartridges, the distortion at tics, since cartridge design has almost no effect on low- the higher recorded levels decreases as the tracking frequency response (above 40 Hz, at least). Our test torte is increased. However, with average program ma- record had been used for many other cartridge tests, terial, the distortion remains about the same over the range of rated tracking forces. which had affected its high -frequency response and in troduced a slight peak around 15 kHz (1 kHz = 1,000 Hz), and some loss at 20 kHz. Since we depended on this measurement mostly for a comparison between car- the individual cartridge reports. Some were quite poor tridges rather than an absolute, objective response curve, in the highest octave, while one was near -perfect. The this peak was not eliminated from the frequency -re- analogy to our use of tone bursts in speaker tests sug- sponse curves, but we made allowances for these effects gests that these responses should correlate with sound in our evaluations and descriptions. quality, and they seem to in most cases. For listening tests, we mounted two arms on the same THEsensitivity of a cartridge to induced hum from turntable, switching between cartridges in pairs, and lis- external magnetic fields, such as those surrounding a tening for differences when playing the same passages. power transformer, was measured with our own test jig, This, in the final analysis, is the best and perhaps the which provides us with purely relative information. All only way to detect the real differences between closely the cartridges tested were adequately shielded for normal comparable cartridges. As in our previous tests, we found use, but there was a 20 -dB difference among them; there- that most cartridges sounded pretty much alike, and even fore, anyone whose audio installation has a tendency to where differences were audible it was not easy to de- pick up electromagnetic hum should choose one of the cide which was better. However, we did determine, to cartridges that we have listed as better than average in our satisfaction, that three cartridges of the group were this respect. audibly superior to the others. Please understand that The transient response of each cartridge was measured the differences were quite subtle, and could be detected with the square -wave bands of the CBS STR-110 record, only by a direct A -B comparison. While not everyone and with the sweeping tone bursts of the new STEREO might agree with our choices, we will offer them for REVIEW SR -12 test record. Oscilloscope photos of the what they are worth. square -wave response give a clue to the frequency and In view of the impressive $100 price tag on the amplitude of the high -frequency stylus resonance. Unfor- ADC -25, we expected it to be good, and we were not tunately, the SR -12's sweeping tone -burst test does not disappointed. In the A -B tests, this cartridge had a silki- lend itself to photography or to the exact determination ness, definition, and an indefinable "open" quality which of the frequency at which a response irregularity occurs. set it apart from most others. Frankly, we cannot account Almost every cartridge showed some amount of distor- for this open quality, but it was always apparent when tion of the tone -burst output at the highest frequencies switching from any other cartridge to the ADC -25. It (about 20 kHz), and we have commented on this in was a totally easy cartridge to listen to, with any record.

58 STEREO REVIEW Incidentally, its compliance is very great, and it should kept them from the top category, although we should be used in only the best of arms, with low friction and mention the exceptional channel separation of the Gold - low mass. ring G800 Super E, which was not equaled by any of We were not as fortunate in detecting differences be- the others. Another problem was that we could not criti- tween its three interchangeable styli. Perhaps with an cally compare each cartridge against all of the others unlimited budget of time and choice of records we could in listening tests, for reasons of time. We had to con- have heard differences, but as it was, we must report no tent ourselves with comparng each with the ADC -25, as difference, measurable or audible, between the styli. We representative of the best available, and it emerged the would liketosee the ADC -25sold with only one better choice from each such comparison. stylus, at a lower price-a step that ADC is considering. Please understand that all the cartridges are good ones The Elac STS -444-12 aroused our special interest be- -good enough so that we could be perfectly happy cause of its outstanding tracking ability (the best of the living with any of them. But, even though they are near- group and unsurpassed by any other cartridge we have ly equal, some are a "bit more equal" than others. tested) and because of its practically perfect tone -burst response, which was not approached by any of the other cartridges. Intuitively, we knew it had to sound good, and it did. We would have a hard time deciding be- AUDIO DYNAMICS ADC -25 It sounded different-per- tween it and the ADC -25. THE ADC -25 enjoys the distinction of being the most haps not quite as open or warm-but very, very good. expensive cartridge on the market. It is called a "car- The ultimate surprise came from the $9.95 Grado tridge system" by its maker, since the cartridge is sup- FTR. Past experience with Grado cartridges has taught pliedwith threeeasilyinterchangeablestyliof dif- us that they often sound much better than their price ferent dimensions, to suit various types of record grooves. or measured performance would indicate. Even so, we The two elliptical styli have radii of 0.3 x 0.7 mil were not prepared for the FTR. Objectively, it checked and 0.3 x 0.9 mil, respectively. According to ADC, the out well, with good, but not outstanding, tracking and degree of record wear and the groove depth will deter- IM distortion, and excellent frequency response and mine which of the two ellipticals will sound better. The separation. Tone bursts and square waves were also good, spherical stylus has a radius of 0.6 mil and is designed though not the best of the group. for optimum performance with RCA Dynagroove and It was in listening quality that the Grado FTR ex- other records that incorporate "pre -distortion" to reduce celled. Its clarity and definition, particularly at the high tracing distortion in playback. All the styli have similar frequencies, were equal to any cartridge we have heard. compliance and tracking -force requirements, and all are Though not as warm and relaxed sounding as the ADC - intended to be used from 0.5 to 1.25 grams force. 25, it brought a freshness to some of our records that we We made our measurements with the 0.3 x 0.7 -mil its2 -gram tracking had not realized was in them. If stylus, and spot checked the other two to assure ourselves force does not present a problem, it certainly is an exceptional buy. To summarize, the top three this year include one selling for $100 and one for less than $10, and we would not have an easy time choosing between them on the basis of hearing alone. The Elac, Nvithout any special IGnaw sound of its own, was so smooth and sweet sounding that it clearly deserved its place with the others. 0 a We compared these cartridges with the top units of 0 5 io 15 20 25 30 the past two years (Empire 999VE, Shure V-15 Type II, TEST -DISC PEAK VELOCITY IN CM/SEC and Stanton 681EE). Good as they were and are, they have been equaled by the newcomers. This is the nature 0 of progress, and we have no doubt that next year some S ezmi new cartridges may equal or outperform the three we have chosen this year. If we seem to have ignored the other nine cartridges 26 r tested,it was merely because no one of them seemed to

be clearly superior to the others. There were differences -3 in sound, to be sure, but mostly of such a nature that in- 50 ,00 SOO gams 541. 1011.4 22 dividual taste would be the deciding factor. All had one FREQUENCY I. HERTZ (CYCLES PER SECOND/ or more failings in their measured performance which

JULY 1969 59 that they would give the same results(they did). A and equal to the best cartridges we have tested. The 1 -gram force was used throughout. The output of 2.5 STS -444- I 2 had a smooth frequency response, with a millivolts was among the lowest we have measured, but slight rise at 14 kHz. Its separation was 25 to 30 dB up ADC informs us that future production versions will to 8 kHz, reducing to 5 to 10 dB above 10 kHz. have somewhat more output. The ADC -25 was slightly In our IM tests,the Elac STS -444-12 tracked 17.5 more sensitive to induced hum than most of the others cm/sec at 2 per cent distortion. Its square -wave response tested, but not significantly so. In any case, with com- was excellent, with no detectable ringing and only one ponents that match the quality of this cartridge, no dif- slight overshoot. The tone -burst response of this cartridge ficulty from either cause will be experienced. was nearly perfect, and it was easily the best of this Inits tracking ability, the ADC -25 was one of the group of cartridges in this respect. Price: 859.50. top-ranking cartridges we have tested. Its frequency response was exceptionally smooth, with no significant reso- GOLDRING G800E MK II nance or response peak. Separation exceeded 20 dB up to about 8 kHz, and became approximately 5 dB at 15 AND G800 SUPER E

kHz and higher. The ADC -25 tracked 19.8 cm/sec at L. \ ST year we rep iewed the newly introduced Gold- 2 per cent IM distortion. Its square -wave response was ring G800E cartridge, imported from England by IMP nearly perfect, and the tone -burst response showed only Products of Philadelphia, Pa. For the current report, a slight irregularity at 20 kHz. Price:

z SUPER E ELAC STS -444-12 COLORING G -800E 0 1

INlast year's tests, the Elac STS -444E proved to be fL

one of the better cartridges in our test group. In this F -

So. $0 ie 20 .., ZB TEST-OISC PEAK VELOCITY -N CM/SEC

GOLORING G -E100 SUPER E tg I ELAC STS

'we 2 S -S

OR Av W 2 0 0 o ?_p `,9 O s lo 15 20 25 30 TEST -DISCPEAKVELOCITY IN CM/SEC -25

5 I N-!0 -35 .------....

11) -. 50 J E,_ C STS 444 ,2 100 SOO 1111-11 Sh1-11 10 Hz 40: LI - FREQUENCY IN HERTZ (CYCLES PER SECOND( 6 8 15 ----... 8 -25 we tested a more refined version, the G800 Super E, as

0- (0 3.. well as a recent production model of the G800E, the

5 UJ Mk II. Both cartridges use a 0.3 x 0.8 -mil elliptical diamond 0 50 100 500 41-1, 510-11 10 HI 20 FREQUENCY IN HERTZ (CYCLES PER SECOND) stylus. The G800E is rated for tracking forces from 0.75 to 1.5 grams, while the Super E operates from 0.5 to 1.25 grams. By our tracking criteria,the G800E re- year's survey, we checked the STS -444-12, which is the quired1.5 grams, and the Super E could track at I same cartridge with a 0.5 -mil spherical stylus instead gram. Its vertical compliance was so great, in fact, that of the elliptical stylus used in the 44.4E. Whether be- forces exceeding I gram caused the cartridge body to con- cause of normal production tolerances, product improve- tact the record surface. ment, or the different stylus dimensions, the STS -444-12 The output of the G800E was 3.6 millivolts, while emerged as distinctly superior to the cartridge previously the G800 Super E had the lowest output of any of the tested, and it is in fact one of this year's top three. cartridgestested -2.2 millivolts.Itssusceptibilityto The I 2 is rated for tracking forces of 0.75 to induced hum was somewhat greater than that of the 1.5 grams, and we were able to operate it at I gram. other cartridges tested, but not sufficient to cause any Its output was 3.3 millivolts, with average hum -shield- problem in actual use. ing effectiveness.Itstracking ability was outstanding The tracking ability of the Super E was just below

60 STEREO REVIEW the top -performing cartridges tested, while the G800E the 808E, while a good unit, is a slightly older design. was noticeably behind the Super E in this respect. Both The Empire 808E had a pronounced peak initsre- cartridges had very smooth frequency response up to 20 sponse at 14 kHz, but separation was very good over kHz, with the G800E slightly flatter than the Super E the full frequency range. It exceeds 30 dB at mid -fre- above 10 kHz. The channel separation of both units quencies and is better than 8 dB all the way to 20 kHz. was excellent. In fact, the Super E had the best separation The 808E tracked 20.2 cm/sec at 2 per cent IM dis- of any of the cartridges tested in this group. It exceeded tortion.Its square -wave response showed one cycle of 30 dB up to 6 kHz, and was more than 10 dB all the way ringing at 15 kHz, followed by several rapidly damped to 20 kHz. low-level ringing cycles. The tone -burst response was The G800E had 2 per cent IM distortion at 19.4 good to 10 kHz, but was quite irregular in the highest cm/sec, and the Super E reached this distortion level at octave. Price: $29.95. 16.3 cm/sec, using the 1 -gram force. Their square -wave responses were quite similar, nearly ideal with very slight ringing (the Super E square wave is shown). Both cart- EMPIRE 888VE ridges had exceptionally good tone -burst response, with THE Empire 888VE is a lower -cost version of the only a slight irregularity at 20 kHz. Price: G800E, $49.95; 999VE, which was one of the best cartridges tested last G800 Super E, $69.50. year.Its physical appearance is similar to that of the 808E, and it is the most refined version of the 888 series, available with a choice of five stylus assemblies. EMPIRE 808E The 888VE has a 0.2 x 0.7 -mil diamond, rated for THE Empire 808E cartridge, designed to operate over operating forces between 0.5 and 2 grams. We used a the relatively wide range of stylus forces from 1to 4 grams, has a 0.4 x 0.9 -mil elliptical diamond stylus. The ZR relatively moderate ellipticity of thisstylus makesit . VP,RE BBB ,E practical to use the higher tracking forces without damage 06 to record grooves.In our test,the 808E required 2 grams for optimum tracking. u'" Qo 5 (0 Is 20 25 50 TJ TEST -DISC PEAK VELOCITY N SEC F 06 EMPIRE ROBE O

10 U GRAMS 0 18 US Coo 5 10 15 2)0 Z IJ TEST-DSC PEAK VELOCITY N CM/SEC 25 .6 N -30

-e -so 50 100 SOO 11.1-12 S1.1-1.1 101.1-11 FREQUENCY N HERTZ (CYCLES PER SECOND)

tracking force of 1.5 grams in our tests. The output was 4.2 millivolts, with average hum -shielding effectiveness. M -55 Tracking ability was very good, though slightly below 20 so 100 Soo I.H, 5kHs 101.411 20 MAI FREQUENCY IN HERTZ (CYCLES PER SECOND) the 999VE and the top cartridges in the current tests. The frequency response was smooth to 20 kHz, and the separation was very good, varying from 30 dB at Its output was 5 millivolts, and its hum shielding was mid -frequencies to better than 10 dB between 15 kHz somewhat better than average. In tracking ability, the and 20 kHz. The 888VE had 2 per cent IM distortion 808E had a low ranking among this group of cartridges, at 13 cm/sec when operating at 1.5 grams. Increasing but nonetheless tracked in a perfectly satisfactory man- the tracking force to 2 grams enabled it to track 22.3 ner. In the rankings of a year or two ago, it would have cm/sec at 2 per cent distortion. The square -wave re- stood higher, but many of the newer cartridges reflect the sponse showed only one cycle of ringing with excellent continuing improvement in cartridge performance, and damping. The tone -burstresponse showed someir-

JULY 1969 61 regularity in the uppermost octave, from 10 kHz to 20 z e kHz. Price: $59.95. Q F- PICKERING XV 5/750 6 - - F

tic GRADO FTR 2 THE FT Series is a new cartridge design by Grado Laboratories that is available with several interchangeable 00 10 20 styli. The unit we tested was fitted with a 0.6 -mil spher- TEST -DISC PEAK VELOCITY IN CM/SE ical stylus, designed for a tracking force of between 1.5 and 3.5 grams. We used a 2 -gram force. The FTR had an output of 5.1millivolts, with hum shielding slightly less effective than average. Its tracking

GRADO FTR I 0 60 100 SOO I.H. S.HI 10.H1 FREQUENCY IN HERTZ (CYCLES PER SECOND) Wzz

a0 S 10 25 30 TEST -DISC PEAK VELOCITY N CM/SEC of keeping the stylus from getting clogged with dust. The 750E stylus, used in the tested cartridge, is a 0.2 x 0.9 -mil elliptical diamond, designed to track between )

1 I 0.5 and gram. We used 1 gram in our tests. The out- '''D° ''R I '4; put was 3.3 millivolts, with hum shielding slightly less ef- I fective than average. The tracking ability of the XV-15/ ...... , vo...-1 Pli 750E was very good, only slightly behind the highest 25 I 1 ' ranking cartridges. 1 Its frequency response was excep- 0 -30 tionally flat, with little evidence of any high -frequency a -35 ' \...) k-....-, I resonance below 20 kHz. Channel separation was better SO 0 SOO loHs 510-41 10.11 20 Hz than 20 dB below 2 kHz, but it reduced smoothly at FREQUENCY IN HERTZ (CYCLES PER SECOND) higher frequencies and was only a couple of decibels above 13 kHz. ability was very good, ranking just below the topcar- The IM distortion reached 2 per cent at 20.2 cm/sec. tridges. The frequency response was smooth all theway Square -wave response was very good, with slight ringing to the 20 -kHz limit of the testrecord, with only a at the stylus resonance that appeared to be somewhat slightriseinthe15 -kHz region. Channel separation above 20 kHz. The tone -burst response was also good was exceptionally uniform with frequency and was close- except at the very highest frequencies just below 20 kHz. ly matched between channels. It was 20 dBor better up Price: $60. to 10 kHz, reached a minimum of about 10 dB at 15 kHz, and exceeded 20 dB at 20 kHz. The FTR tracked 19.3 cm/sec at 2 per cent IM dis- SHURE M91E, 92E, 93E tortion. Its square -wave response had only a singleover- 11ORTLY after Shure introduced their -Hi-Track" shoot, with negligible ringing. The tone -burstresponse series of cartridges, we reported on the M91E (February, showed some irregularity just above 10 kHz, butwas 1969 issue), noting at the time that it came very close otherwise excellent all the way to 20 kHz. Price: $9.95. to matching the performance of their widely acclaimed V-15 Type II at a much lower price. PICKERING XV-15/750E The M92E and M93E use the cartridge body of the M91E, which snaps into an -Easy-Mount- bracket for THE XV-15/750E is Pickering's top -of -the -linecar- simplified installation. Like the M91E, the M92E uses a tridge. The same cartridge bodyisavailable with a 0.2 x 0.7 -mil elliptical stylus, rated for tracking forces choice of nine styli, making it perhaps the most uni- from 0.75 to 1.5 grams. It has a slightly higher output versally applicable cartridge on the market. The built- voltage than the M91E, and is rated to track velocities 2 in brush rides on the record ahead of the stylus, and to 3 dB lower than the M91 E. The M93E is similar, but does a fairly good job of record cleaning anda fine job has a 0.4 x 0.7 -mil stylus designed to operate from 1.5 to

62 STEREO REVIEW 3 grams, and with I to 2 dB lesstrackability- than the STANTON 681SE M92E. Both the M91E and the M92E required 1.5 grams in WHEN we tested the Stanton 681EE cartridge last year, it proved to be one of the top-ranking units in re- our tracking tests, while the M93E operated at 2 grams. The M9IE had an output of 5.7 millivolts, while the spect to smoothness and tracking ability. This year we M92E and M93E had 6.5 -millivolt outputs, the highest tested the 68ISE, xvhich is the same cartridge body with of this year's group of cartridges. Hum shielding was a less -compliant 0.4 x 0.9 -mil stylus. The rated tracking slightly better than average. The M93E tracked slightly force of 2 to 5 grams suggests that this cartridge may be better at 2 grams than the M92E did at 1.5 grams, but intended for the rigors of commercial and broadcast ser- both ranked just behind the best cartridges in this group vice rather than in a pampered home music system. and not far from the M9IE, which tracked as well as any We found 2 grams to be a suitable tracking force. cartridge we have tested to this date. The M91 E IM dis- The output was 4.5 millivolts, and hum shielding was tortion at the highest velocities was about the same as average. Althoughitstrackingabilitywas good,it the M93E, but with a tracking force of 1.5 grams instead of 2 grams. In essence, however, the cartridges had similar distortion characteristics. O. All three cartridges had similar frequency -response STANTON 6E0SE characteristics. The cartridges had excellent resp=mse up to 20 kHz, with a slight peak in the 13- to 15 -kHz region. 2 CRAMS

5 5 i0 IS 20 25 30 TEST -DISC PEAK VELOCITY 131 CM/SEC ZR

4.3(JRE (A) 5 0A33(S! SHORE M91E C(1 0 O 100 5 0 IS .2o TEST DISC PEAK vELocrry N CAA/S. 24111WIPIr

SO 100 500 454. 4.331 1CAH. 20 -°20 (tHi FREQUENCY IN HERTZ (CYCLES PER SECOND(

did not match that of the 681 EE or of several other top- quality cartridges in this respect. The 681SE had a very flatfrequency response to 20 kHz, marred only by a sharp (but inaudible) dip at 11.5 kHz. Channel separa-

FREQUENCY 4.1 HERTZ (CYCLES PER SECOND( tion was better than 20 dB up to 2 kHz, reducing to 6 dB or less at frequencies above 10 kHz. The Stanton 681SE tracked 23.8 cm /sec at 2 per cent Their channel separation was excellent up to 10 kHz. IM distortion. Its square -wave response was the best of The M92E lost separation above 11 kHz, while the sep- this group of cartridges, with negligible ringing. The aration of the M93E remained at 5 to 10 dB all the way tone -burst response was also excellent except at 20 kHz, to 20 kHz. The M91 E showed better separation than where it became slightly irregular. Price: $55. either of the others between 10 and 20 kHz. The M92E and M93E were able to track velocities of PAST CARTRIDGE REPORTS 20 to 21 cm/sec at 2 per cent IM distortion. Their square - The following cartridgesreportedoninJuly, wave responses were essentially identical, with several 1967, are still available: ADC 10/E Mk II and 220, cycles of ringing at about 15 kHz (the M9IE square wave Empire 808 and 88/6E, Shure V-15 Type II and is shown). The tone -burst response showed considerable M75-6. degradation between 15 and 20 kHz. The STEREO RE- The following cartridges were reported on in the July.1968 survey: ADC 550-E, Elac STS 241-17, VIEW SR -1 2 test record was not yet available at the time 311-17, and 1-11E, Empire 999VE, Goldring 800E, the M91E was tested,so we do not have tne-burst Ortofon SL -15, Pickering XV-15/AME/-100, Shure responsedata onit.Prices:M91E, $19.95; M92E, M75 -E, Stanton 500-E and 681EE. $.1-1.95; M93E, $39.95.

JULY 1969 63 GO100"Z MICHAEL STEINBERG "Criticism: W hy Go On?"

Music criticismin Americaisin bad repute, and deservedly so. Most of the writing about music in daily papers appalls with its ignorance, Dr. Murray Baylor of the Knox College If Kilkenny, Director of Public Re- caprice,triviality,itsintellectual and music faculty presents the Sang Award lations at Knox College, presents the Sang even journalistic slovenliness,its tone plaque to Eric Salzman. The accompany-Award plaque to Michael Steinberg. The of condescension,its bad prose. The ing citation read (in part) :"lie ventures accompanyingcitationread(inpart): record magazines publish some good into fields where opinions hare notyet "His approach to criticismisthatof a criticism, but also much had; the gen- been fully formed and is able to seize on thoroughly trained musician with a keen eral magazines, weekly, monthly, and and illuminate ... whatever he discusses." ear for the highest musical standards." quarterly,do ratherpoorly onthe whole, and most of them ignore music anyway. Understandably, almost everyone is The Sang Prize for discouraged about the situation, and many are ready to doubt that music criticism can be a valuable activity at all. As a reader of criticism in fields MUSIC CRITICISM other than my own, I am convinced of TVIPerZ the value of criticism as guidance (to start from something immediate and THE Elsie 0. and Philip D. Sang Prize for Critics of the Finepractical) and as stimulation. When I Arts, sponsored by Knox College, Galesburg, Illinois, is in-read such criticism, I notice that most ofitiswritten by persons who are tended to give public recognition to those performing a cul- themselves professionally active in the tural service in the field of criticism, a profession in which acclaimfield. The work of historians iscriti- is seldom given but which has a tremendous effect on success in thecized by other historians-but criticism of the work that musicians do is not, arts. The prize, which consists of a $5,000 cash award and a com-for the most part,written by musi- memorative plaque, was awarded this year in the field of music cians.The differenceby no means guarantees good criticismofhistory criticism by a jury that included composer -conductor Aaron Copland, books, butitdoes seem to ensure a composer Vladimir Ussachevsky, conductor Stanislaw Skrowaczew-rather dependable levelof incompe- ski, and Prof. Murray Baylor of the Knox College music faculty. tence in music criticism. We donotlackperceptive,in- Basing their decision on critical articles and reviews submitted forformed, and literate persons capable the prize competition, the jury members selected Michael Steinberg, of writing good music criticism.Itis true, though, that being a music critic music critic of the Boston Globe, and Eric Salzman, contributing edi-to many people implies a relationship tor of STEREO REVIEW, as co -winners. Mr. Steinberg, who writes to music that they find unattractive. I regularly for a number of professional music journals in Europe andam often asked how, after five years and abit,Ilike my job on a daily the U. S., has been with the Globe since January 1964. He has taught paper. Ilike it very much indeed and in the music faculties of Princeton, Hunter College, Manhattanfind it humanly and professionally rewarding and stimulating I School of Music, the University of Saskatchewan, Smith, and Bran- in ways would nothave anticipated; I am, deis, and is now on the faculty of the New England Conservatory however,alsoapttoanswerthat, of Music and a member of the visiting faculty in the Critics' Train- while Ilove music more and more, I like concerts less and less. With their ing Program at the University of Southern California. Mr. Salzman limited repertoire and their rigid and has been a monthly contributor to STEREO REVIEW since January uncomfortablepackaginggenerally, 1967 and is the subject of this month's staff biography (see concerts give too narrow a view of page music.Thereis,besides,something 104). On the following pages are reproduced the substance ofthe anomalous about being a consumer by co -winners' remarks at the award ceremonies at Knox College on profession.I am convinced that I am a better critic for being in touch with April 27. -Editor allsorts of musical activities, and a

64 STEREO REVIEW saner one, too, because what I do for out of the fray-at least as far as day- about nothing but international politics the Boston Globe is not all of my pro- to-day"professional"reviewing is (he was sure we were going to war fessional life. Some of thisI imagine concerned. with China any day now), and the also helps to explain why record mag- My major activityiscomposition; implication was clear:nexttothese azines use a few good critics whom a my major writing is, with the excep- issues, music is trivial. Another editor daily paper probably could not hold. tion of an article now and thenin told me even more explicitly:"Well, The criticmust stand outsideas other publications, confined to STEREO you know, we have so many more im- well as inside. The visible surface of REVIEW. Itis only in magazines de- portantthings."Stillanothersaid, the music world is the result, to a con- voted to records and recording that a "That was amarvelousarticle you siderabledegree,oftheinteraction meaningful standard of music criti- wrote, but it's not really for us. Do between an industrious public -relations cism-intelligent,relevant,and in- youwrite on anythingelsebesides effort and a docile public. What gets formed writing for a general audience music?" written aboutisapt to be whatever -is maintained. There are deep-seated Itisindeedawretched situation. makes the best copy, but itis the crit- social and cultural reasons for this, and Music criticismis hardly even a pro- ic's job to do what the public relations if we want to understand the present fession. There are a few vestigial full- people are not concerned with doing, low estate of music criticisminthis time positions, hut, with very rare ex- and it may even be his job to try to country, we must take a larger view of ceptions, these jobs are filled by luck undo their work. There is plenty to do. therole and historyofmusic and orhappenstance-oftensomeone is Amid the dreary academicism on one criticism in American life. simply pulled out of the newsroom or side and the claptrap and gimmickryff e off the woman's page. The basic atti- ofthe know-nothings on theother, ERIOUS" music-the Western tra- tude of 99 per cent of the newspapers there is even some interesting new mu- dition of art music-was imported to in this country, starting with the New sic being written. Some of the mostthis country from Europe, largely as York Times, is that the critic owes his fundamental and cherishedassump- an amusement and fashionable decor allegiance not to the art he criticizes, tions about the relation of the audi- for the well-to-do and upper middle but to the newspaper and its median ence to music and indeed about the class. The role of the critic was, at this readership. The critic-or, more accu- limits of music itself are being ques- stage, that of educator, explicator, and rately, reviewer-is to provide an en- tioned.Itisa delightful moment to proselytizer. A group of highly literate tertainment guide to help newspaper take the risk of standing up, thinking and very literary music critics devel- readersdecide whether or notthey whatever you think, saying it clearly, oped a kind of elegant music -apprecia- should see (or should have seen) the reporting what you hear and see, nottion approach typified by the writing show. Critics who actually know some- as a missionary or tastemaker or pub-of such men as James Gibbons Hune- thing about and are active in the art licist, but as a teacher who hopes to ker, William Henderson, and Lawrence theywriteaboutaredefinitelynot make you truly possess your ideas by Gilman; Olin Downes and even Paul wanted. stirring you into thinking them up for Rosenfeld were also of this tradition. yourself. It is more than delightful, it Subsequently, however, when prose- THESE attitudes are prevalent in all is necessary. The failures of criticism lytizingfortheclassicsnolonger the arts, hut they hit music the hardest. are failures of performance, but they seemed necessary and the general level The resultisthatseriouscriticism, do not indicate that criticismisnot of performance went past the point at knowledgeable criticism, personal criti- worthwhile. I see every reason to go on. which most critics could tell the differ- cism, criticism with a broad view, is -/tlichael Steinberg ence, their role became that of keepers virtually nonexistent in the daily press of the sacred flame. Critics ceased toor in periodicals of a general nature. be interested in the living art of music Even the hit of reviewing that passes (they had never been interested inits muster for criticism cannot mean any- Gd104-0 popular manifestations, but now they thing without a larger context. A critic abandoned evenits contemporary se- must have a point of view, he must ERIC SALZMAN rious forms) and limited themselves to know something about his art and be- "Criticizing Criticism" comments (usually cliches) on the in- come part of its history. He is a par- terpretation of established classics. The ticipant ina dialogue, and must see intellectual as well as the larger public not only the close-up view-the scrape promptly lostinterestin music criti- of the bow on the string-hut must MILE occasion of receiving an award cism entirely. also have some larger vision of the 1 for criticism is,I suppose, as good One of the sources of the problem is relationship of this art to the rest of as any to bring up the painful subject the basic lack of interest on the part of life. This is perhaps the area in which of music criticism-or rather the lack our so-called intelligentsia-our intel- criticism has reallyfailed most dra- of it-inthiscountry.Insimplest lectual and literary establishment-in matically. Not only have our critics terms, one can say that the state of music atall. Music isstilltaken se- failedto comprehend the revolution American music criticism is a national riouslyin European intellectuallife, that has taken and is taking place in disgrace. I say this not with the arro- and it once was here too. No more. music, not only have they failed to see gance of someone who has just won a One gets an idea of just how deep the the relationship of music to contem- prize for being a good critic, but as an general magazine editor's mistrust of porary life, but they have walled music objective statement ofawell -recog- music and writing about music really off from the rest of experience, creat- nized (although not often publicly dis- is when one tries to do freelance ar- ing their own imaginary room which cussed) fact. I say it as someone who ticles on music. I was taken to lunch they call "art." Alas, even some of the has been active in the field for a dec- withone prominent andinfluential well-intentionedjournalsandnews- ade but now considers himself largely gentleman recently who wouldtalk letters dealing with contemporary mu -

JULY 1969 65 sic have, in their reactions to the inani- keeping Seal of Approval. It is always views published in STEREO RliviEw in tiesand misconceptions ofso-called a mysteryto me why mid -America 1968. Concerts retain a residual pres- popular journalism, only emphasized continues tofall head over heels for tige, but recordings have long since be- one of its grossest misrepresentations- the New York review: come the principal means of musical that music is an insiders' mystique, un- communication, and infact are now connected with the rest of life. The "Young Sascha Tonkunstler'6 attempts at a poetic tone would he ludicrous if it were the major influence on every area of critic who burbles about "passionate musical life. Similarly, although jour- sweep" or "impeccable octaves" and not for the fact that his most brilliant pas- sagework is marred by technical mishaps." nalistic criticism also retains a residual the analyst who straightens us out on prestige, it is only in the record maga- "contiguouscliads"and "intersecting or the blurb that pretends to he the zine that one can find any amount of parameters" are equally irrelevant. New York review: serious, high -quality writing about music for the general reader. In fact, the THEproblem of criticism is actually "... Sascha "Ionkunstler's ... poetic tone ... brilliant Nssagewyrk. . . record magazines are now theonly part of a wider issue, the crisis of the general music magazines published in traditional institutions of music. Why, Why shouldthe good peopleof this country. after all, should it matter whether mu- Galesburg care two cents for what the sic criticism is any good or not? Why, New York papers saidor what S. OFall, the publicationsI have writ- after all, should performers cringe and Hurok sends out as packaged culture? ten for, STEREO Ri:vicw' is easily the quake at what the New York Times Ifyoureally wanttohear Jascha mostfar-sightededitorially,and the will or will not say? What is this non- Superstar, go out and buy his records. most involved and responsive in terms sense thatisstillperpetuated about If you want live music, why don't you of what I have to say (this is true of the "power of the critics" or the "pow- build your own right here and make it both editorial management and reader- er of the New York press"? It is, I as-part of your community? Why don't ship). The record audience is the real sure you, purely and totally a myth, you have a group of young players in music audience in this country, and its and, like most myths, itis operative residence? Why don't you have and involvement and commitment arelit- only so long as people continue to be- create you own new music? Why don't erally changing the nature of musical lieve in it. you have your own opera company? culture. If music criticism can survive Well, the myth has long since ceased Kaiserslautern (population 90,000) in and make a meaningful contribution, to have any reality, and the time has Germany has one. This country is full if new talent and new ideas can find a come to explode it. I mean the myth of of fantastic talent without an outlet- place to develop and get across, it will the Carnegie Hall debut and the cheer- a fabulous, unused, wasted natural re- be through the record magazines. In ing audience and the grumpy critic on source. Believe me, you are better off this sense, Knox College's award to a the aisle and the rapturous reviews in making your own decisions and judg- record -magazine critic has an impor- the next morning's paper and the calls ments than trusting those of the critics tance that might not he immediately from Sol Hurok and the glamorous-whoever they are. obvious.I am personally gratefulto career springing therefrom.Itisall the magazine, not only for giving me a pure poppycock;ithasn't happened So who needs criticism? In truth, a forum, not only for allowing me my that way, outside the movies, in dec- good deal of it has become simply ir- sometimes unconventional and gadfly ades. Even Van Cliburn had to get his relevant. The older print -visual gen- views, not only for letting me sound start in Russia. And yet, every year,eration, which reads (or might read) off on unpopular subjects or dive into literallyhundreds of aspiring young music criticism, is not interested in the even the most freakish contemporary singers,pianists,andfiddlersspend object of that criticism-the music it- music and ideas, but also for a deeper thousands of dollars they cannot afford self. A younger generation grooves on sympathyfor and understanding of togivemeaninglessrecitals,before music, but couldn't he less interested in what itisall about. Records and rec- papered houses, or, sadder still, a hand- criticism. Well, perhaps they are right. ord magazines represent the vital part ful of friends, all in a totally vain and Perhapsrealmusiccriticismtakes of living musical culture, not yet en- absurd hope. Still others, already on placeinotherways,otherplaces. tirely anesthetized, sliced up, and pre- their way up( with reputations built There are tremendous changes taking served in so many labeled pickle jars. on European tours or recordings), will place in our culture generally and in They have helped to bring into being a hire a hall and paper itjust for the music particularly and, as we grope to new audience, and opened this audi- reviews. Why? Because they hope that understand these changes, we find most ence up to kinds of music and musical their preceding reputationwill snow criticism is no help at all; so we look experiences that were previously only the New York. critics(it often does) for other ways, other techniques. Per- esoteric byways in the province of a and that the New York reviews will haps a new work, a new composition, few scholars and experimenters. They convince some managers to book them might be a more significant act of criti- have helped make music arelevant across the U.S.A. What a system! This cism than a dozen written critiques! part of contemporary life and opened a has nothing to do with art, music, or One of the changes that has had an dialogue between the musician and the life.If works not because the New overwhelming impact on musical life listener. In making the whole of hu- York critics and managers are so all- is the growth of the recording medium, man musical expression and aural ex- powerful, but because you --Galesburg, and this has a great deal to do with periencearelevant part of contem- T.S.A.-fall for this nonsense. The av- my being here in thefirstplace.In porary life,they have given music a erage American music -lover --the same fact, althoughI have been a concert past, multiple presents, and, perhaps, one who complains about the powerful reviewer, the hulk of my writing has even a future. If criticism survives and New York Establishment-neverthe- been about records and my share of continues to make its own contribution lessdemands New Yorkcertified the Sang Award is being given specifi- to music, it will be thanks to them. Grade -A artists with a Good House- callyforaseries of articles and re- -Eric Salzman

66 STEREO REVIEW "INSPIRED"INSTALLATION OF THE STEREO MONTH

SINCE the raisond'etrefor STEREO REVIEW'S Installa- Mounted on the sloping panel of the cabinet are, from tion of the 1\49nth feature is providing our readers left to right, a Concord AM/stereo FM receiver used to with ideas fur their own audio installations, we were drive speakers in the basement recreation room, a McIn- very much pleased when Paul Muchlinski, of North Platte, tosh MX -110 combination preamplifier/stereo FM tuner, Nebraska, wrote to tell us that the ideas for his stereo and a Monarch four -band communications receiver. The control panel came from the readers of STEREO REVIEW. power amplifier, a McIntosh MC -240, is concealed in the And we were even more pleased to see that the inspira- large drawer on the right. The drawer on the left is used tion had produced such an attractive installation. for storing records and tapes. The two tape decks are a Mr. Muchlinski designed the cabinet with the help of Concord 776D and a Crown SS -822-P4. The turntable, a friend, but had it built by professionals. It is made of flush -mounted like the other units, is an Empire 398 with book -matched walnut with solid walnut stiles, and it an Empire tone arm and 880P stereo cartridge. In addi- stands 4 feet wide by 61/2feet high. The cabinet is tion to housing the amplifier, the right-hand drawer also mounted on casters for easier access to the rear. The back provides space for a Fisher K-10 reverberation unit and a of the cabinet is covered with four separately removable home -built switching panel that feeds signals from the sections of peg -board, and a small fan provides additional various components to the tape decks. ventilation for the equipment. The speaker enclosures on Mr. Muchlinski listens mostly to semi -classical music either side of the cabinet were manufactured by Barzilay. and writes that "after a busy day, I enjoy the music of Each houses a Jensen 15 -inch G-600 Triax full -range Mantovani, the Ray Charles Singers, and the Melachrino speaker. Strings, who rate high on my list." -IV. IV.

JULY 1969 67 Patti C.key

Gustav Mahler C Hans Werner Henze Robert Schumann Ambroise Thomas Richard Wagner Ernst von Dohnanyi

Peter Ilyitch Tchaikovsky Antonin Dvoffik Bela Bartok Anton Bruckner r4 Joseph Haydn Giuseppe Verdi Sergei Rachmaninoff Paul Dukas

Gioacchino Rossini Georges Bizet hose Maurice Ravel Aaron Copland ORPe

Wolfgang Amadeus Mozart Ludwig van Beethoven Felix MendelssohnDmitri Kabalevsky Jean Sibelius Emmanuel Chabrier

STELLAR COMPOSERS MUNDANE ASTROLOGY The world's illusicke is an Harmonic>, caused by the mo- In an imaginary interview, tion of the starres, and violence of the Spheares, . . . Now a longtime tourist of the zodiac the cause wee cannot heart., this Sound. according to Pliny is,because the greatnesse of the sound cloth exceed the reports some ancient liaisons between sense of our cares. music and astrology -Andreas Vogehnaier, MuYice ac/ire micrologus, Leipsig, 1517 (translated by John Dowland, London, 1609) By ROBERT OFFERGELD Mr. Offergeld: As I understand it, we're supposed to

discuss music and. . . . Really, I can scarcely bring myself to say it-do you mean to tell me that you believe in astrology ?

68 STEREO REVIEW Mr. Agonistes: How can I believe in it? It is not suscep- be about death, the dark night of the soul, eroticism- tible of clinical demonstration. and, above all, fate. Opera, for example, offers the great- Mr. 0.: Thank heaven-using that expression loosely. est assortment of ill-starred enterprises known to literate For a moment you had me worried. I take it then that man, and it is never more characteristically operatic than actually you disbelieve in astrology. when its heroine goes to a fortune-teller, as in Ballo in Mr. A.: How can I disbelieve in it? It too often works. Maschera, or when. she is one herself, like Carmen. Or Mr. 0.: You can't be serious. How can anybody believe when the fortune-teller is disguised as a goddess, like that and disbelieve in the same thing? sepulchral old hat Erda in Das Rhein gold . The fact is that Mr. A.: That's easy. Or haven't you heard Milton Babbitt? even quite brainy people love to inspect the dark workings Definitely unbelievable, but it's no use pretending that he of fate when they are presented in musical form. The isn't there.... music itself provides all the logic needed, and the meta- Mr. 0.: That sort of dig should be beneath you. I sup- physics can he conveniently left unstated. pose you're telling me that astrology is one of those am- But if it will reassure you, the alliance between music biguous things-ESP, for example, or telekinesis-that and astrology is not my idea. It was established so long you can't accept and can't reject, either. before written history that it must be called aboriginal, Mr. A.: You're getting warm. But this particular dilemma and we find it already full-fledged in the oldest myths. In has a solution, you know. It isn't my solution, it's the the Philadelphia University Museum you will find some Emperor Vespasian's. Perhaps you'll recall that Vespasian shell plaques that decorated the harp of a King of Ur in was a highly practical man, one whose interest in the Chaldea. They are engraved with zodiacal animals mak- occult wasn't all that superstitious. For example, his hu- ing music on primitive instruments, and they represent morous deathbed remark-"I think I am about to be- episodes in the Babylonian epic about Gilgamesh, twelve come a god''-expresses the sardonic view he took of incidents of which story gave the zodiac its original twelve such religious nonsense as the public deification of dead signs-"zodiac," as you know, meaning "circle of ani- Roman .emperors. Yet when policy forced him to banish mals." Likewise, the number of strings on prehistoric in- allthe Chaldeanastrologers from Rome, Vespasian struments always had an astrological significance by way quietly made an exception of his personal stargazer, as of the lunar calendar. The three -stringed tortoise -shell being rather too useful an administrative aide to dispense lyre of the pre -patriarchal Goddess of Heaven referred to with. her three -season sacred year-spring (the goddess as Mr. 0.: I daresay you expect me to feel that it was per- maiden), summer (as nubile woman), and winter (as fectly rational of Vespasian to have a staff astrologer, in tyrannical crone). The seven strings on the classic Chi- the first place. nese zither(the chin) were identified with the five Mr. A.: I've noticed that many intelligent people do not planets then known plus the sun and the moon. share the common superstition about being rational. Did Mr. 0.: I draw no very clear conclusions from all this. you ever see the great Spanish dancer Escudero ? His Mr. A.: It might help if we pinpointed the real reason mother was a gypsy, a notoriously strong-minded one. that astrology provoked such hostility among the rational- After her son became famous, she systematically threw ists.I imagine you'll agree that astrology is the oldest out everybody who tried to sell him insurance on his feet. form of metaphysics known-a speculative system based In the gypsy view, insurance simply invites disaster, on on the empirical observation of planets and people. But the theory that when it becomes all that profitable to have the really radical thing about astrology is its intention, an had. luck, had luck is sure to come. Rational, no. Intelli- ancient idea but one so bold in the context of modern life gent, yes. that neither theology nor science will touch it with fire - Mr. 0.: First Chaldean stargazers ! Now gypsies! What tongs. The real intention of astrology is nothing less than century is this, may I ask? this: to discover a direct and meaningful relation between Mr. A.: Happily, it's not the nineteenth, which was the individuals and the rest of the universe. By a coincidence, first civilized century scared to death of finding these dark itis some sense of precisely this relation that we obtain perceptions relevant to daily experience. The same cen- from great music. tury, of course, thought nothing of spending five hours Mr. 0.: Now hold on. Astrology as a primitive meta- listening to a Wagner opera, and I'd like your opinion on physical system may be everything you say it is. But you the rationality of that. are glossing over the nature of its assumptions, which are Mr. 0.: Now you're simply being perverse. intellectually disreputable. How can the positions of the Mr. A.: Not at all. Doesn't it strike you as odd that the planets at the hour of your birth possibly affect your nineteenth-century rationalists who were so queasy about destiny? The notion is utterly arbitrary. astrology were happy to drown themselves in music? Mr. A.: No more arbitrary than some of Plato's most use- From Beethoven's Fifth to Wagner's Tristan, the most ful ones-not to mention Arnold Schoenberg's. You and popular nineteenth-century music is still generally felt to I may not like some of the uses to which astrology is put-

JULY 1969 69 its vulgarized exploitation in the tabloids, let's say-but tional difficulties from their simplistic grandfathers. If we its utility is a matter of historical fact. are to judge from certain public statements, not even a Astrology proposed a serviceable logic of the irrational, Nobel prize guarantees its winner's ability to utter ten co- for example, long before psychiatry got around to it. Cer- herent words on such subjects as "the meaningful relation tain kinds of music are an essay in the same direction, and of the individual and the rest of the universe." I sometimes think that astrology's profoundest insight is Perhaps the moment has arrived to give these gentle- also its most musical one: namely, its recognition that men the address of a good astrologer. It might even be reality cannot be halted for inspection. Today any bright helpful if they listened to some of the music that I would college freshman can tell you that the real world (as dis- like, in a moment, to discuss. tinguished from a number of simplistic theoretical ones) Mr. 0.: Do I at this point, and of course with theproper is always composed of mutating forms. Correspondingly, respect, note the birth of a new intellectual discipline- the human situation-political, biological, historical, what one we might call astromusicology ? have youis to be sensed only as a perpetual flux. It is Mr. A.: That's fine with me, so long as you also notesome- graspable only as music is grasped, being in no case a thing else. Unlike some musicologists, I shall attempt to stasis but always a process. As such, it is only feebly repre- prove nothing. You can no more "prove" a horoscope than sented by frozen statistical fact-a perception familiar not you can a fugue. You can only say of either of these forms only to Plato but to the Chinese astrologers who wrote that it works or it doesn't. If it is successful, its subject is music about it fifteen hundred years before him. startlingly illuminated and its value is self-evident. The Mr. 0.: I grant you that astrology seems to introduce a only inference I derive from either project isa practical sort of principle of evolving forms into human biography. one: for the best results, you have to consult a pro. But I still fail to understand how this principle validates Now it is a curious fact that until the age of Darwin, the underlying occult assumptions. Marx, and Freud, you could often get the best music and Mr. A.: I'm coming to that. As it turned out, the his- the best horoscope by consulting the same man, who in torical weakness ofastrology was notitsoccultas- many cases could also have helped you with your loga- sumptions but its methodology --which, asInoted a rithms, conic sections, and celestial navigation. Suchmen moment ago, is empirical. Through the centuries, astrol- were of course by definition polymaths-the exact oppo- ogy amassed an encyclopedic store of astro-behavioral site of the specialists fashionable today. Pythagoras and data, but these data were imprecise, being based on trial Ptolemy were only the best remembered ones in Classical and error. They therefore became "unscientific" the mo- times. Boethius was quoted as the common authority on ment theoretical science replaced the real universe as an music and mathematics throughout the Middle Ages object of study with a mechanically plausible laboratory (which also carved zodiacal figures on its Gothic cathe- model of it. drals)In the Renaissance, of course, you were polymath Please note thatthis development, which followed or nothing much, and a notable proficiency in either mu- Newton and Leibniz by about a century, described the sic, mathematics, or astrology could almost always be association of man and the rest of the universe as a purely taken as prima facie evidence of a serious involvement fortuitous one. Each was discovered to be merely an in- with the other two. genious contraption, and you'll recall that both were Mr. 0.: But did any of these people ever really write thought to be engaged mainly in running down. No music? meaningful relation between these two contraptions was Mr. A.: Some wrote it. Others, and not the least inter- discoverable or even desirable, since that might indicate esting of them, just thought it-like the great seven- some kind of shaping purpose in nature (and you'll also teenth -century astronomer and mathematician Johann recall that "teleology" has been the dirtiest word in higher Kepler, a friend of Galileo and Tycho Brahe's pupil. thought for well over a century). Galileo was of course the son of the composer -mathe- Astrology therefore had to go, and it was not rejected, matician -lutenist Vincenzo Galilei, who was associated as you might have thought, after exhaustive inspection of with Jacopo Peri and other Medicean composers in the its data. It was rejected a priori as being inexplicable in production of the first lyric drama in the monodic style, a terms of the closed system of universal truth that science form later called opera. Kepler's teacher Tycho Brahe was --somewhat prematurely, as it happened-had adopted. the Danish astronomer who approached the astrological Today our college freshman can also tell you that this aspects of his science as "something divine." After a mi- closed system-particularly its notion of the universe as a nute study of the comet of 1577, Tycho made perhaps the Newtonian static Absolute-proved a catastrophic bust most famous prediction recorded outside of Holy Writ. all of fifty years ago. Meanwhile the ambitious young sci- He affirmed that a prince would be born in the north, in entists who have their hands on the nucleus of the atom Finland, who would lay waste to Germany and vanish in (and the genetic codes in our chromosomes-talk about the year 1632. Seventeen years later, Sweden's king Gus- fortune-telling!) have inherited some grave communica- tavus Adolphus obligingly got born in Finland, subse-

70 STEREO REVIEW fluently laidwaste toGermany in the Thirty Years War, and many other things.- He proposes a ''concert ofthe and died in the year 1632. You'll pardon me for thinking planets" in which Saturn and Jupiter take the bass, Mars that the U. S. StateDepartment and Pentagon could culti- the tenor, Venus and Earth the alto,and Mercury the vatea better informed class of scientist than they now do. soprano.He even finds that the numerical ratios of the Mr. 0.: Are youperhapssuggesting that Jean Dixon intervals correspond to the hierarchies of Being as ex- should geta Cabinetpost? pounded by the Scholastics, andthisleadshim toa con- Mr. A.: I'd have to know first how sherates atthe in- siderationof inaudible pitches, which hecompares to the finitesimal calculusand triple counterpoint! nine orders of invisible angels surrounding the Holy Meanwhile, you'll admit that Tycho was a hard act to Trinity. follow, but Kepler managed it nicely. In the early 1600's, On the other hand, Robert Fludd's Monochordonmun- he drew horoscopes for both the EmperorRudolph II and rli published in1622,takes issue with both Wallenstein,who happened to have the job of waging Kepler and Mersenne.Fludd was adistinguished and waragainst the invader predictedby Tycho. Simultaneous- prosperousphysician, a Cibalist,and a Rosicrucian,and ly,and byhis own account, Keplerwasled to some of his theprecise pointsof hisdissent are a little hard to make greatest scientific discoveries by musical analogies. As a out,since heobservesthat the wholeuniverse, including mathematician, he explained among other things theec- Gods heaven, is in fact a great musical instrument, its centric orbit of Mars,the laws of optics, thesolar rotation, keyboard being the intervals between the angelic hosts, and the lunar tides-also anticipating,in the view of some the fixed stars, the planets, and the elements. God figures later scientists, Descartes' theoryofvortices.In De Har- inthis scheme as the tuner of the instrument, and Fludd's monice Alundo, summarizing the incredible diversity of book containsan engraving inwhich thestructureof the his thought ina single world-view, he elaborated a music universe is derived from the intervals on the Pythagorean oftruly cosmic origin, analyzing the planetary movements monochord. specificallyintermsofmusical intervals (he assignsa Mr. 0.: Didany ofthis occulttheorizing ever havedis- strange little melodic fragment on mi and fa,forexample, cernible issue incomposed music? to the planet Earth). Mr. A.: Thatdepends somewhat on who doesthe dis- Among the more noted writers inthisgenre were the cerning.. In myopinion there are definite traces of it as Frenchman Mersennus(Pere Mersenne) and the English- early as the fourteenth century,when occult influences manRobert Fludd (or Flud).In 1626, just sevenyears reportedly invadedthe church in music by Philippede after Kepler published his Harmonices Mundi,Mersenne Vitry, Guillaume de Machaut, andothers. Also, the dark issued Des Paralleles de la musique, in which heenlarges and broodingquality of much medievalChristmas music Kepler's theories of planetary musical intervals. Mersenne derives from a mystery much older than the Christian expounds a highly detailed relationbetween these inter- one namely, the prehistoric ritual of the winter solstice. valsand "colors, tastes, figures, geometricalforms, vir- But it happens that we also have, as a reference in this tues,vices, sciences, theelements, theheavens, the planets, matter, some musicofgreat importance composed bya

The "fossil" science of astrology was anything but to scientists and thinkers of the early serenteenthcentury-astr,mo Tycho Brahe (left) and his pupil Johannes Kepler (center) and the French mathematician and musical theorist Maria Mersenne.

IS MEW tru Cofer, "'ft,irWefferl ditatmcrt Conk,

71 practicing astrologer. I was a student, fourteen or fifteen, of his life. It is certain that this elusive Englishman, in when I first ran across the name of John Dunstable, plus addition to being the chief composer of his age (roughly one of his motets, in a venerable edition of Grove. More the interval between the death of Chaucer and the birth interesting to me then than the sound of his motet-at of John Skelton) was a widely respected mathematician least as played by me on the piano-were the scanty facts and astrologer.

(3) October 20,1874, Danbury, Con- pieces are subtitled Fantasy. He was fa- AN EXPERIMENT IN necticut mous for "monster concerts" with hun- (4) June 17, 1882, St. Petersburg, Rus- dreds of performers, including enormous ASTROMUSICOLOGY sia orchestras and in some cases dozens of By ( 5) May 10, 1916, Philadelphia, Penn- pianos. His amatory legend was inter- Eleanor Bach sylvania national and perennial, and he was forced and to leave the United States by an explosive Robert Offergeld Each of the persons represented in and nationally reported scandal. He was thislist occupies a singular position profoundly attached to his mother, and inthe musical history of his time, although he had innumerable affairs, he but one with which only a student never married. of music would be apt to possess an offhand familiarity. (2) September 13, 1874, Vienna, Miss Bach's impressions are given Austria: This subject is a great revo- first,after which thesubjectsare lutionary.Saturninoppositionto identified in subsequent paragraphs. Uranusindicatessomethingpro- foundly revolutionary in relation to (1) May 8, 1829, New Orleans, the structure of his art, changing or Louisiana: A very unusual and in- challenging itsaesthetic values and teresting chart. There are four plan- theory. Equally clear is a very diffi- etsoperating with great power in cult life: there is a grand cross here, their own signs-the Moon in Cancer, fourplanets(Uranus -Saturnand Saturn in Capricorn, Venus in Taur- Venus -Neptune) in stress aspect to us,and Uranus inAquarius. This each other. There is a remarkable di- The beautiful solar chart vision orsplitintheseinfluences. of Igor Stravinsky. was certainly a conspicuous and su- periorpersonality. The Sun, Mer- There is sensuality, also a great sense THE LIGHT that music may throw cury,and Venusareconjunctin of drama, probably a pioneering one. upon astrologyisany imagina- Taurus, giving great aesthetic per- But the Sun in Virgo gives also a tive person's discovery, but that is at ception and liveliness of sensation. quality of purity and a kind of struc- best only half the story. What re- A rather traditional or conventional tural precision. The Moon and Jupi- mains to be consideredisthe light sense of structure inhis work, but ter are in Libra, so that there isa that astrology may throw upon mu- also much emotion and asense of strong melodic trait-hut of a pecu- liarkind, with something involved sic-or atleast upon musicians.I fantasy. There is great control here have asked a New York astrologer but also great moodiness. Something and intensely moody about it. And of my acquaintance, Eleanor Bach, unexpectedly and almost explosively yetallthese divisive elementsare to give me briefly her impression of big happens in connection with this reconciled by thought, a highly pro- the solar charts of five celebrated mu- person. Also thepublicisaffected nounced intellectuality. sicians whose identitieshave been by something very sensual and earthy The subjectisArnold Schoenberg, about him. Thereis withheld from her. an aggressive widely felt to be the most revolutionary sexualityandalso Miss Bach has been a practicing much concern figure in modern music, perhaps inall astrologer for ten years and is also a with death.I would also guess at a music. His promulgation of the serial or teacher of the subject. She has no very strong tie to the subject's moth- twelve-tone method of composition gave knowledge of music, and her famili- er,perhapsagreat and inhibiting modern music an entirely new structural arity with musical biography does idealization of her. concept, changing both its theory and its not exceed that of the average non - aesthetic values. The extraordinary trials musician. Miss Bach was given only The subjectis Louis Moreau Gott- of his career are well documented. His the dates and places of birth. She schalk, singularly conspicuous as an inter- early music particularly may be called nationallyfamous American composer intensely moody, particularly inits har- was not told whether the subject in monic texture, and his concept of the question functioned chiefly as a com- and pianist in the Civil War era. After his debut in Paris, where he was ranked tone -row may justly be called a melodic poser or a performer. Since the pre- with Liszt and Thalberg, he remained in peculiarity. He composed numerous works cise hours of birth were unknown to the headlines until his death twenty years of great dramatic power for the theater me, no circumstantial horoscope was later. One of his published essays on as well as dramatic episodes conceived for possible, and it was agreed that only musical aesthetics begins with the remark, recitation with orchestra. Even those who ageneralimpression ofthesolar "Music is a thing eminently sensuous.' disagree with his principles concede his chartswouldbeattempted.Miss Although his sense of form in composi- single-minded purity of intention, and no Bach devoted roughly half an hour tion was conventional, being largely con- other composer or teacher has ever in- fined to the theme mote, he was the first sisted so relentlessly that the elements to each nativity, and her estimates of music shall be subjected to a single were made in my presence. to use the earthy and sensuous folk material of the Americas in concert music. intellectual system. The five examples chosen were: His most famous piano pieces are concerned with death: The Last Hope, The (3) October 20, 1874, Danbury, (1) May 8, 1829, New Orleans, Louisi- Dying Poet, and Moue! His unflappa- Connecticut: At first this chart seems ana ble public self-control was as proverbial similar in a way to the last one, but (2) September 13, 1874, Vienna, Austria as his private moodiness. Dozens of his actuallyitis very different. This is In his day, Dunstable's reputation as a seer must have not" nicely expresses the Abbot's dismay at his subject's been great, for John of Whethamstede, Abbot of St. Al- versatility, but the verses roundly affirm that Dunstable bans, wrote some Latin verses about him under this En- was: (1) "another Michael" (referring to the chiefof glish heading: ''Upon John Dunstable, an astrologian, a the archangels, the only one who knew the secret "word" mathematician, a musitian, and what not." That "what of the Creation) ;(2) "a new Ptolemy" (meaning the a more complicated, much less sin- fluence-and meanwhile the planets there is a distinct rapport, but there gle-minded person. This subjectis are all in one third of the chart, giv- iseven more conflict.Unorthodox very energetic, very busy, much in- ingthiscareerabeautifullyself- procedures are indicated, and Mars volved inbigaffairs. He isappar- contained quality and clarity of aim. in Leo gives an emphatic impulse of ently quite versatile, for the affairs This subjectisanother revolution- drama, with a curious regality and are diversified. There isalso,asin ary, but in a very different sense than great passion in connection with this the preceding chart,apronounced the two preceding. Neptune is con- draniatic situation. Uranus in Aquari- originality (Uranus opposite Saturn), junct Saturn, which refers to estab- us indicates a primary concern with but hereitislessclearlydefined. lished patterns and respect for tradi- inventions and mechanical matters- However, theory is just as important tion, while Uranus brings in a new infact,the main configuration of for this subject as for the last one, order-reallytheavant-garde.Yet this chart is a T-square, Uranus op- and there is also a strong pioneering Neptune, Uranus, and Saturnare posite Mars and both of them square force. With Neptune in Aries, this is trine,so that the new forms and the Sun, which relates some kind of all stated in a lively, energetic way, ideas have a profound relationto mechanical contrivance to sensation. with great movement. His Moon is the past. Uranus in Virgo gives great The challenge of this subjectisto situatedveryclosetothat ofthe originality, also remarkable precision do something completely novel, par- UnitedStates,whichspeaksof as to detail. The Moon, Venus, and ticularly as regards technique. There American traditions and feelings. Yet Mercury are in Cancer, a very emo- are many planets in Cancer, and they indicate particularly a concern with thereisalsohere some difficulty tional sign, and in this case also pro- with the public, a difficulty not ap- phetic of new forms and new tech- structural matters, the human voice, parent inthe preceding chart. The niques. Mars is in Leo, indicating a an analytical approach to sound, and sextile of Jupiter and Venus indi- strong sense of theater, and the Sun alsoapeculiar obsessiveness. Also skilland catesan involvement with money, and Jupiter in Gemini indicate also indicatedare tremendous exhibitsthe administrationinrelationtoit,af- adeep preoccupation withwords. cleverness.Thischart fections, and agenerally expansive Thissubjecthasgreatsensitivity, same Leo -Aquarius axis as doesthe temperament. The relation of Mer- great pride,great stubbornness. second one[Arnold Schoenberg's], cury and Pluto indicatesanative There isalso a strange anger here,but the emphasisisvery different. shrewdness, even something detective - perhaps at confusion, deception, or The second subject was a real fighter like, in this subject. negligence. againsttradition,andhisrevolt against the old forms was the specific issue. But for this subject tradi- The subject is Charles Ives, who after The subject is Igor Stravinsky, who is two generations of public neglect is now still enjoying what is demonstrably the tion simply does not exist, and the considered by many to be America's most most lucidly ordered and clearly defined only issue seems to he the effective original composer. Ives' music is much career in modern music. In the early years dramatizationofsomethingcom- concerned with American history, Amer- of the century he led the musical avant- pletely new. ican philosophical values, and American garde into the theater with a succession musicalsources.Butthiscomposer's of revolutionary and epoch-making bal- The subjectisMilton Babbitt, the originality,whichinvolvedpolytonal lets. Later he led it into a highly formal- writing, considerable dissonance, and a leader and spokesman of a movement de- izedneo-classicism,andinstilllater voted to"total serialization" as an or- high degree of ideologial saturation (all works, as well as in his extensive polemi- ganizational device in music and the ex- of them far in advance of their time), cal writings, he proposed a kind of sys- ploitation of electronically produced and kept the public and the establishment at tematic renewal of tradition and of his- lifetime. As the manipulated sound in place of that de- a distance during his torical materials and disciplines as a basic rived fromtraditionalsources,instru- head of a large insurance company, Ives condition of real progress. His insistence was much involved in large affairs un- mental or vocal. Babbitt reportedly has on clarity of statement, his meticulous no interest whatever inthe expressive related to music. In particular, he never attention to detail, and his general ab- committed all his energies to the kind of potential of music, considering its chief horrence of inaccuracy are legendary. His value to be the mathematical Integrity of savagely single-minded fight for his musi- preoccupation with words, with legend its organization. Pieces produced by this cal principles that Schoenberg did. Both and myth, has produced a series of musi- composer on an electronic synthesizer are as a businessman and a composer, Ives cal settings for important literary texts, considered by the initiate to be the chief was involved with large concepts: large includingthePsalms,certainGreek showpieces and also the intellectual justi- groups of clients, large orchestral forces, classics, and contemporary works by such ficationofhisaesthetictheory. These largesocialideas concerned withthe writers as Andre Gide and W. H. Auden. common welfare. His shrewdness of mind works have won wide academic attention and verbal pertinacity, both very much and considerable public resistance. Bab- bitt unquestionably occupies a dominant in the astringent New England tradition, (5) May 10, 1916, Philadelphia, are a matter of record. Pennsylvania: This subjectisdefi- if not "regal" position in his academic nitely a spokesman for new trends, province, and a recent biographer men- tions his "passionate" nature, particularly (4) June 17, 1882, St. Petersburg, and as such would have a peculiarly in relation to his didacticism. Although Russia: What a beautiful chart for disturbingeffect.Uranusisinthe a great deal of the tradition against which a musician! It has Neptune leading same degreeasthe UnitedStates' Schoenberg revolted can be deduced from or ruling music at one end of the Moon, indicating a certain kind of the nature of his revolt, Babbitt's music train of planets and Uranus bringingpublic response-but itis perhaps a seems to acknowledge no history but its up the other. The Moon is in good response ofconsternation,or even own and no experience but that of its aspect for both, harmonizing their in- disaffection.Incertaindirections composer. second -century Alexandrian astronomer whose Almagest that I mentioned earlier, and the latter piece is attributed was still the definitive work on planetary and prognostical to Confucius, a well known polymath circa 550 B. C. affairs) ; and (3) "a youthful Atlas unshakably uphold- Then there is that well known non -polymath J. S. Bach- ing the heavens." and if you think he didn't know about astrologer's music, My early brush with Dunstable presently inspiredme listen to The Art of Fugue. If I were a practicing star- with a nagging curiosity: What kind of music wouldan gazer, I'd use nothing else as background music in my astrologer be likely to compose, anyway? Nobody I knew waiting room. of at the time was singing Dunstable's motets andmasses, Mr. 0.: Can you recommend anything more recent? so I had to invent the genus "astrologer's music" in my Mr. A.: In addition to Gustav Holst's orchestral suite own fancy. The Planets,there's Constant Lambert'sballetsuite Now suppose that somebody gave you that problemas Horoscope-plus, from 1966, Jacques Bondon's Concerto an assignment. Have you any idea of what sort of sound de Afars for guitar and orchestra (RCA VICS 1367). you might come up with? Mozartean ? Bachian ? Ravel- Bondon was a disciple of Darius Milhaud, and hiscon- lian ? Gregorian ? certo makes sometimes boisterous, sometimes somber play Mr. 0.: Well, let's see. Maybe something like Webern. with Mars as a planet, as the Roman god ofwar, and as What did you produce? the month of the vernal equinox. And ofcourse Hinde- Mr. A.: Webern is not bad, not bad at all. Whatcame in mith's "symphony" Harmonic. der Welt, with its "Musica my case was of course much more provincial. But greatly Humana" and "Musica Mundana" movements, does try, to my surprise, the principal elements of such a music like astrology, to relate the universe to the individual- prefigured themselves for me unbidden, and theywere and musically. Meanwhile, the last word for (and froM) quite strange. I understood instinctively that the melody the revolutionary young is "The Age of Aquarius" (Soul of this music would not be the usual full sentencesat all, City Records SCS-92005), the 5th Dimension's version but something in the nature of disjunct oracular frag- of the big hit from Hair. ments. And its harmony would consist for the most part of mysterious clusters of starry sounds, growing and dis- II:F THERE is a contemporary dean of musical astrologers, solving in a great stillness that was not exactlya silence. his name is of course Igor Stravinsky,a senior Magus I.ike the night sky in winter, this aural void would be lit whose arcane touch is perpetually self -renewing. Long dimly by a kind of sonorous galactic dust,an almost - before I had run across Jean Cocteau's witty drawing of sound that trembled on the threshold of audibility. Stravinsky in the robe and peaked hat ofa stargazer, I In the absence of subtle composing techniques (or of had received something of the same illumination myself handydo-it-yourself devices-say,electronicsynthe- during a performance of Apollon illusagete. Isay "some- sizers), such imaginings of course produceno viable mu- thing of the same" because Cocteau's medievalcostume sic. Today I recall only that my experiments took shape more properly belongs to, let us say, Olivier Messiaen. in the region of Capricorn and the key of F# Minor-or Stravinsky represents a far older Orphic branch of the rather, near that key, for the operative tone -clusterwas a guild, and despite its neo-classical references and itsun- polytonal chord (G, C, F1, A, C, located leftto right earthly serenity, Apollon is surely as oracular as anything on the piano) that I was later to encounter in the white in music. If I needed any proof, I received it with the magic of a great modern masterwork, which I'll identify plangent, prophetic, polytonal chord thatannounces the in a moment. nativity of Apollo. The chord is C, F, B, D, F# (located So my zodiacal fantasy was a halting affair. Butever from left to right on the piano), andyou will see that it since this curious exercise, and no doubtas a result of it, is simply my old post -Dunstable tone -cluster transposed I have been able to spot true astrologer's music instantly. up a fourth. Perhaps nothing could reveal more clearly There is more of it around than you mightsuspect, and the contrary influence of the planets in different horo- I mention the following examples mainly because they scopes than the accompanying change in the function of happen to be available on recordings. the chord. To me it had meant an occult darkness. To Dunstable's great motet Veni sancte Spiritus-Veni Stravinsky it obviously meant the evenmore mysterious creator Spiritus (it was possibly composed for the Notre effulgence of Mount Parnassus, and the eternal equipoise Dame coronation of Henry VI) is ofcourse astrologer's of the healing shrine at Delphi. The gods know another music by professional coincidence. But, in contrastto order of the heavens than mortals do, and the lyre of Dunstable's shadowy existence as a historic figure, this Apollo makes a different music than the harp of the King music leaves in the memory a quite remarkable effect ofa of Ur. somewhat cryptic but very strong personality. So dotwo ancient Chinese pieces, Sound of the Temple and The Elegant Orchid (available on Lyrichord LL -142). These Robert Offergeld,formerly mosieeditor of this magazine and a regular contributor, was born under the sign of Cancer. thought works are performed on the astrologically tuned chin by astrologers to be one particularly sensitiveto the occult.

74 STEREO REVIEW OF SPECIAL MERIT BESTSTEREO REVIEW'S OFSELECTION THE OF RECORDINGS MONTH

CLASSICAL

MASCAGNI'S "OTHER" OPERA: L'AMICO FRITZ Angel's recording under Gianandrea Gavazzeni is a laudable release of alovable work

IN Fus excellent introduction to Angel's newrecord- unaided, a little nudging will hurt no one. There isn't ing-the first in stereo-of L'Amico Fritz, Mosco an unsympathetic character in the entire opera, and in Carner offers this quote from an older, wiser Pietro his music Mascagni presents apt portrayals of the whole Mascagni reflecting on his early years: "It was a pity attractive lot of them. This is a subtle yet consistently

thatIwrote Cavalleria first.I was crowned before I inventive and rewarding score, worthy of immediate was king."Itis true that the tremendous success of resurrection in our opera houses. Mascagni's first opera aroused expectations of future The opera has fared well on records. Mascagni him- grandeur --expectations that he was never able to ful- self conducted its first recording during World War II, fill. On the other hand, itis also true that, amid all with the youthful Ferruccio Tagliavini and Pia Tassi- the lamentation about the composer's fall from great- nari happily cast as Fritz and Suzel. This authoritative ness, insufficient recognition has been given tohis "oth- and altogether felicitous performance isstill available er"-and, inits own way, equally excellent-opera, (Everest 429-2), but sonically it quite naturally shows L'Amico Fritz. itsadvanced age. I am happy to report that it may now Despite certain melodic similarities, the two works beaffectionately laid aside (not discarded) in favor are miles apart. Whereas Cavalleria is passionate,L'Ami- ofAngel's new set. Here we have Mirella Freni in her co Fritzisgentle. The charac- accustomed excellent form as a tersinthe former seem to be disarming, irresistible Suzel, full governed by impulses(Sicilian of girlish charm and unaffected impulses, at that) ;those of the lyricism, and Luciano Pavarotti idyllic L'Amico Fritz are calm, as an ardent, temperamental Fritz, practical Alsatians, with the lik- with his brand of passionate Ital- able figure of David thrown in iarate singing combined with ar- to provide a measure of rabbini- tistic control and clearly pointed cal wisdom. They do have one diction.In the grateful role of element in common: the virtue Rabbi David,thefriend who of brevity. In both operas, Ma- brings these not -quite -immovable scagni was working with concise, objects together, the young Span- clear-cut stories, and, to his ever- ish baritone Vincenzo Sardinero lasting credit, he did not believe revealsvocalandinterpretive in writing vast stretches of music qualitiesthatwill undoubtedly to conceal a lack of profundity. make him a major figure on the The story of L'Amico Fritzis internationaloperaticscenein very simple: a young and alleged- short order. These three charac- ly confirmed bachelor is brought ters are the opera. The role of the to the safe harbor of matrimony wandering minstrel Beppe could through the gentle manipulations be made into something more im- A caricature of Pietro Mascagni by of hisfriend, who feelsthat, Cavan d'Ache, front the satirical portant, but the interpreter here though love may often triumph journal Lustigen Matter is not fully up to the challenge.

JULY 1969 75 Conductor Gavazzeni's approach to this opera under- the music, especially in matters of dynamics, and theper- states its lyricism to some extent. Perhaps Mascagni, in former is free to show what he can do in theway of the older recording, went to the other extreme, not being eighteenth -century expressivity. Mr. Kipniscan do a lot: able to resist lingering over his own expansive melodies. I don't think there is a harpsichordist around today with Still, the high points of the opera-the lovely Cherry more imagination and taste. Duet, Fritz's "Ed anche Beppe ants"-and even theor- The Haydn concerto, of course is knownas a harpsi- chestral Intermezzo could use more poetry and expres- chord work and has been recorded in that form several siveness.Nonetheless,Gayazzeni's leadershiphasits times in the past, though most currently available record- impressive aspects --it is obvious that he too loves the ings are with piano. It is a thoroughly delightful piece of score in his own cooler, twentieth-century fashion. music, and Mr. Kipnis gives it a performance that is full Sonically, of course, a comparison between the two of inventiveness and good spirits. recordings is pointless. Only the Angel set brings out the The orchestra, under the direction of Neville Marrin- colors and flavors of Mascagni's clever orchestration. For er, plays with spirit and finesse (there is even a second me, this is a lovable opera and a laudable release. harpsichord for the continuo), but those whoare ac- George fellinek quainted with the group under its realname on another label may find that the Columbia recording doesnot pro- MASCAGNI: L'Amico Fritz. Luciano Pavarotti (tenor), vide the same sheen on the strings those other recordings Fritz Kobus; Mirella Freni (soprano), Suzel; Vincenzo Sar- dinero (baritone), Rabbi David; Laura Didier Gambar- do. The balance between harpsichord and orchestra is della(mezzo-soprano), Beppe; Benito Di Bella(bass), totally unreal compared to concert performance, but then Haneze; Luigi Pontiggia (tenor), Federico; Malvina Major -how many times must one say it?-recordsare not con- (soprano), Caterina. Orchestra and Chorus of the Royal cert performances, and rice versa.Ifind the balance, OperaHouse,Covent Garden,Gianandrea Gavazzeni musically, a trifle too favorable to the solo instrument, cond. ANGEL SBL 3737 two discs $11.96, ® Y2S 3737 but quite listenable nonetheless. (33/4), $11.98. In all, the record is an only slightly flawed joy. I might' mention that the notes, by Mrs. Igor Kipnis,are informa- tiveandexplicit without beingatallproselytizing. MOZART (AND HAYDN) James Goodfriend ON THE HARPSICHORD MOZART: Piano (Harpsichord) Concerto No. 9, in E -flatMajor(K.271,"Jeunehomme"). HAYDN: Igor Kipnis' latest disc for Columbia Harpsichord Concerto in D Major, Op. 21. Igor Kipnis (harpsichord); London Strings,Neville Marriner cond. couples two delightful keyboard zvorks COLUMBIA MS 7253 55.98.

THIS NEW Columbia release marks the first time that the Mozart Concerto No. 9, in E -flat (K. 271), has -- ever been recorded on the harpsichord. That fact would normally be of minor interest to record collectors, while INSTANT "LAUGH -IN" arousing a few snorts (both pro and con) andsome small FOR SUMMER'S DOLDRUMS debate among musicologists. But when the performance has the kind of wings this one has-Igor Kipniswith Rept ise's second album from the popular TI" Neville Marriner directing the pseudonymous London romp has everylhing-except R071'(111 Illid 1111111in Strings --then the musicological event becomes secondary to the musical one. TI DENTS of the mad, mod Monday night TV circus This is a stunning performance of Mozart's firstgreat known as "Rowan and Martin's Laugh -In" willap- keyboard concerto, a work, by theway, that has not fared plaud Reprise's bringing them a second album of the at all badly in previous piano performances. But Mr. show direct from beautiful downtown Burbank. Asan Kipnis has the style of the music in his fingers and in his avowed member of the fan club, I can assure the entire heart, and the harpsichord, rather than diminishing the constituency that all the proper ingredients are present expressivity of the music, enhances it. The paradox is in the latest excursion-all, that is, except one. Some- easily explained. Most pianists (at least those withany where in the course of the move from Epic to Reprise historical acumen) recognize the piece asan early work- the troupe seems to have misplaced Dan Rowan and it was, after all, composed in 1777,a mere quarter cen- Dick Martin. Their names do not even appearon the tury after Bach-and tend to bend over backwards not to cover. The show does survive the unexplained loss of its overplay it. They often produce "pretty" performances. two bland, batty protagonists bravely on the new disc, But the harpsichord, almost by nature, cannot overplay although I confess I missed the presence of both ding-

76 STEREO REVIEW a-lings (as I believe they refer to one another)if only pecially comfortingtothefaithful on those Monday for sentimental reasons. evenings when NBC sees fit to pre-empt the "Laugh-ln" But the rest of the ritual is preserved intact for ready hour for some "special" or other, as has happened far reference: Arte Johnson, his long black overcoat all but too often of late. And then there are those summer TV visible as he creaks into position on a park bench to ask doldrums ---better get your copy quick. Paul Kresh sourpuss Ruth Buzzi if she'd "care for a Walnetto";the frantically informative segment devoted to the news of LAUGH -IN '69. Original -cast recording. Judy Carne, Arte Johnson, Ruth Buzzi, Henry Gibson, Goldie Hawn, the past, present, and future, introduced alluringly by the Dave Madden, Gary Owens, Alan Sues, Chelsea Brown, "Ladies of the Ensemble" and climaxed by the sports re- Dick Whittington, Joanne Worley, and Connie Stevens port --Alan Sues ringing his little chime and reducing (performers); orchestra, Ian Bernard cond.REPRISERS the whole tribe of sportscasters to the absurdity they al- 6335 S.I.79, © 5.1617 $5.95. ready border on; the gags -galore cocktail party ("People in backward countries are too forward," was one of the remarks I managed to catch on the wing) ; Henry Gib- sonreciting his poem; professional dumbbell Goldie MILES DAVIS' Hawn suggesting that Christmas be moved to July when the stores aren't so crowded; and all the key phrases "FILLES 1)E KILIMANJARO" that send all us "Laugh -In" addicts up by sheer dint of repetition:"YOU BET YOUR SWEET BIPPIF," "SOCK IT His new Columbia disc is a brilliant TO ML,'and"LOOK THAT UP IN YOUR FUNK AND synthesis of current pop and jazz trends WAG NAIs." The fun, of course, is in the pace, and jotting down THE PROMISEof Miles Davis' previous recording, samples proved too much for a mere pencil, but I could "Miles in the Sky," has been brilliantly fulfilled in almost swear I understood Miss Buzzi to say at one point his new collection of contemporary jazz, "Filles de Kili- that she had taken up a collection for a man in her office manjaro," on the Columbia label. Pulling together the but failed to raise enough to buy one. Jibes at "the many disparate musical influences flowingthrough pop establishment" also abound, as well as such useful sug- music and jazz, Davis has managed to effect the synthe- gestions as "Let's get sex out of the movies and back in sis that everyone else has only been talking about-and the motels where it belongs." he does it without sacrificing a whit of his jazz powers. If "Laugh -In" harbors a secret, beyond the skill of its He is aided in this program-and in no small way- writers in pressing incredible numbers of old gags into by an absolutely overwhelming rhythm section, one of new and useful service, it is the refusal of the show ever the best jazz has ever seen. The solo -ensemble inter- to take refuge in the "but seriously, folks- ploy of its changes are on such an exalted level of achievement that comedic rivals. Over -inflated balloons inall categories they must be heard to be believed.I can think of few are punctured exclusively by the needles of comedy, major players who would allow the independence of ac- never by preachment. The new album should prove es- tion that Davis permits behind his solos here; itisa measure of his musical strength that he cangive his MILEsDAVIS:classic modern jazz rhythm players a free hand and not worry about its effect on his own playing. This is classic modem jazz, and the sound of everything is stunning, from the quasi -rock rhythms of &don Brun to the Gil Evans -styled ensemble textures of Tout de Suite. On two tracks the rhythm section changes, and these pieces (Petits illarhins and Mademoiselle Mabry) are accordingly the weakest. But granting thatslight diminution in quality,thisdisc preserves one of the most brilliant outings in Davis' recording career. Don't miss it. Don Heckman MILES DAVIS: Filler de Kilimanjaro. MilesDavis (trumpet); Wayne Shorter (tenor sax); Herbie Hancock (piano, electric piano); Ron Carter (bass); Tony Wil- liams (drums). Also Chick Corea (piano); Dave Holland (bass) on two tracks. Frelon Brim; Tout de Suite; Petits Alachins;MademoiselleAlabry;FillesdeKilimanjaro. Coi.t.mBIA CS 9750 $i.79.

JULY1969 Makeyour tape library asgoodas ours.

a VICTOR/3 Ran CEIVICTOR Re/1 STEREO TAPE STEREO TAPE

Songs of the WALKIN IN A Love Songs and Young World LOVE LAND THE ED AMEL,C / A Time for Living, Eddy A Neapolitan GREAT A Tmei for Hope EDDYARNOLD Arnold Serenade CARUSO CONTAINS ONE COMPLETE STEREO ALBUM CONTAINS TWO COMPLETE STEREO ALBUMS CONTAINS TWO LONG-PLAYING ALBUMS

nun VICTORID RED SEAL STEREO TAPE STEREO TAPE 4 liCil TIMM THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY Mozart Symphony No 41

Schubert Symphony No 8 .

A WARM SHADE OF IVORY IHF PIANO ORCHESTRA AND CHORUS OE HENRY MANCINI CONTAINS ONE COMPLETE STEREO ALBUM CONTAINS ONE COMPLETE STEREO ALBUM

RED SEAL STEREO TAPE nun e VICTOR STEREOTAPED

SEW OZAWA/CHICAGO SYMPHONY

s.o Piclures at .oiLshibition lii illicit AN OP HP Bart ,1Hunl.P. The Young Person's Guide N11% 1 SIN/ RCA Inthe Orchestra i t".441! CONTAINS TWO COMPLETE STEREO ALBUMS CONTAINS ONE COMPLETE STEREO ALBUM Reel Tapes *Manufactured and Distributed by RCA RECORDS CIRCLE NO. 62 ON READER SERVICE CARD 78 STEREO REVIEW CLASSICAL

Reviewed by WILLIAM FLANAGAN DAVID HALL GEORGE JELLINEK IGOR KIPNIS ERIC SALZMAN

ingcomment onthedispositionofthe No. 4) chorus is wonderfully stirring. The RECORDING OF SPECIAL MERIT forces, much less a description of the instru- sonic reproduction is equally impressive, and BACH:BrandenburgConcertos(comments, with illustrations, as Telefunken has texts and translations are included. I. K. plete).Hans -Martin Linde(flute andre- done. I. K. corder); Gunter Holler (recorder);Hel- RECORDING OF SPECIAL MERIT muthHucke(oboe) ;FranzjosefMaier (violin and violin() piccolo); Edward H. RECORDING OF SPECIAL MERIT BACH:Easter Oratorio(BHA' 249). Elly Tarr (clarino trumpet); Gustav Leonhardt BACH:Cantata No. 1, "Irie scbon leucb- Ameling (soprano); Helen Watts (contral- (harpsichord);Collegium Aureum. RCA tetder Morgenstern";Cantata No.4, to); Werner Krenn (tenor); Tom Krause VicTRoLA VICS 6023 two discs $5.00. "Christ lag in Todesbanden."Edith Mathis (baritone):Vienna Akademiechor;Stutt- (soprano, in No. 1); Ernst Haefliger (ten- gart Chamber Orchestra, Karl Mhnchinger Performance: Emphasis on authenticity or,in No. 1); Dietrich Fascher-Dieskau cond. LONDON OS 26100 55.93. Recording: Excellent (baritone); Munich Bach Choir and Orches- StereoQuality: Good Performance: Warm and devoted Recording: Excellent It seems to be the Brandenburg season again: Stereo Quality: Fine at least three new versions are imminent in addition to this one. The Collegium Aureum, This is a particularly humane -soundingEas- a recording group of some of the best Euro- ter Oratorio,far warmer than the fairly re- pean freelancers, emphasizes historicalau- cent and also excellently performed Maazel thenticity in the present performances, not interpretation. MUnchinger.s vocalsoloists only through the use of the original instru- are first-class; the chorus is most satisfactory ments(violin°piccolo,clarinotrumpet, and so also are the fine instrumental soloists. gambits,etc.)but also by approximating the One has only to hear the thrilling trumpets size of the forces believed to have been used of the opening to feel that this promises to by Bach and others-often no more than be one of the best recordings of the music one person per part. In the case of the Fifth currently available. There are a few short- Brandenburg, for instance, they use a string comings, mainly minor stylistic details, but quintet plus flute and harpsichord. Curiously overall(and notleastin quality of sonic enough,thesequite reducedforcesdon't reproduction) this performance can be rec- sound emaciated, thanks mainly to fairly res- ommended with pleasure. I. K. onant acoustics, and their clarity is quite exceptional. The level of instrumental playing BARTOK:Sonatina (Folk Tunes of Tran- is first-rate (listen particularly to Tarr's sen- sylvania. transcribed by Geri'ler); Rormin sational account of No. 2 on the snail -shaped T ancok (Roumanian Folk Dances, trans. valveless, razor -clean clarino trumpet), Szekely); Estea Szekelyekna; Magyar andthesefineplayers make theirinstru- Nipdalok (Hungarian Folk Tunes, trans. ments sound anything but antiquated.I am Szigeti). DOHNANY1: Ruralia Hangar - dubiousabouttheirtendencytoremain Ica, Op. 32c.KODALY:Adagio; Inter- for long periods of time at a fairly louddy- KARI. Rtttrrtat mezzo from LIZiry Janos (trans. Szigeti). namiclevel, and one might wish for a bit Law -scale, dramatic Bach cantatas Robert Gerle( violin );Regis Benoit(pi- more -soul- to add to the group's fine sense ano). WESTMINSTER WST 17150 $4.79. of ensemble, efficiency, and stylistic under- tra, Karl Richter cond. DEUTSCHEGRAM - Performance: Spirited standing. From that standpoint the Concen- MOPHON ARCHIVE198465 $5.98. Recording: Satisfactory tits Musicus of Vienna (Telefunken S 9159/ Stereo Quality: Fine 60), who also employ reduced forces and Performance: Large-scale and dramatic old instruments, are perhaps a little warmer Recording: Excellent In at least one respect, record reviewers are in outlook-but overall, the Collegium Au- Stereo Quality: Fine damned if they do and damned if they don't. reuminterpretationsmustbeconsidered Both of these cantatas are superb pieces, even Should one of our number make an unfavor- among the very best of the many recorded though No. 1, with its impressive opening able comment, or an error infact that he versions now available. The recordingis chorus and Christmas motif,is not as well wouldn't have if he had read the liner notes most satisfactory, and stereoisnot overly known asit should be. The performances, of a given release carefully (or read them at pronounced but quite good; but theliner too, are generally excellent, in spite of the all), all hell breaks loose in the letters col- notes miss an important point innot includ- fact that Richter in some sections of No. 4 umn. On the other hand,I,for example, has a tendency to be idiosyncratic. This is a always read annotative material-butjust large-scale,flamboyantly dramatic reading; as often with horrified fascination as with Explanation of symbols: ifitis somewhat Romanticized, sounding in interest and subsequent enlightenment. And C) = reel-to-reel tape places like Bach writing Beethoven'sMi.,sa since jacket notes are written with the in- 0 = four -track cartridge Solemnis,it is also, by virtue of its intensity evitably specific intention of influencing the 0 = eight -track cartridge and canny avoidance of stodginess, the best listener's opinion of what he isto hear, I © = cassette currently available performance of this can- cannot avoid regarding them asquite as Monophonic recordings are indicated by tata,in my opinion. The soloists are first- much subject to criticism as the music itself. the symbol C); all others are stereo rate,theinstrumentalistsareexceptional, Often Ifind that my reaction to what I hear and the large (rather too large -sounding in may indeed be in some way-either nega- uLY 1969 79 tively or positively-conditioned by what I have read. Once again, shouldmy criticism Stereo Review ofthelinernotesbenegative,allhell breaks loose in the letters column. Lately, I seem to be having trouble with Hungarians,e.g.,my recent review of a work Record by Tibor Serlyandtheresultingverbal crossfire. Now, Ihave read Hungarian violinist Robert Genie's notes for hisown per- and Tape formancesoftranscriptionsofworks by three Hungarian composers, and they have so confused me thatI don't honestly know whether he personally (and the musicalse- Service lection involved on the program) is making a pitch for folk music and its proper transcription or just for transcription perseso Have you been having a little long asitis done well. After citing certain classics and, in most cases, special prece- difficulty obtaining some of the dents(Ravel's orchestration of Moussorg- records and tapes reviewed in this sky'sPictures at an Exhibition,for one),

issue? STEREO REVIEW Record Mr. Gerle writes: "This illustrious list. . . and Tape Service to the rescue! may well offer food for thought to those who would look with disdain on the word Not a record club-no discounts, 'transcription.'Itis the artistry with which no special deals. We're here sim- itis accomplished which determines the val- ply as a service to those of our ue." But earlierinhisessay, Mr. Gerle beatsthe drums forthetranscriptionof faithful music -loving readers who folk music asifit were a matter of com- are about to give up the search for parable controversy. "hard -to -get" records and tapes. Well, if Mr. Gerle's continuing commentary on each work involved is accurate and If you want help in your musical if my ears do not deceive me, he has record- dilemma, all you need do is com- ed a recital about forty-five minutes in length plete the coupon below and mail to demonstrate that (so long as they've got -artistry," of course) transcriptions of folk it in with your remittance. We'll music or just about anything else should be see to it that your records and tapes are mailed to you promptly, well a matter of something close to missionary packed and fully guaranteed against damage or defects. concern with all of us. Since I would scarcely advocate dragging the inhabitants of, say, the And if you've been having a hard time findingsome favorite record- Kentucky hills onto the stage of Town Hall to enlighten us as to the nature of their musical ing not reviewed in this issue, we'll doour level best to find it for you folklore,I am one hundred percent in favor also. Simply fill in as much informationas you have available (title, of transcriptions(so long as they're done manufacturer, record number) on the coupon below and we'll do with artistry)in an area such as this. But the why one should listen spellbound to a tran- rest. If you're not sure of the price, we will be happy to mailyour order scription for violin and piano of the Inter- C.O.D. mezzo from Kodaly's opera Hary Jdnosis somewhat less than ineluctable to me. And STEREO REVIEW RECORD & TAPE SERYICE when, finally-if Iread Mr. Gerle correctly DEPT. SD -we are to asked to find unique merit in ONE PARK AVENUE NEW YORK, NEW YORK 10016 transcriptionsofpiecesbyBelaBartok Please send the records and/or tapes requested below. I understandyou will which, originally composed for otherin- pay shipping and handling charges and that all records and tapes are fullyguar- struments, were eitherBartok's own folk anteed against damage or defects. transcriptions or pieces developed from his own folktranscriptions,thenIwillingly Check or Money Order for $ is enclosed. concede that Mr. Gerle has just about lost El C.O.D. (Within the continental limits of the U.S. only. No C.O.D. forAPO's me altogether. and FPO's). As I very much feared when I began this For Air Mail shipments in the United States only, add $1.00per record notice,I have written little about the music ordered. For Air Mail shipments to foreign countries add $3.50 for thefirst or its performance. The playing is beyond record ordered, plus $1.00 extra for each additional record. reproach; it is entirely possible that I would have foundthe programitselfsomewhat RECORD (TAPE) PAGE NO. PRICE less monotonous had Ibeen unaware of OF REVIEW RECORD OR TAPE TITLE NUMBER (SEE MANUFACTURER REVIEW) (SEE REVIEW) Mr. Gerle's virtually unique premise. Maybe I should stop reading liner notes! IV. F. BECKWORTH: Sharon Fragments (see POULNEC)

RECORDING OF SPECIAL MERIT BEETHOVEN: Piano Concerto No. 4, in (New York State residents add local sales tax) G Major, Op. 58. Eugene Istomin (piano) The Philadelphia Orchestra, Eugene Orman- Total dy cond.COLUMBIAMS 7199 $5.98. Name (please print) Performance: Excellent 769 Recording: Very good Address Stereo Quality: Very good City State Zip (Continued on page 82) 80 STEREO REVIEW Outside the United States anc Canada, Columbia Records bear the CBS Records label. 'COLUMBIA. ANIARCAS M.:G. PRINTED IN US A.

PhiladelphiaOmar* Orchestra Traumerer6reatest BacchanaleHits,Vol Pomp ill and CircumstanceTrumpei WhenJohnny Valuntaty Wedding Conres tio.1 March, Marching and four Horne atlaars

The following Greatest Hits albums are also available: VOLLME 1'1 G R EA FLNI Ropsteilis H ITS '../reatet.t ORMAN DY PH I LADELPH Hits ORCI-IESTRA Nev1/4York Phill-annonic including including: The Ride of the Valkyries Walt? of the Flowers Sleeping Beauty Walt: lival Fire Darce Saws and Stripes Forever Ca -Wide Overture Sabre Moss Clair de Lune March of the Toreadors On the Trail b. Smile Waits Fintaadta PisoLeato Pal The Flight of the Bumblebee Espana Greenslecnrea Jamaican Sumba T111,0 Cancans Mama lira Danes Can-Cas MS 6934* t

*Available in 4-trac< reel-to-reel tape (Available in 8 -track stereo tape cart-idge

On Columbia Records CIRCLE NO. 13 ON READER SERVICE CARD JULY1969 81 DELUXE The GreatPhiladelphiaOrchestra Sweep- If an art dealer offered you a painting that stakes goes on, as Columbia continues to pull purported to be a Titian or a Veronese but items like this out of cold storage to compete was in fact almost entirely repainted a couple RECORD AND with RCA's brand-new Philly/Ormandy re- of years ago by a -restorer- you would he leases. Well, score one for Columbia. This righttofeel dubious. And ifa museum TAPE CASES recording is billed as "in commemoration of bought such a work and put it up for public the twenty-fifth :milk ersary of his debut," display, the institution would no doubt he and that isn't Ormandy's debut they're talk- said to have "fallen for a fake." I'm afraid i5;6cataloging forms ing about. lstomin has, incredibly enough, this is exactly the case with the modern his- plus been playing in public for a quarter of a tory of Cavalli's L'Ormithlo. Francesco Ca- PADDED BACK century, and his association with the Phila- valli was, like Titian or Veronese, one of DUST PROOF delphia dates back just that far.Istomin's the great creative spirits of the Veneti.m Re- GOLD EMBOSSED Beethoven has the estimable virtues of sim- public. He was the pupil and successor of plicity-strong, unmannered, rather grand, agreat master-Claudio Monteverdi-and never fussy, never stiff,flowing across an the first major and prolific opera composer impressive Beethovenian landscape. The two of international reputation. V'ithin a quarter Eugenes work well together, and the record- of a century -1639 to 1666-he composed ed sound is also happy. E. S. some forty operatic works and was, more than any othersinglefigure,responsible BRAHMS: Piano Quintet, iu F Minor. Op. for the development of the genre of opera 34. Christoph Eschenbach(piano) ;Am- in the modern sense. But operatic and theater adeus Quartet.DE UTSCI IE GRAMMONIoN fashions change quickly, and Cavalli was 139397 S5.9S. Performance: Lean and dramatic 111: Recording: Brightand clear These decorative, yet sturdily con- Stereo Quality:Good structed cases are just what you've What with Rudolf Serkin and the Budapest Quartet and Artur Rubinstein and the Guar- been looking forto keep your records and tapes from getting tossed about and damaged, neri, this latest entry with young Christoph disappearing when you want them most and just Eschenbachand theAmadeus generally getting the "worst of it'' from constant Quartet handling. They'reidealtoo for those valuable makes three absolutelyfirst-ratestereore- old"78's"that always seemtoget thrown cordings of the darkly dramatic Brahms F about with no place to go. Constructed of reinforced fiberboard and covered Afinor Piano Quintet([ am not familiar inrichleatherettein your choice of nine dec- with theFleisher-Juilliard Quartet perfor- orator colors, the HIFI/STEREOREVIEW Record and Tape Cases lend themselves handsomely to mance on the Epic label, which might make the decor of any room, whether it be your library, four). Outstanding in the Rubinstein -Guar- study, den, music room or pine -paneled garage. neri recording was the exquisite playing of The paddedleatheretteback(inyourcolor choice)isgoldtooledinanexclusivedesign the slow movement, but my overall prefer- available only on HIFI/STEREO REVIEW Record ence has continued to be the more dramatic and Tape Cases. The sides are in standard black leatherette to keep them looking new after con- andsomewhatweightierSerkin-Budapest stant use. With each Record and Tape Case you reading. Eschenbach and the Amadeus, too, Exos aordseprefioaullwill ,fre of. ncharge, prefer a leaner treatment of both tempo and speciallydesignedreceiverecorde cataloging formwithpressure-sensi- texture than the Serkin group, but they also tive backing for affixing to the side of each case.It enables you to list the pack plenty of dramatic contrast into the record names and artists and will prove score. Even so, the earlier recording still has an invaluable aid in helping you locate the edge when it comes to getting the most your albums. The catalog form can be removed from the side of the case at out of the contrast between the mysterious EUGENE ISTOMIN any time without damaging the leath staccato-ostinato opening of the scherzo and Beethoven with the virtue of simplicity erette. Record Cases are available in three sizes: for 7", the triumphant outburst that follows. And 10" and 12" records. Each case, with a center the absolutely:ccco quality of the string obsolete in his own lifetime; at the time of divider that separates your records for easy accessibility,holds an average of 20 records in their playing is beautifully conveyed in that re- his death in 1676 he was a distinctly un- original jackets. The Recording Tape Case holds cording. Decidedly different, too, is the treat- fashionable figure, and his works, his music, 6 tapes in their original boxes. ment of the slow movement as between Ser- Isis style vanished completely. Unfortunately, The Tape Cases and the 7" Record Cases (with catalog forms)are only $4 each; 3 for $11; kin-Budapest and Eschenbach-Amadeus. In the scores that have survived are mere out- 6 for $21. the one instance, we are made aware of the lines; lead sheets, to use the modern term. The 10" and 12" Record Cases (with catalog music's sultry nocturnal aspect, in the other Cavalli, like most seventeenth -century com- forms) are $4.25 each; 3 for $12; 6 for $22. of its almost barcarole -serenade quality. posers(and many pop musicians today), Add an additional 75c per order (regardless of number of cases ordered) for shipping and han- The DGG recordingisvery clean and jotted down no more than the tune and a dling. Outside U.S.A. add $1 per case ordered. clear, and decidedly on the bright side-to short -hand for the harmony. With the com- Ziff -Davis Publishing Company, Dept. SD IP-68 thepointthatEschenhach'sinstrument poser dead and the tradition lost,it became One Park Avenue, New York, N.Y. 10016 sounds a bit clattery in mid -register at cli- virtually impossible to resurrect this music My remittance in the amount of S mactic points. D. H. as it must have sounded when it astonished is enclosed for the Cases indicated below. Quantity and seduced the whole of Europe. Tape Case at $4 each; 3 for CAVALLI: L'Ormindo. John Wakefield The problem of reviving, say, Dixieland $11, 6 for $21. orthe BroadwaystyleoftheTwenties 7" Record Case at $4 each; (tenor), Ormindo; Peter Christoph Runge 3 for $11, 6 for $21. (baritone), Amida; Isabel Garcisanz(so- would he just as great if we had only lead - 10" Record Case at $4.25each; sheetsor printed sheet music to go by; 3 for $12, 6 for $22. prano), Nerillo; Hanneke van Bork(so- 12" Record Case at $4.25 each; prano),Sidle;JeanAllister(contralto), fortunately we have recordings to keep alive 3 for $12, 6 for $22. Melide; Hugues Cuenod(tenor),Erice; the tradition of "how it goes." But, alas, the Add 75c PER ORDER fur SHIPPING and HANDLING Outside U.S.A. add $1 per case ordered. Anne Howells(mezzo-soprano),Erishe; lost tradition of seventeenth -century opera Check color choiceforbackof case (sidesin JaneBerbie(mezzo-soprano),Mirinda; remains lost. Raymond Leppard, the "editor," black only): Federico Davia (bass), Ariadeno; Richard the "realizer," and the director (and, one is 0 Midnight Blue Red [7] Saddle Tan tempted to add, the composer) of L'OroPu- 0 Pine Green 0 Orange Yellow van Allan (bass), Osmano; London Philhar- 10 Grey 0 Black Spice Brown monic Orchestra; Raymond Leppard cond. do, has not succeeded in reviving it. What Name ARcio (Z)NG 8/9/)0 three discs $17.85. Mr. Leppard has clone is to compose a new Address Si, 79 work based on some of the Cavalli material. Performance, Lush Itis charming, no doubt, but it has only .t City State Zip Recording.Good very little to do with Cavalli. .= PAYMENT MUST BE ENCLOSED WITH ORDER -c:o (1).'(,!y, Good (Coo/in/kJ $2 STEREO REVIEW These magnificent stereo receivers have onething in common Unbeatable Value! 15 watts* LR-500TA :* 4 /iY Y fU sipi4 $179.95

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If you can believe the advertising, unequaled values ever to decide on a receiver. Who can you believe in stereo receivers abound everywhere. Almostthen.? Well, we took our receivers to the experts to every receiver ad claims to offer more of everythingfind out what tile!, had to say. Their unbiased find- for the money -mve power, more features, more ings are summed up is the comments above. sophisticated circuitry, better performance... and so an. Not that we don't do the same ourselves. ButNow who .lo you thick offers the finest value in with all these cla ms, it's becoming harder thanstereo 'Teel re rs? -IHF 1db (in accordance witi- theF-A.V- high fidelity industry's latest test procedures for ratingETTEpower outputs. LAFAYETTE RADIO ELECTRONICS CORP. Featuring Everything in Electronics for Dept. 11079 Bo) 10. Syosset. N.Y. 11791 FREE! HOME INDUSTRY Send Me The FREE Lafayette Catalog 690 11019 LABORATORY Name 1 969 Catalog 690 from the "World's Hi-Fi Address Over 500 Pages & Electronics Center" City State Zip

CIRCLE NO. 36 ON READER SERVICE CARD 83 J '1 Y1 96 9 L'Onniudo,on a text of Giovanni Faus- been fooled, and somehow there's a moral

tini, was produced in 1644 at the San Cas- lesson in it all for us somewhere (if we can

siano theater, the first public opera house in only find it). The piece is fun, and the very

the world. It was revived a year or two ago capable cast and orchestra under Mr. Lep-

under Mr. Leppard'scuratorshipatthe pard play it for everything it's worth-milk

Glyndebourne Festival Opera House in Eng-

it, one would say. Its connections with the

land, and it has been performed more recently seventeenth century are tenuous indeed, but

Leoncavallo: PAGLIACCI at Juilliard and elsewhere. These perform- anyway it's all very hot-blooded inacampy

James McCraken, Pilar Lorengar, ances were enthusiastically received, and the sort of way. It ain't Cavalli, but then, these RobertMerrill,TomKrause-

Orchestraof The Accademia work was recorded by the Glyndebourne days, what is? E. S.

Nazipnale di Santa Cecilia, Rome forces.

Mr. Leppard, inhis Glyndebourne pro- - Lamberto Gardelli COOPER: Sonata for Flutes and Piano

gram notes, reprinted in the libretto to this JAMES McCRACKEN (see PROKOFIEV)

OPERATIC RECITAL - Side 4 album, makes the following defense of what

Arias from Andrea Chenier, Ca- he has done:..... we can, with due humility DOHNANYI: Ruralia Hungarica(see

valleria Rusticana, Turandot,Tosca . using all the historical and stylistic evi- BARTOK)

OSA-1280 dences at our command, make atleast an

Mahler: honest attempt to bring the warm-hearted DONIZETTI: La Farorita. Giulietta Simi-

SYMPHONY NO. 3 IN D MINOR theatrical vitality which is so strong in [these

Helen Watts - The Ambrosian onato (mezzo-soprano), Leonora di Gus -

works] back into circulation again. No half- man;GianniPoggi(tenor),Fernando; Chorus - Boys from Wandsworth hearted attempt dampened by academic re- Ettore Bastianini(baritone), Alfonso; Je-

School - The London Symphony straint will do; performing these works again rome Hines(bass),Baldassare;Pierodi Orchestra - Georg Solti

is like a love -affair; you either give and risk CSA-2223 Palma (tenor), Don Gaspar(); Bice Magnani

Wagner: all or better leave it alone." (soprano), Ines. Chorus and Orchestra of

The argument is an impressive one, and DIE WALKURE - Highlights the Maggio Musicale Fiorentino, Alberto

Mr. Leppard has certainly givenhis BirgitNilsson,RegineCrespin, all. Erede cond. RICHMOND SRS 63510 three

Christa Ludwig, James King, Hans What he has not convincingly demonstrated discs 57.47.

Hotter. The Vienna Philharmonic is why this should be considered an honest

Orchestra - Georg Solti Performance: Tenor troubles attempt to revive Cavalli and not a new 0 S-26085 Recording: Good

work vaguely based on some old motives. In

Stereo Quality: Good Beethoven: such a context, one wonders about the use

PIANO SONATAS of wordslike -humility-and''honesty" NOS. 11 (Op. 22), 9 (Op. 14, La Farorita is top -grade Donizetti: a hope-

No. 1), 20 (Op. 49, No. 2) not to mention ''historical and stylistic evi- lessly passé story redeemed by some of the

Wilhelm Backhaus dences.'' If this is a reconstruction based on composer's best lyric inspirations in a suc-

CS -6584 historical and stylistic evidences but brought cession of arias, duets, and ensembles. Lon-

Beethoven: up-to-date for a modern audience, why does don's 1955 recording, which is now restored

PIANO SONATAS NOS. 2 (Op. so much of it sound like middle -high Italian to us in this attractively priced reissue, of-

2, No. 2), 10 (Op. 14, No. 2), 19 Baroque opera of half or even three-quarters fers an almost thoroughly distinguished rep-

(Op. 49, No. 1) of a century after Cavalli ? Mr. Leppard has resentation of the opera, alaudable effort Wilhelm Backhaus composed lush orchestral music throughout marred by one bit of unfortunate casting. CS -6585 -not just ''orchestrated,'' mind you, but ac- That is tenor Gianni Poggi, a singer of in- Handel: tually composed page after page of luxuriant OVERTURES AND SINFONIAS artistic style and unattractive vocal manners, instrumental counterpoint. He has developed whose overall performance ranges from the Overtures to Solomon; Berenice; richharmonies, instrumentaland timbral Teseo; Ariodante; Esther; Rinaldo; passable to the downright painful.

elaborations, highlyinflectedrhythms,ac- Sosarme. Sinfonias from Solomon; The tenor part in La Farorita is central,

Jephtha; Rinaldo. The English cents and dynamics, etc., etc. He has sliced and therefore Mr. Poggi's effect on the over-

Chamber Orchestra - Richard out generous chunks of the work but, at the allenterpriseisnearlylethal. Still,there Bonynge same time, has taken pieces of other Cavalli

are extended passages when he is totally ab- CS -6586 operas(or rather hisversionsof pieces sent, and in such moments the performance

Brahms: from other operas) and inserted them in comes to life. Giulietta Simionato sings the

PIANO TRIO NO. 1 this one. He has rather awkwardly orna- part of Leonora in the grand tradition, IN B MAJOR (Op. 8) in

mented the vocal lines in many places but PIANO TRIO NO. 3 splendid voice, and with a strong dramatic

totally omitted some of the most essential presence. Her big scene ("Fin dunque zero IN C MINOR (Op. 101)

and obvious cadential ornaments. He has .. . 0 ratio Fernando") is something to trea- Julius Katchen (piano), Josef Suk

added and elaborated all manner of orches- (violin), Janos Starker (cello) sure, and she does her very best to make

CS -6611 tralinterludes and ritortztilo.f.Finally, he something memorable of her final scene de-

Copland: has altered the entire ending of the opera, spite Poggi's intrusions. In the part of King

A LINCOLN PORTRAIT totally omitting the essential scenes in which Alfonso, the late Ettore Bastianini offers lit-

William Kraft: Ormindo, who is in love with the wife of the tle characterization, but his tonal quality is

CONCERTO FOR FOUR King of Morocco and Fez,is revealed to luxuriant and his style securely ba canto.

PERCUSSION SOLOISTS be the king's son. Without the characteris- AND ORCHESTRA Jerome Hines, too, is a strong asset, even

tic and typical recognition scene, the king's if he failsto make a powerful impact in CONTEXTURES: RIOTS - sudden decision to reprieve the erring pair the big confrontation scene, and Piero di DECADE '60 and permit them to marry and inherit the

Gregory Peck (narrator) - The Los Palma turns in one of his usual expert char-

Angeles Philharmonic Orchestra- kingdom is totally absurd. By the way, none acterizations. The orchestral performance has

Zubin Mehta of this is mentioned or even implied in Mr. occasional rough edges, but Erede's way with

CS -6613 Leppard's notes. the music has many virtues, and the early

Brahms: Mr. Leppard's principles are not unsound. stereo sound is entirely satisfactory.

HUNGARIAN DANCES Of course one must study and understand Technically, the Richmond set holds an

NOS. 1-10 the period anditspractice and, with hu- edge over itsrival Dvoiak: (Everest 405/3), but mility and honesty, reconstruct a living thea- SLAVONIC DANCES (Op. 46) otherwise the choice is not easy. Simionato

ter work, not just an academic exercise. I Bracha Eden & Alexander Tamir and Bastianini are mighty factors in Rich-

do not quarrel with Mr. Leppard's theory, (Piano -Four Hands) mond's favor, but Everest's tenor, Gianni

CS -6614 only with his practice. He has produced a Raimondi, is superior, and its bass, Giulio

work of theatrical viability and charm, but Neri, also scores over Jerome Hines. A new

he has not followed any of his other precepts recording of La Farorita with Alfredo Kraus,

OCOTDOT atall. He is,in effect, hiding behind an

Fiorenza Cossotto, and Sherrill Manes as RECORDS

austere and impressive name from a great Alfonso would settle matters. G. J.

past.It'sare -run of an old and favorite

story. The-experts-(i.e., the critics) have CIRCLE NO. 37 ON READER SERVICE CARD (Continued on pa.;,e 86) 8-1 CIRCLE NO. 52 ON READER SERVICE CARD--). How to build a better tape recorder.

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IRK SUPERSCOPE. INC You never heard it so gooc. DUTILLEUX: Sonatine(see PROKO- soft, isolated sounds, often notated in a graph- cool, sustained, repeated, or slowly chang- FIEV) ic form with certain elements specified and ing experiences; it is, in short, the prototype other elements (usually pitch or duration) of minimal art. RECORDING OF SPECIAL MERIT left up to the performers. The fame (or no- This record was originally issued as part toriety) of these pieces is a result of their of Columbia's pioneering "New Directions DVORAK: Trio, in E Minor, Op. 90 introductionof"chance"orperformer in Music" series with an excellent essay by ("Dumky"). SPOHR: Double String choice. But this at -one-time sensational aspect the late Frank O'Hara. It has been reissued Quartet, in D Minor, Op. 65. Jacob Lateiner of this music no longer seems so extraor- on Odyssey under therather pretentious (piano); Jascha Heifetz (violin); Gregor dinaryandhasbeen somewhat overem- (put-on?)title of "Morton Feldman: The Piatigorsky (cello); Israel Baker (violin); phasized. Many of the pieces are in fact fully Pierre Amoyal Early Years." The new version has an amus- (violin);PaulRosenthal written out; others give all the pitches, leaving photo by the painter -photographer How- (violin); Milton Thomas (viola);Allan ing rhythm and ensemble co-ordination as ard Kanovitz of Feldman on what looks like Harshman (viola) ; Laurence Lesser (cello). an open element. But these techniques are RCA LSC 3068 $5.98. the Staten Island Ferry (replacing the less really a means rather than an end-a means amusing but more d propos Guston drawing Performance: Fine, especially the Dvoilik to achieve the dissolution of the notions of on the cover of the original). It also gives Recording: Good development, of process, of linearity which more precise listings for the excellent per- Stereo Quality: Good have dominated Western music until recent- formers than the original release did. But, ly. Feldman, like the abstract expressionist alas,it omits the O'Hara essay, which cer- Aside from a rather hard -driven opening, painters with whom he isassociated, has this tainly deserved to be reprinted. The sound latestdiscto come tous from "the tried to create a kind of pure experience, -which was some kind of stereo from the Heifetz-Piatigorsky concerts"offersaper- start-is okay, although, given the fact that formance of the Dvoiail "Dunky" Trio (its much of the music is at the outer edge of six movements are inspired by a sort of Slav- audibility, background noise and hiss are ic lament called a Dumka) that is singular in something of a problem. But it would be its tonal beauty, expressive poignancy, and ungrateful not to thank Columbia for put- rhythmic vitality. Jacob Lateiner's pianism, ting out a record that is virtually a historical with its exquisitely sensitive communication ,t#41Ka.2., of dynamic nuance and finely shaded phras- document. Now how about "Morton Feld- Next Monthin man: The Later Years," and with a Dolby, ing, haunts the imagination long after the please. record is removed from the turntable. E. S. The D Minor Double Quartet by Weber's slightly older contemporary Ludwig Spohr Stereo Review RECORDING OF SPECIAL MERIT is a first recording. It's a perfectly amiable, GOLDMARK: Symphony, in E -fiat Major entertaining, even brilliantly scored piece, ("Rustic Wedding"). New York Philhar- whose first movement keeps reminding me SPECIAL ANNUAL SPEAKER monic, Leonard Bernstein cond. COLUMBIA of Mozart's "Haffner" Symphony ina minor MS 7261$5.98. key. But I'lltake the Berwald Septet any ISSUE time. The performance by Heifetz and his The New Omnidirectional Speakers Performance: Delightful friends is altogether The Recording: Splendid recording throughout is of the close-miked Tips for the Speaker Buyer Stereo Quality: Fine intimate type, but excellent of its kind. This Loudspeakers and Room Acoustics KarlGoldmark(1830-1915),friendof is one of the finest recordings I have yeten- Brahms, teacher of Sibelius, and one of the countered in this series. D. H. Musical Geriatrics most popular figuresin Viennese musical life just before the turn of the century, has FELDMAN: Piece for Four Pianos (1957); by Henry Pleasants been all but forgotten as a composer these Intersection 3 for Piano (1953); Exten- days. An occasional violinist, in search of a sions 4 for Three Pianos (1952-3); Two changefromBruch, G"ItsAterZ Mendelssohn,and Pieces for Two Pianos (1954); Projection Tchaikovsky,willprogramGoldmark's 4 for Violin and Piano (1951); Structures highly effective Violin Concerto every so for Siring Quartet (1951); Extensions I often, and a pop -concert program may now for Violin and Piano (1951); Three Pieces and then offer the Sal untula Overture or the for Siring Quartet (1954-56). David Tu- ballet music from The Queen of Sheba. But dor, Russell Sherman, Edwin Hymovitz, and very rare indeed is the conductor who will Morton Feldman (pianos); Matthew Rai- an experience that represents nothing, that program the "Rustic Wedding" Symphony. mondi andJosephRabushka(violins); stands for nothing, that is not in the process Leonard Bernstein has both programed Walter Trampler (viola); Seymour Barab of going somewhere from somewhere else, the symphony for New York Philharmonic (cello). ODYSSEY 32 16 0302 $2.98. that just is. The paint on an abstract expres- subscribers and-now--recorded it superbly Performance: Still good sionist canvas is the experience itself and so well. One of the hallmarks of a first-rate Recording: Historic are the isolated, abstracted sounds of a Feld- conductor is his ability to take in hand works Stereo Quality: Early American man work. long since dropped from the repertoire and Feldman began to write graph music in the to breathe new life into them, often to the Let me take this opportunity to . . . well, earlyFifties. For a while he returned to point of rehabilitating them as working pro- right a wrong (sort of).I have never been written -out works-presumably because most gram items. Toscanini, Beecham, Mengel- temperamentally very much intune with performers often could not help introducing berg-all three had this gift in abundance; Morton Feldman's music. Feldman's style was subconsciously the very elements of relation- and is and there is no doubt that, when he puts his a minimal art, and my own work ship and process that Feldman has sought mind and heart to the work at hand, Leonard is anything but mini ("maxi" would be the to avoid. More recently he has returned to Bernsteinhasthisgift,too."Wedding term,I suppose). When this recordfirst various open or graphic notations. Some of March (Variations)," "Bridal Song," "Sere- came out I wrote a review (for another pub- the earlier music, infact, has a consider- nade," "In the Garden," "Finale: Dance"- lication, and, it would seem, in some other able variation in dynamic and energy level. so go the titles of the five movements of lifetime) putting it down. This review and However the characteristic Feldman gesture Goldmark's Symphony. Under a less gifted a couple of similar ones were the cause of a -soft, spare sounds set in an empty, limitless, baton, the variations can sound pedantic, the feud which will have to be relegated to purposeless silence-is already presentin "Bridal Song" and "In the Garden" sweetly some (very) small footnote in the history of most of these works. Again, like the painters, sentimental, the "Serenade" merely cute, and contemporary music. Feldman establishes a gesture that is recog- the concluding "Dance" tiresomely brash. Let's start all over again. Around 1949 or nizably his own, as recognizable as the ges- But Bernstein makes us appreciate the hu- 1950, Feldman came into contact with John ture of a Kline or a Rothko. mor and ingenuity of the first movement, Cage and some of the advanced painting cir- Feldman's music has assumed additional the charm of the third, the rapt tenderness of cles of the period. Feldman quickly evolved importance in recent years as the forerunner the fourth, and the high spirits of the last. a personal musical speech consisting of very of a great deal of art which deals in single, (Continued on page 88) 86 STEREO REVIEW New Scoff 2560 Compact Casseiver...

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CIRCLE NO. 100 ON READER SERVICE CARD 87 JULY1969 The Columbia engineers have done their desus (piano); members of the Cleveland I must say that Szell does sometimes chug part, too, in helping to achievea whollycon- Orchestra, George Szellcond. COLUMBIA on through in a way that Barenboim never vincing and enjoyable result, for the sound is MS 7115 $5.98. does. And there are lots of missed stylistic solid, warm, and brilliant. D. II. points: dynamic levels, certain trills, and so MOZART: Concertos for Piano and Or- forth.Iwill bet aclotted hemidemisemi- HAYI)N: Harpsichord Concerto,in D chestra: No. 11, in F Major (K. 413); quaver that Szell still uses the highly inac- Major (see Best of the Month, page 76) No. 15. in B -flat Major. (K. 450). Geza curate nineteenth-century parts so long in Anda (piano); Camerata Academics of the circulation; and Casadesus, of course, learned HONEGGER: Sonatine for Violin and Salzburgnyzarteum,Geza Andacond. the music-probably long ago-from some Cello (see RAVEL) DEtrrscHE GRAM MOPI ION DGG 139393 similar edition. In one sense, this is a high- $5.98. ly modern performance:direct,strong,no KODA EY : Adagio: Intermezzo from Hdry fluff. But it does not benefit from modern Janos (see BARTOK) Performance: Listed indescending order Recording: Goodto excellent knowledge about the piece and about con- Stereo Quality:Good temporary performance practice. MAHLER: Symphony No. 9, in D Major. This is even more true of Anda and the Moscow Philharmonic Symphony Orchestra, Barenboim is a phenomenon, no doubt. But orchestra of the institution named for Mo- KirilKondrashincond. ME 1.0DIYA/SERA- if he is impressive in a wide variety of music, zart in his own home town. In' the rare and PIIIM SIB6029two discs$5.98. this is really home territory for him: playing quite fascinating K. 413, Anda does not even Performance:A la Russe a Mozart concerto and conducting it from the play Mozart's own cadenzas, although they Recording: Good keyboard. Because a whole pride of Mozart exist and were published with the work al- Stereo Quality: Good specialists decided to record their own ver- most fifteenyearsago. Otherwise there's sions of K. 450, Barenboim gets measured nothing terribly wrong: it'sjust that these Inview of the great influence of Mahler on performances lack character-eighteenth- the later large-scale symphonies of Shostak- century or otherwise. Everything is distant ovich,it was with more than mild interest and routine -sounding. Whereas everysound that I looked forward to hearing the Viennese that Barenboim makes has vitality and ten- master'slast complete and most complex sion, all of that is lacking here. work performed under the baton of a sea- Footnotes on the program notes: Colum- soned Soviet conductor. But this ninth stereo bia's notes for Szell/Casadesus are an obvi- recording of Mahler's poignant score is not ouscaseofcompilation fromsecondary going to make me abjure the Solti, Bern- sources. K. 453 cannot represent Mozart's stein,and Bruno\X'alterversions,even first use of a flute in a concerto -finale since though it conies at a bargain price, for the the flip side, K. 450, has a lovely flute all music demands for full realization the vir- over itslast movement. The Angel sleeve tuosoorchestrasthattheaforementioned features the following statement:''Daniel conductors have at their command, and the Barenboim is an S. Hurok Attraction"-sure- Moscow Philharmonic simply isn'tinthat ly the musical graffito of the year. E. S. class, especially in the brass and woodwind departments. However, the strings really do come into their own in the valedictory final RECORDINGS OF SPECIAL MERIT movement. In general, Kondrashin pays lit- MOZART: Die Entfiihrung ans dem St- tle heed tothe middle -European style of rad: Hier soll ich dicb denn seben; Con- Mahler performance, which tendsto em- stanze.dicbwiederzuseben;Wennder phasize every element of contrast between Freude Tranen fliessen; Ich bane ganz auf dramatic and lyrical episodes. This applies deine Starke. Die Zauberflote: Dies Bild- especiallyto matters of tempo.Iget the nisist bezaubernd sch5n; IVie stark ist impression that Kondrashin is trying to im- docb dein Zauberton. Cosi fan tulle: Uri bue the music with a Tchaikovskian flow DANIEL BARENISOIM aura amorosa; Tradito, schernito. Don and in general to soft-pedal its episodic as- A phenomenon in home territory: Mozart Giovanni: Dalla sua pace; Il mio tesoro. pects. He keeps the music's many -stranded La Clemeuza di Tito: Se all'impero, amici textures very clear throughout, no mean feat against some apparentlystiffcompetition. Dei. Peter Schreier (tenor); Dresden State even with the best of orchestras. However, Music isn't a competition, and Igenerally Orchestra, Otmar Suitner cond. LONDON OS it must be said again that thisis a Mahler hate theseBeautyQueen contests. But I must 26079 $5.98, ® 90153 (71/2) $7.95. performance far removed from the Mittel- award Barenboim points for clarity, phrase - europa tradition, and becoming disconcert- work, dash, expressly°, sense of form, and MOZART: Die Zauberflote: Der Vogel - ingly so when the saxophone -like Russian style. Above all, his tempos seem just right. flinger bin ich ja; Ein Miidcben oder Weib- horns are in the open, as they are many Whereas both Anda andSzellripright chest; Papagena, Papagena! Cosi fan tutte: times in the course of this music. throughthefastmovements,Barenboim Rivolgete a lui lo sguardo; Donne mie, la As forthis Kondrashin recording,the holds back just a shade . . . and the music fate a tanti. Don Giovanni: Finch' ban dal sound is full and spacious, and the balances breathes. He is working from a better edi- vino; Deb vieni alla finestra; Meta di voi are generally good except for a few over - tion, or perhaps has just a better grasp of qua vadano: Ho capita. Le Nozze di Figa- prominent solo trumpet spots, which may style andpractice. He hasanexcellent ro: Se vuol ballare; Non phi andrai; Aprite have been as much the fault of the player as group of players and good, clear, attractive un po' quegli occhi; Vedro, menir'io sos- of the engineers. D. IL sound. And he has the marvelous and cu- piro. Hermann Prey(baritone); Dresden riously neglected K. 449 on the overside. I State Orchestra, Otmar Suitner cond. ANGEL MASCAGNI: L'Amico Fritz (see Best of personally think that K. 449 is one of Mo- S 36481 $5.98. the Month, page 75). art's two or three greatest works in the genre, and one of his masterpieces in any idiom or Performance:Bothfirst-rate, with minor reservations RECORDING OF SPECIAL MERIT form. An A -plus record from any point of view. Recording: Both excellent MOZART: Concertos for Piano and Or- Barenboim is, of course, not the only one Stereo Quality: Both excellent chestra: No. 14, in E -flat Major (K. 449); to have an excellent supporting cast in this These two records-made for different com- No. 15. in B -flat Major (K. 450). Daniel distinguished Mozart concertoline-up. By panies but with the same orchestra and con- Barenboim (piano); English Chamber Or- usingasmaller group nut of thelarger ductor-place before us Mozart singing on chestra,DanielBarenboimcond.ANGEL Cleveland orchestra, Szell gains .similar ad- the highest currentlevel. Both artistsare 36516 $5.98. vantagesofwind -stringbalance,general German, are in their vocal prime (Schreier clarity, and chamber -music ensemble. Ien- isthirty-four, Prey forty), and are distin- MOZART: Concertos for Piano and Or- joyed these performances and,if we were guished members of the operatic jet set- chestra: No. /5, in B -flat Major (K. 450); not comparison shopping, I would have no and deservedly so. No. 17, in G Major (K. 453). Robert Casa- hesitation about recommending them. Still, (Continued on page 90)

88 STEREOREVIEW The sound system at Disney Studios isAltec.

So there must be something in it. front end, great sensitivity. All the the system. And these systems start There is. Great sound. In every Altec things everybody else talks about. for as little as $549.00. Complete. system. Take our Corona speakers. But what makes the 711B really dif- You can hear our story at the bet- Finer sound in the price range you ferent is the amplifier. (It's designed ter high fidelity component dealers. can't buy. They're only $85.50 each. by the engineers that build sound s3.s- Write for our catalog, too. Altec But still, you get rich, full, clear terns for many of the motion picture, Lansing, 1515 So. Manchester Ave., sound. Better sound, in fact, than you radio, TV and recording studios, Anaheim, Calif. 92803. can get in speakers costing as much and most Broadway theatres.) At any rate, it's the amplifier that as thirty dollars more. ALTEE Now along with the Corona is a gives you clean, distortion -free sound LANSING. companion FM Stereo Receiver. The from the tuner, tape deck or record 711B. 100 watts. We should men- player. And that, after all, is what A DIVISION OF GSM LING ALrEC. INC. tion, of course, that it has IC's, a FET high fidelity's all about. Then when you hear that sound through Altec speakers, you'll find you can't beat

CIP.CLE NO. 3 ON READER SERVICE ,:ARD The first side of the Schreier recital, de- six of the studies for a Merce Cunningham voices andinstruments,Danlee Mitchell voted to the German Mozart of Die Entfiihr- dance), and Elliott Carter have called atten- cond. COLUMBIA MS 7207 $5.98. ung and Die Zauberflote, is an unqualified tion to Nancarrow's work. But, aside from success. The voice quality is pure, lyrical but the problem of the general disappearance Performance: Authentic manly, and malleable enoughtoexecute of the player piano, these works were really Recording: Excellent long -spun phrases and extended runs with- meant to be played on a pair of Ampims Stereo Quality: Exceptional out effort. The difficult "Ich bane ganz auf which Nancarrow altered to his own speci- For better or for worse, and from Charles deine Starke" is brought off with impressive fications, using hammers of metal and leath- Ives to Grandma Moses, it seems that Ameri- virtuosity.The sameartisticequipment er. Fortunately, Columbia had the initiative cans have a distinct fascination for making shinesthroughthe"Italian"arias,but to go down to Mexico City and record the heroes out of "originals." And, by "origi- Schreier's Italian pronunciation, though im- authentic versions on Nancarrow's pianos. nal" I do not mean an innovator in the Euro- proved since his earlier efforts,isstillin Was it worth it? Well, you have to hear pean sense:i.e.,the composer or painter need of further polish. He does not break this stuff to believe it. With his piano rolls, who, through some device or set of devices, any endurance records in "11 mio tesoro," Nancarrow can, of course, make his pianos suddenlyamplifiesacontinuingtradition but the singing is consistently graceful, and do things that no human fingers could re- with a shocking giantstepinto the future. always on pitch. The seldom -heard aria from motely approach. But besides the merely The American "original" is, instead, imbued La Clemenza di Tito-very rewarding, like "virtuosic" cascades of sound, he uses hiswith something ofthe American pioneer almosteverythingelseinthatneglected unique approach to produce the most com- tradition of rugged individualism. And, like score-is a welcome bonus. plexrhythmicandpolyrhythmicstruc- Harry Partch, whose music has been record- The Prey recital is a little less even. The tures,as well asall kinds of fascinating ed at length here, he might sit stoically in Papageno scenes are superbly done, full of keyboard textures-glissandos, clusters, the Arizona and New Mexico deserts doing, warmth and charm and absolute assurance- blocks of sonority, and the like. Some of as the hippies would put it, "his own thing," no one today can outdo him inthis part. while the rest of the world sloshes about in There is also an endearing quality of playful the mainstream, whether it be left, center, youthinhis characterization of Cosi fan or right. If someone cares to pay heed, to tulle's Guglielmo. The Figaro arias are cred- "discover" the "original" and found a cult itablebutnotreallyoutstanding,even on him, then the "original" is only slightly though conductor Suitner gets more temper- more euphoric than he was in isolation. ament out of the singer than does the more Itis my perhaps unfortunate fate to be placid Bohm in DGG's complete set. As for glandularly suspicious of "originals." (111e Prey's Don Giot mini, the Champagne Song precise meaning or correct application of has plenty of dash,butthe Serenadeis this word to composers, painters, or writers spoiled by an overdose of vibrato. Neither has been. a highly debatable matter of se- "Mehl di roi" nor Masetto's "Ho capito" mantics for some time now.)I admire the makes much sense out of context, and their tenacity of a Harry Partch, his ability to inclusion here is of doubtful merit. Prey too have stuck out the "doing of his own thing" sounds more at home in German, but ingen- -inventing instruments and a forty -three- eral he is an immensely attractive singer. tone -to -the -octave theory, indulging a dis- Apparently, recording dates in East Ger- tinctpredilectionfor Far -Eastern musical many are very advantageous in these com- Evocation, and evolving the rather unearth- petitive and inflationary times. Whatever the ly philosophical concepts that lie behind the reason, it pays to record in Dresden-and we music. Furthermore, although the music has get to hear a fine orchestra and its outstand- to be self -resembling by its very nature,I ing conductor. G. I. am not by any means unattracted to the lovely sound of the man's work or opposed to his MOZART: Piano (Harpsichord) Concerto belated recognition. Instead, as I am again No. 9 (see Best of the Month,page 76) reminded by this new Columbia recording, I am merely curious about an "originality" RECORDING OF SPECIAL MERIT that seems to me more apparent than real; that, for whatever pleasure or diversion it NANCARROW: Studies for Player Piano, HARRY PARTCH An originality more apparent than real? may offer us as listeners, is of precious little Nos. 2, 7, 8, 10, 12, 15, 19, 21, 23, 24, 25, pertinence to the art in the long run. and 33. COLUMBIA MS7222 $5.98. the pieces have stylized pop elements-rag, There are three works recorded here-the Performance: Two modified Ampico blues, Latin. Others are complex rhythmic longest of which is Daphne of the Dunes player pianos canons of various kinds (one piece starts (1958). It is not in the least surprising to Recording: On the spot out with a speedy treble and a very slow, readthatthemusic wasoriginallythe Stereo Quality:Close-up one -note -at -a -time bass and oh so gradually sound track for a film called Wind Song. slows down the top and speeds up the bot- IthasPartch'scharacteristicinstrumental Yes, player piano; no, this is not a put-on. tom until the two parts criss-cross and ex- and harmonic texture, and its share of curi- Conlon Nancarrow, who is quite real,oc- change roles).Still other pieces are con- ously haunting melodic fragments; it is also cupies what is surely one of the strangest, cerned with textures and energy blocks of loneliest, and least so excessive in length that, for me, these likely corners of con- sound. Onecan,in fact, identifyaspectsof none too tangible qualities are soon vitiated temporary music. Nancarrow was born in this music with all kinds of contemporary and rigor mortis sets in before the piece is Texarkana, Arkansas, in 1912, In the mid - trends: Cage's prepared piano, Carter's met- over. Barstow (1956)issubtitled and,I Thirties he was regarded as one of the most rical modulation and rhythm/tempo struc- guess, described as "Eight Hitchhiker In- promising young composers on the scene and tures, serialism, pop art, composition densi- scriptions from a Highway Railing at Bar- was a frequent contributor to the journal ties and textures. . . even electronic music. stow,California."Itstext,deliveredby Modern Music, an important general publi- But none of it is arcane or merely of histori- Partch and John Stannard against one of cation of the period roughly equivalent to cal or curiosity interest. The ideas, the dis- Partch's typically exotic instrumental back- iht News (thereis no comparable music cipline, and the techniques are put to work grounds, is either very original or very em- publication in the country today!). Nancar- with great wit, charm, and imagination. The barrassing as an idea and in treatment. For row went to Spain in the Thirties and later rather clunky piano sounds take a little get- me,it was thelatter.Finally, Castor and settled in Mexico City, where he has lived ting used to, but they are, of course, part of Pollux(1952), "a Dance forthe Twin for a quarter of a century now. Since 19-18 the aesthetic effect. If you have a bent for Rhythms of Gemini from Plectra and Per- he has composed thirty-seven "studies" for something odd, original, eccentric, and de- cussionDances,''issimply more Harry player piano by making player piano rolls lightful and, as they say, sui generic, don't Partch. I could weary you with descriptions with a puncher of his own devising. Per- miss this one. E. S. of its technical makeup as described by the sonalities as diverse as John Edmunds of jacket notes, but I don't think it would help the Americana Division of the New York PARTCH: Daphne of the Dunes; Barstow; either you or me very much. Public Library, John Cage (who arranged Castor and Pollux. Various ensembles of (Continued on page 92) 90 STEREO REVIEW If there can be such a thing and automatically adjusts that range from wide angle as high fidelity in a camera, the aperture to where it be- panoramic lo super tele- the Beseler Topcon Auto 100 longs. However, if you want photo. You'll find it only at has it! The meter is on the to be creative, you can take good camera stores. mirror, immediately behind this camera off automatic the lens. It faithfully records and ciecde on your own ex- BESELER TOPCON every drop of light the lens posures And for even more AUTO 100 receives. It transmits this photographic excitement light to the metering system you can select from lenses solid ment

Charles BaseCJ., 219 13th,Strael CIRCLE NO. 8 ON READER SERVICE CARD JULY 1969 91 In short, Partch's music must be listened Fragments. Festival Singers of Ontario, El- to by anyone interested in its ilk, and it can mer lseler cond. SERAPHIM S 60085 $2.19. be responded to on purely aural terms (much to its credit,I believe). It turns on many, Performance: Eloquent Poulenc but others, like myself, can take it or leave Recording: Commendable it. Columbia has done a fine job of recording Stereo Quality:Well -realized themusic,anditsperformance-Danlee SinceSeraphim'ssleeveannotator,Giles Schober Consolette Mitchell's conducting ofit was supervised Bryant, writes that -Poulenc, according to by the composer-is presumably ideal.If ... acquaintances who wrote about him, was Organ you don't know Partch's work, I suggest you the blending of seeming opposites thaten- have a try at it with this disc; because if it abled him to combine intense personal reli- isn't exactly mine, that doesn't mean that it gious fervor with a Hedonistic and flippant only sCe,'. might not just be your dish of tea. W'. F. attitude to life,- I can dispense with any reit- eration of the same observation I have made POULENC:Airs Chances: Air champetre; so frequently inthese columns. Poulenc's Air vif. Trois Chansons (Garcia Lorca/ Mass in G is certainly no novelty to aficio- Gattegno). Cinq Poemes (Jacob). Trois nados,and,afteritsfashion,strikes me Poemes (Lalanne). Fiancailles pour rire. once again as a virtually flawless work. Its Trois Poemes (V ilmorin). Metamorphoses. technique,itsintentions,its continuity are Maxine Makas (soprano); Anthony Makas so miraculously clear and perfectly realized (piano). WESTMINSTER WST 17146 $4.79. that one feels that consultation of the printed score for amplified insight into the work Performance: Tidy would be virtually a waste of time. In the Recording: Good best sense of the word, the Mass isan almost Stereo Quality: Okay unbelievably "pretty" piece; yet this aspect of the work seems remarkably natural and Not so many moons ago, comprehensive re- unaffected. (It might be of interest for me to citals of songs by the late Francis Poulenc recall that Poulenc's friend, the American were so rare among American commercial composer Ned Rorem, once surprised me recordings that, as a reviewer who admires by revealing that Poulenc never wearied of this repertoire, I found myself treading very describing at length this or that miraculous lightly indeed-very reluctant to put down modulation or progression in his own work.) *Includes finished walnut any performer who undertook such a proj- console. (Only $716 if you build Be that as it may, the Mass in G is one of your own console.) Amplifier, ect. Now, with the availability of several those works so unstudied and sure-footed speaker system, optional such discs and with the inevitable prospect that I would finditall but impossible to accessories extra. of more to come,Ifind myself casting a make an honest, preferential choice of one more scrutinous eye-I mean ear-on style of its movements over the other. The lyrical and performance. flowisalmost obsessively unabating, but You couldn't touch an organ like this in a store Miss Makas, an American soprano and for less than $1800-and there never has been one listens without boredom; the solo vocal (judging by the photograph on the jacket) a writing and choral writing are impeccably an organ of the ConsoletteII's graceful small young one, has a light, well -schooled voice size with 22 such pipelike, versatile voices, five - clear, idiomatic, and ras ishing. In sum, the which she uses with almost excessively ob- piece-for me at least-hasn't a dead spot. octave big -organ keyboards, and 17 pedals!It vious care, and is by no means to be put sings and schmaltzes for standards, pops, old- And the motets which accompany ithere, down-if for no other reason than her trim while somewhat less probing expressively, time favorites, speaks with authority for hymns musicianship. Yet, all told, I am left thor- and the lighter classics, all with a range of vari- are scarcely less winning. oughly cold by her performances here. The Although I suppose Canadian composers ety and satisfying authenticity you've never found music involves a time span of several years, before in an instrument under church or theatre Harry Somers, Welford Russell, and John from 1927 to 1943. But, although stylistic Beckworth might well consider their occupy- size. If you've dreamed of an organ of your own, range was not precisely one of Poulenc's to make your own beautiful music, even if your ing a position on a record involving top- strong points, Miss Makas does a remark- drawer Poulenc a commercial advantage, the home or budget islimited, you'll get more joy ably proficient job of making every song from a Schober ConsoletteIIthan any other artistic merits of the arrangement are some- sound alike. She rarely gets into the text; what open to question. Their pieces are all "home size" organ-kit or no kit. her voice, as heard here, seems to work in composed ina somewhat similarstylistic You can learn to play it. And you can build it, essentially one rather pale color. There is vein, but the clear, exquisite technical and something too pristine-a lack of either sen- from Schober Kits, world famous for ease of as- expressive focus of the Poulenc pieces make suousness or sensuality-about her view of them seem ever so slightly gauche by cons- sembly without the slightest knowledge of elec- Poulenc. And if that's what this music is all tronics or music, for design and parts quality rison, when, in another context, they might about, then for the sake of my own con- have given considerable pleasure. from the ground up, and - above all- for the tinuing gratification, I will stubbornly keep highest praise from musicians everywhere. But even considering this, the record is an my head buried in the sand. extremely attractive one. The performances Send right now for the full -color Schober catalog, None of this should suggest that, in terms seem to me both sensitive and musicianly. containing specifications of all five Schober Or- of notes per se, the music is ill represented. The recorded sound and stereo effects are gan models, beginning at $599.50. No charge, no Were itthe first recording of its kind,I tasteful and effective, although there is some obligation. If you like music, you owe yourself a frankly might be tempted to ignore or mini- surface racket during the first few minutes of Schober Organ! mize my disenchantment with. this disc, a side one on my review copy. W. P. disenchantment rooted in the fact that skim- ming the surface of the music of a composer PROKOFIEV: Sonata, in D Major, for whose particular private joke was to write Thee_Organ Corp., Dept. HR -29 FluteandPiano,Op.94(1942-44). music that merely appeared to be nothing COOPER: Sonata for Flutes and Piano. 43 West 61st Street, New York, N.Y. 10023 but surface is a losing game. P DUTILLEUX: Sonatine. The Bryan and Please send me Schober Organ Catalog and The accompaniments are clean and evi- Keys Duo. LYRICHORD LLST 7204 $5.98. free 7 -inch "sample" record. dently approached from a view quite like 0 Enclosed please find $1.00 for 12 -inch L.P. the singer's. W. F. Performance: Solid but listless record of Schober Organ music. Recording: Good Stereo Quality: Good NAME RECORDING OF SPECIAL MERIT I suspect that the principal reason for the ADDRESS POULENC: Mass in G Major (1937); shrug this release produced in me isthe Two Motels. SOMERS: God the Master CITY choice of music itself. For one thing, per- STATE ZIP of This Scene. RUSSELL: Who is at My sonal taste aside, I find each of the pieces in Window, Who? BECKWORTH: Sharon CIRCLE NO. 47 ON READER SERVICE CARD (Continued on page 94) 92 STEREO REVIEW ROBERTS4 20XD "COMPUTERIZED" FOR 24 -HOUR PROGRAMMING PROFESSIONAL STEREO TAPE DECK CROSS =IELD HEAD... Exclusive ROBERTS ftureoffers amazing frequency -esponse and perfect recording even a: low tapespeeds 4 TAPE SPEEDS STANDARD .. 71/2, 33/4 anc rig IJS via3 -speed e ec- trically switched rector. 15 ips via built-in pin±wheek'eapstan change MAGNETIC BRAk.E CONTROL... Engireered to bring tape to animmedi- ate stop without sag or pull. Adjusts brakes tb tlickness of tape AUTOMATIC DUST MINDER .. Indicates automatically dustdeposits on Heads with indicatcr lamo. P -events less of hi ga-ena frequency response

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CIRCLE NO. 44 ON READER SERVICE CARD 93 JULY 1969 its own way a little dour and heavy-handed. the Cetra label), and as such theyare pate The Prokofiev Sonata-the original version fully remembered. But they all date back of the perhaps better known Second Violin t, 19-19, and the weight of the past twentyyear When you're Sonata, and by far the longest and most am- lies heavy on their sonics. The most severe]: bitious work on the recital-struckme as affected is Gianni Schicchi, an ensembleoper, -manufactured," somehow almost consistent- with concerted vocal passages which suf numberone in ly falling short of the grace and idiomatic fer here from distortion and/or insurlicien charm that was its apparent expressive in- clarification. Suer Anolica shows thestrong tape recorders tent. Admittedly, I am but casually familiar est signs of survivalinthis performance with the work and may very well be miss- Itoffers the best balanced singing inthe ing the point warranting the obviousiy care- group, and its subdued orchestra is tolerahl, ful attention its composer gave it. reproduced. you don't Paul Cooper, an American and composer - Actually, apart from the technicaldefi- in -residence at the College -Conservatory of ciencies which constantly intrude, eachper- make the Music in Cincinnati, is a composer whose formance offers something worthwhile. A!I name and work were both new to me. His are idiomatically conducted and well -paced, short, cryptic Sonata for Flutes and Piano with a reasonable amount of theatrical feel- evidently does not require (as its title number -two sug- ing.InSuer Angelica,RosannaCarteri gested to me) the presence of two flutists, makes something memorable of the tragic but instead the alternation of C flute, alto figure of Angelica, and she handles thecon- tape. flute, piccolo, erc. As I always do when I siderable vocal challenges remarkably well. draw a virtual blank on a new piece by a Miti Truccato Pace offers a well -etchedpor- composer I've never (to my recollection, at least) heard, I played it more than once or twice, and at different times, to try to get through to it-hut I'm afraid I lost the ball game. This may very well be because the It costs a few pennies more. piece, although not especially recondite in musical technique, strikes me as a bit quirk- But Sony professional -qual- ish and exhibitionistic inits attempt to ex- ity recording tape makes a ploit bothflute and pianoin"original" world of difference in how ways. In any case, although it's part of my much better your recorder job to have one, a reaction or general opinion of the piece simply does not shape itself sounds-and keeps on sound- in my perception. ing. That's because Sony For the most part, the Dutilleux Sonatine tape is permanently lubri- struck me as the most original and expres- cated by an exclusive Lubri- is ely meaningful work on the program,cl- thoughIthinkitrather too brief to have Cushion process. Plus, its given full realization to the possibilities of extra -heavy Oxi-Coating its materials or, for that matter, real justit- won't shed or sliver. Sony cation for its seriousness of tone. tape is available in all sizes Keith Bryan and Karen Keys, flutist and of reels and cassettes. And pianist respectively, play with fluency and musicality, but I am familiar enough with a; remember, Sony profes- least the Prokofiev idiom to sense that in sional -qualityrecording this work, and very probably the others, their tape is made by the world's work here is a little wanting in flair, a little wary of taking the chances that make for most respected manufactur- Act-srt ANL EVAS er of recording equipment. first-classplaying.Recordedsoundand Rachmaninnft Second with power and glitter stereo are both fine. I17. F. trayal of the icy Princess in contrast. Giu- PUCCINI: 11Tri[tiro:Snot-Angelica. seppe Taddei's lusty characterization and res- Rosanna Carteri (soprano), Sister Angelica; onant singing dominate Gianni Schicchi,as Truccato Pace (mezzo-soprano), Prin- they probably should. He getslittle help cess; Marta Solaro(mezzo-soprano), Ab- from the Lauretta and the Rinuccio, who bess;Amelita I] nniti ( mezzo-soprano ), are barely adequate, but there are strong Sister Monitor; Lia Ceri (mezzo-soprano), contributionsinthe cameo roles,particu- Mistress of Novices; others. Chorus and Or- larly from the young Fernando Corenaas chestra of Radio haliana, Fernando Previtali Simone and from Franco Calabrese in the cond. 11 T abarro. Antenore Reali (baritone), two roles of the Doctor and the Notary. Michele; Glauco Scarlini(tenor), Luigi; 11 T abarro gets a taut, exciting performance ClaraPetrella(soprano), Giorgetta; Ebe enlivened by atmospheric stage effects sug- Ticozzi (mezzo-soprano), Frugola; Giuseppe gesting life on the Seine. The best perform- Nessi (tenor), Tinca; Dario Caselli (bass), ance here is Clara Petrella's passionate Gior- Talpa. Orchestra of Radio Italiana, Giuseppe getta. Antenore Real is rough vocalism helps Baronicond.Gianni Stith -chi.Giuseppe in the evocation of Michele's brutality, but Taddei (baritone), Gianni Schicchi; Grete the overall effect is not pleasurable. Rapisardi ( soprano ),Lauretta ;Giuseppe In sum, the Everest setisdistinctlyin- Savio (tenor), Rinuccio; Fernando Corena ferior to its stereo competitor, London 136,i. (bass), Simone; Agnese Dubbini (contral- Gianni Schicchi and Suer Angelica are also You never heard it so good. to), Zita; others. Orchestra of Radio Itali- available individually on Angel (both with ana,AlfredoSimonettocond. EVEREST Victoria de los Angeles) in superior produc- S-464/3 three discs $8.94. tions. The music is far better served in these

*INA SUPERSCOPE, INC Performance: Passable to good sonically modern versions, and this makes Recording: Dated me withhold recommendation from this E V - Stereo Quality: Artificial crest release despite the attractive price factor. Incidentally, Aldo Bertocci, whose name SunValley, California 91352 These were the first complete recordings of is featured on the cover of the album, does CIRCLE NO. 53 ON READER SERVICE CARD the Puccini one-acters (originally issued on not appear on the records. G. J. 94 STEREO REVIEW Violin and Cello. Schoenfeld Duo FvFREsT RECORDING OF SPECIAL MERIT readings of Ormandy or Zanderling, since the music itself contains sufficient inherent 3243 54.98. PURCELL: Te Deum, in D Major: Jubi- dramatic contrast without the kind of over- Performance: Sensitive late Deo, in D Major; In guilty night emphasis it gets here at Yevgeny Svetlanov's Recording:Excellent (Saul and the Witch of Endor); Man that hands. Stereo Quality: Unusually good is born of Woman (Funeral Sentences). Let it be said, however, that the recorded Honor Sheppard and Christina Clarke (so- soundisbrilliant and spacious, and the While itis both unlikely and, as the facts pranos) ;AlfredDeller(countertenor); stereo localization is used to telling effect in have it, untrue that none of these pieces has Neil Jenkins (tenor); Maurice Bevan (bari- the brass and string interchanges in which ever been recorded before, Everest's inclusive tone);Philip Jones and Edgar Howard the Symphony abounds. As Ihave said in title for its new release (in billing impres- (trumpets); Robert Elliott (organ); Anna previous reviews of this music, Rachmani- sively bold enough to keep an Elizabeth Shuttleworth (cello); Stour Music Festival noff's Op. 13, which he disavowed following Taylor happy)-THEWORLDPREMIERE REC- Choir and Orchestra, Alfred Deller cond. itsunfortunate first performance in1897, ORD-somehow manages to convince me that RCA VICTROLA VICS 1407 $2.50. still remains my favorite among the Russian the company has a point to make even though composer -pianist's symphonies. D. H. its facts are wrong. For the record, the Ravel Performance: Splendid was once available on the Concert Hall la- Recording: Excellent RAVEL: Sonata forViolin and Cello. bel, the Honegger as a French import (Boite Stereo Quality: Good HONEGGER: Sonatine for Violin and Musique), and the Villa -Lobos on several Whether in the festive Te Delon and Jubi- Cello. VILLA -LOBOS: Choros No. 2 for different discs. Still, the medium and some late, the choral pieces intended for St. Ce- cilia's day, or the gloomier !cella between Saul and the Witch of Endor and the af- fecting verse anthem Alan thatitborn of Woman, thisdisc presents Purcellat the very peak of his creativity. All these are we. immensely expressive, exciting, and moving Mow Itt Improves works, and it would he difficult to imagine more devoted performances than the ones Even The Finest to be heard here. Deller is in exceptionally Stereo System! good voice in his many solos, and he directs the four items with great sensitivity. The the new Frazier Stereo recording, furthermore, isfirst-rate, making this a Purcell collection of the highest dis- Environmental Equalizer -o tinction. Texts are included, along With fine totally new concept in elec- notes by Stoddard Lincoln. 1. K. tronic instrumentation - employs twelve 2/3 -octave RECORDING OF SPECIAL MERIT tuned circuits for each of RACHMANINOFF: Piano Concerto No. two channels, to reduce acoustical peaks eitherin the 2,in C Minor, Op. 18; Rhapsody on a loudspeakers or room acoustics by a factor of 15 deci- Theme of Paganini, Op. 43. Agustin Anie- bels maximum. Flattens the response curve for new bal- vas (piano); New Philhannonia Orchestra, ance in sound reproduction never beforeavailable. Moshe Atzmon cond. SERAPHIM S 60091 $2.49. Performance: Excellent Recording: Very good R4Z/ERSTEREO Stereo Quality: Good E NVIRONMENTAL Although there are several excellent stereo couplings of the ever -popular Rachmaninoff E QUALIZER Second Piano Concerto and Paganini Rhap- sody, Seraphim has here given us one with a hargain-basement price tag, and it's afirst- rxe buy. Save fur some bottom -heaviness in the opening chords of the Concert(,. AMevas, the 1961Mitropoulos InternationalAfusic FLATTENS Competition winner, gives performances that RESPONSE have power,glitter,and warmth inam- CURVE ple and well-proportioned measure. Conduc- tor 3 loshe Atzmon is a new name to me, but his orchestral support goes far beyond that EMPLOYS THIS PATENTED CIRCUITRY ofmere accompaniment. He and Aniev.is work wonderfully hand -in -glove,andare iTIWITrnr921r6alinpaiwwww

.11 ' . II accorded gratefully warm and spacious sonics in the bargain. I). H. jt-tAl RACHMANINOFF: Symphony No. 1. in D Minor, Op. 13. USSR Symphony Orches- tra. Yevgeny Svetlanov cond. MELODIYA/ ANGEL SR 40084 55.98. *Get demonstration of Performance: Wild and wooly ENVIRONMENTAL EQUALIZER Recording: Good at your dealer's . . . or. . Stereo Quality: Highly effective WRITE for literature and name If you like your Rachmaninoff with all stops of Frazier dealer nearest you. INCORPORATED out, with the utmost contrast in tempo and dynamics,thisrecordingisfor you. The 1930 VALLEYVIEW LANE wildly hysterical treatment of the final pages DALLAS,TEXAS 75234 will illustrate my point sufficiently. Person- PHONE 214-241-3441 ally,I prefer the more justly proportioned CIRCLE NO. 65 ON READER SERVICE CARD 95 JULY 1969 of the music involved are off the beaten command of his intentions, you may be sure bert's early Romanticism and more to the path, and though the disc, by its very na- -and the music has a resultant Romantic more flexible stylistic manner of the later ture, will scarcely precipitate a stampede in sweep that would almost lead one to think Romanticism that followed him and that the retail shops, it achieves something of a coup it ahead of its time. Wanderer-Fantasie so clearly foreshadows. in bringing together difficult -to -obtain works If Gilels gives Schubert a quasi-Tchai- Your interest in this release, then, will de- by names of such long-standing international kovskian treatment, the opportunities to go pend in large part on your attitude toward stature. even further in this direction in Schumann's Schubert's music and your concomitantly Usually when pieces are ignored, there is Nachtsllicke are apparent enough. Here, the fixed opinions as to how it should be played. ample reason for it. But, as luck would have results are somewhat less felicitous; Schu- DGG's engineers have done a masterly job it, such is not the case here. The Ravel piece mann's rather loose formal molds need tight- of reproducing the sound of Kempff's piano. was begun in 1920 and completed in 1922. ening rather than loosening, and there are W. F. Ravel, like Stravinsky, is a composer whose at least two or three massive climaxes in pieces almost invariably seem exactly right Gilels' readings that, for all their pianistic SOMERS: God the Master of this Scene as to duration-unless, as in certain cases I and musical power, seem unmotivated and (see POULENC) could cite, the pieces give so much pleasure tend to make the work's expressive tenor that one wishes they might go on a bit long- somewhat ambiguous and confusing. Still, at SPOHR: Double String Quartet, in D er. But the Sonata for Violin and Cello, its best, this Schumann playing has an irre- Minor (see DVORAK) which the Rollo Myers study of the com- sistibly soaring grande ligne and, whatever poser suggests gave Ravel a bit of a hard else one might say for or against it, it is any- TCHAIKOVSKY: Symphony No. 6, in B time,isalmost twenty minutes long and thing but dull and pedestrian. Minor, Op. 74 ("Pathetique"). Philadel- perhaps too long. It is certainly a compara- The recorded sound is puzzlingly bass- phia Orchestra, Eugene Ormandy cond. RCA tively ungainly and even inconsistent work heavy, but a little fiddling with your dials LSC 3058$5.98, ® TR3 5040 (PA) for this particular composer. It nonetheless should be sufficient corrective. W. F. $10.95, ® R8S 1112 $6.98. has its fascination, inasmuch as it appears to be one of those brain -stretching works Performance: Straightforward, virile Recording: A bit unsettling that composers with highly personal and to StereoQuality: All right cultivated styles often undertake in hope of "41 a therapeutic broadening of musical vocabu- TCHAIKOVSKY: Symphony No. 6, in B lary and technique. The "modernism" ini- Minor, Op. 74 ("Pathetique"). Royal Phil- tiated by Stravinsky's Sacre-specifically its harmonic Orchestra,Henry Lewiscond. polytonality anditsrhythmic dynamism- LONDON SPC 21034 $5.98, ® 75034 (71/2) are clearly echoed in Ravel's Sonata, quite $7.95, ® 95034 $6.95, © 94034 $5.95. as if the composer felt that he must come to terms with their implications in his own Performance: Slowish way. Recording: Film -studio ambiance The Honegger piece is perhaps the most Stereo Quality: Effective in its way successful and certainly the most charming These two releases bring to twenty-six the piece of the three.Itis Honegger at his number of recorded versions of the Tchai- most "French"-which is to say, in his most kovskySixthSymphonylistedinthe modest lyrical vein. The Villa -Lobos ChOros Schwann catalog. There is at least a senti- isbriefandcompletelyforgettable,but mental raison d'etre for Ormandy's, since pleasantly lyrical and effective while it goes this was the first major work he recorded about its glib business. for RCA Victor with the Philadelphia Or- The Schoenfeld Duo (Alice on the violin chestra three decades ago upon succeeding and Eleanor on the cello), it seems to me, Leopold Stokowski. To my mind, it was one does about as well by this program as any- of the finest versions of this work in the78 - one could ask. The playingis uniformly rpm era. This newest reading, his fourth clean, elegant, impressive, and appropriate- with the Philadelphia and marking his rely unostentatious. Everest's sound is good, EMIL GILELS turn to the RCA label, follows much the its stereo separation meaningful rather than Schubert with winning Slavic abandon same highly dramatic, straightforward pat- just showy. W. F. tern, though the 5/4 movement is a shade SCHUBERT: Wanderer-Fantasie (D. 760); weighty for my taste. The chief interpretive RUSSELL: Who Is at My Window, Who? Moments Musicaux, Op. 94 (D. 780). competition, to my way of thinking, comes (see POULENC) WilhelmKempff (piano). DEUTSCHE from Karajan on DGG and from Ormandy's GRAMMOPHON SLPM139372 55.98. still available Columbia disc. SCHUBERT: Moments Musicaux, Op. 94 Performance: Both solid and stolid I am disturbed by aspects of the sonics (D. 780). SCHUMANN: Nachtstiicke, of the recording, which evidently was done Op. 23. Emil Gilels (piano). MELODIVA/ Recording: Good Stereo Quality: Excellent in the Philadelphia Academy of Music with ANGEL SR 4008255.98. its normally short decay period lengthened Performance: Original and attractive Pianist Wilhelm Kempff has accomplished through the use of delayed sound fed to Recording: Good pretty much what one might have expected distant loudspeakers. Having used this tech- Stereo Quality: Good of him in this all -Schubert release. Judging nique as far back as 1952 in Minneapolis, by what is commonly considered to be the when I was part of a recording team for I'llmake no secret of it: with the exception "right" stylistic attitude toward the music, Mercury, I know that this can be a very of a few pieces, Franz Schubert's music is Kempff just about hits the bull's-eye. But tricky operation: if the delayed signal is fed my particular "deaf" spot in the work of even so, his playing of Moments Musicaux, to the distant speakers at too high a level, a the traditionally Great Masters (most mu- for all its deadly accuracy and blinding tex- howling feedback will result,at worst; at sicians have a couple of such spots, whether tural clarity, is somehow so excessively idio- the very least,the timbre of the speakers they care, or dare, to admit it or not). So matic that the music losesits charm; its will be added to that of the hall. It is the perhaps I am not to be taken seriously by the rather oversimple lyricism has, as a matter latter that I keep hearing from time to time True Schubertian when Isuggest that the of fact, an almost military precision about it. on this RCA disc, especially during the de- Russian pianist Emil Gilels' performance of The IVanderer-Fantasie, by the very na- cay period of pauses following abrupt at- Schubert's Moments Musicaux gave me gen ture of its more flexible and improvisatory tacks and figurations. The initial questioning uine pleasure because Gilels plays the music musical design, resists such treatment. Still, expository phrases in the first movement are with an extremely winning Slavic abandon much as I admire Kempff's mastery of the among the more striking instances in point. instead of the rigid Germanic style to which notes and unassailable success in getting re- I have no objection to this type of decay en- we are accustomed, and which, to me, pro- sults that seem almost uncomfortably close hancement, but I hope that the technique can duces a set of piano pieces that is little more to his intention, I would prefer to hear the be further refined in the course of future than high-class Kitsch. The pianist plays work played more freely-with less of an Academy of Music recording sessions. with wonderful freedom and flair-ever in eye to the stylistic manner preceding Schu- (Continued on page 98) 96 STEREO REVIEW Ifyoulikthink all watts areae, youmay get applesthe next timeyoubuy oranges. reproduce a complicated signal like music. EIA Rating-Derived by measuring output at a single frequency. But permits a higher distortion factor( 5 7e,),and thus results in a much Which is our way of saying that all amplifi-higher wattage number than the comparable ers and receivers aren't rated the IHF rating ( at le/c ). same way. IHF Rating-Arrived at in accordance with The several dif- the published Institute of High Fidelity Stand- ferent methods of ard, which sets forth two methods of power mea- rating an ampli- surement : "continuous power" method (same as fier's power ca- RMS method above) and "dynamic or music pacity are so far power" method. Additionally, it specifies that apart that an measurements are to be made with all amplifier amplifier rated at channels driven. These two methods, as set forth 250 watts by one in the publication IHF-A-201, are accepted as system actually Look for our dealer the industry standard by quality manufacturers. members' window puts out only 50 decal and our The IHF Method is More Musically Inclined watts by another. manufacturer members' Clearly, the IHF rating of an amplifier or re- identifying product tag. ceiver is more meaningful to anyone buying high It's not a Question of "Right" and "Wrong" fidelity equipment. Because it uses conditions We don't mean that some power rating sys-that the listener encounters, while still maintain- tems are "wrong" and others are "right." What taining strict limits where distortion is con- we are saying is that one component may appear cerned. to be more "powerful" ( i.e. deliver more watts) So it makes sense to check the IHF power rat- than another, when the real difference may be in ing when you're looking for an amplifier or re- the methods used to measure their respective ceiver. The specification sheets of our member outputs. manufacturers carry this rating. As the common Let's end the confusion by defining the three yardstick of the industry, it best reflects the con- main rating methods : cerns of those who developed the conceptand "RMS" Rating-The standard laboratory craft of high fidelity. method. The output of an amplifier is measured at a single given frequency. Not especially useful The organization of the quality sound equipment makers and dealers. in measuring a component's capacity toSpecifications stated in terms such as '100 watt IIIF ±1 db" are not true ratings. JULY 1969 97 The London Phase 4recording of the "Penhetique" leaves me with mixed feelings Gwyneth Jones sounds like a natural Ver- of sadness and chagrin. Young Henry Lewis, dian here: the voice is strong and impres- sively colored; she can rise to powerful cli- conductor of the New Jersey Symphony Or- maxes and chestra and first of the black race to head an canfloatlovelypianissimos. American symphonic organization, led the There is strong determination in her Lady Royal Philharmonic Orchestra in a London Macbeth (though her reading of the letter is concert shortly after his appointment; the rather tentative), a sense of convincing de- spair in her Elisahetta, and true poignancy Tchaikovsky symphony was the mainstay of in her Desdemona. The Aida scenes the program, and the reviews were friendly, are also if not wholly ecstatic. At any rate, the Lon- well thought out, but here the intonation is not always very secure, nor is the ascent to don Phase 4artist -and -repertoirepeople have seen fit to have Mr. Lewis record this that formidable high C in -0 patria mid' work when the catalog is crowded with other the last word on the subject. But theseare smallquibbles versions, most of them by considerably more inan otherwisefirst-rate seasoned conductors. achievement. Edward Downes favors leisure- Mr. Lewis's reading of the work is a bit ly tempos, particularly in Aida, but theor- on the slow and careful side, lacking some- chestra plays extremely well, and the engi- what in dramatic urgency, and downright neering is splendid. G. J. heavy-handed in the always tricky 5/4 second movement. The recorded sound is com- VILLA -LOBOS: Cleriros No. 2(see parable to that of film sound studios twenty RAVEL) years ago: a sense of warm and spacious room tone has been sacrificed in order to WAGNER: Die Walkfire: Act 1, Scene 3; achieve greater detail of instrumental tex- Act III (complete). Helen Traubel(so- Gwv-Nrrie Je)NEs prano);EmeryDarcy(tenor);Herbert ture. I find this no help to the music or to A natural Verdian Lewis, who could have been given an oppor- Janssen (baritone) ; others. New York Phil- tunity to display his very ample conductorial harmonic, Artur Rodzinski cond.ODYSSEY bob: Nel di della rittoria... Vieni! 32 260018 two discs $4.98. prowess in music represented by far fewer ratfretta! (with George Macpherson, bass). "big -name" competitive recordings, and I Otello: Willow Song and Ave Maria (with Performance: Traubel and Rodzinski excel see no point whatever in going back to the Maureen Lehane, mezzo-soprano). Gwyneth Recording: Good for its age dear "dead" studio recording days of the Jones (soprano) ; Orchestra of the Royal Op- Stereo Quality: Artificial late Thirties and early Forties. D. H. era House, Covent Garden, Edward Downes Recorded in 1945, these generous excerpts cond.LONDONOS 26081 $5.98, ® 26081 from Die Wall/ire provided valued service RECORDING OF SPECIAL MERIT (71/2) $7.95. to Wagnerians through the years when a Performance: Very good complete recording of this opera (to say VERDI: Aida: Ritorna 0 patria Recording: Excellent nothing of a complete Ring) was only a mia. Don Carlo: Tn che le vanita. Mac- Stereo Quality: Excellent dream. They are not new to LP (Columbia

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98 STEREO REVIEW SL -105 was their previous incarnation), but The Italian Song Book (Italienisches Lieder- miniature of -11"ie bilge schon tear imnzer' as budget reissues they are welcome. Tech- buch) is a product of Hugo Wolf's full ma- mein lizilangen," a masterpiece in six lines, nically, of course, they are outdated along- turity as a composer. He began working on capsulizing the plight of a woman who has side the current luxurious representations of this collection late in 1890, five months after always longed for a musician loser, and has Wagnerian sound, but they possess enduring the completion of the Spanisches Lieder- had her prayers answered-but in his senti- artisticvalues.HelenTraubel'sopulent buch. Here again he turned to folk lyrics mental moods the gentleman prefers to fon- voice is captured in its remembered strength translated by Paul Heyse, one of the two dle his violin. In this song, Wolf gave the and security;Briinnhilde's part (Act III) poets of the Spanish Song Book. The Italian pianist a hilarious postlude and, needless to was better suited to her commanding tone collection is superior to the other because of say, Gerald Moore rises fully to the occasion. and manner, but she excelsin both acts. the variety of its moods and because of its Vocally, Schwarzkopfisfine.She simply Needless to say, the ecstatic close of Act I attractive combination of Mediterranean sen- does not allow the music to tax her fading would have been different had Lauritz Mel- timent and disciplined Germanic expression. but still considerable resources. Her sense of chior, who was under contract to Columbia It is important to remember that this is not a proportion remains unsurpassed; no singer at the time, taken the part of Siegmund. cycle: the songs may be assembled in vary- is her match when it comes to conveying Emery Darcy's effort was laudable, but he ing sequences, and several of them could be coyness and feminine wiles, and, in her an- simply could not measure up to the part's sung by either male or female interpreters. gry moments, she can seethe with venom, requirements. Herbert Janssen also found As it happens, the present set follows the but the musical line is never compromised the music of Act III strenuous, yet he offers sequence of the published edition, and the through excessive passion. the clear authority and meaningful phrasing even allotment of the forty-six songs to the In this respect, Dietrich Fischer-Dieskau of a major artist. The uncredited Sieglinde two singers is just from every viewpoint. is in a more difficult predicament. Some of in Act III was Irene Jessner. Both artists are masterly Wolf interpre- his songs do call for honest -to -goodness pas- The ceaseless momentum and energy of ters. Schwarzkopf, inparticular,isinin- sion and a wider range of emotional expres- su- Artur Rodzinski's conductingisa major spired form throughout. As Ernest Newman sion, For the most part, his singing is strength here; it often makes one forget the pointed out in his remarkable essay on these perb, displaying his fine control over phras- faded sonics. The set is not a -best" of any- songs, "Wolf has deliberately passed over ing and nuance, exemplary clarity of diction, thing, but itis an interesting and valuable the more passionate type of female mental- a caressing lyric line, and an uncompromis- souvenir. G. J. ity in order to concentrate on the bitter, the ing respect for the composer's intentions. contemptuous, or the ironic type." Schwarz- There are, however, a few miscalculations. kopf has judged the emotional content of The scorn in "Hoffiirtig reid Ihr, schones RECORDING OF SPECIAL MERIT each song unerringly, and turns each into a Kind" takes on exaggerated proportions, so compactlittle drama. A good example is that the climax becomes explosive and ton- WOLF: The Italian Song Book. Elisabeth ally strained. Similarly, the beautiful "W'inn Fischer- "11.7 clef dich dean?", a brilliant sketch of Schwarzkopf (soprano); Dietrich female malice, in which the artist leaves no du mich mit den Augen streifst" is built to Dieskau (baritone); Gerald Moore (piano). doubt that the jealous rage is a manufac- an over -vehement climax that cancels out the ANGELSB '703 two discs $11.96. tured one; or "kb ease nun mein Biol.," in carefully achieved effects in the song's open- Performance: Outstanding which the mock -serious emotions of a child- ing lines.Fortunately, these instances are Recording: Excellent ish mind are caught with uncanny art. And few, and the baritone starts the first disc with Stereo Quality: Proper of course one cannot pass over the priceless a performance of "Auch kleine Dinge" the

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SONY®CIRCLE 6060 NO. 50 STEREOON READER SERVICE RECEIVER CARC 99 JULY1969 moving eloquence of N hid)is characteristic ki.,,h/iiat arias, which are sung with bold- The 'oust impressive pieces are on thesec- of his superior art throughout. ness. accuracy, and fine expressive shading. ond side: a splendid echo -styled Fantasia by This is a cherishable release, and deserves The music,incidentally,ismarvelous-if theNetherlands'mostaugustcomposer, a longer life in the catalog than that usually any Handel opera deserves to he staged, this Sweelinck, and, close behind, two grandiose allottedtoHugo Wolf collections.The isit, the absurdity of its plot notwithstand- works of the later seventeenth century-An- songs in The Italian Song Book have ex- ing. The alto aria from Alessiah is also beau- thoni can Noordt's Psalm 6, an inventive quisite piano accompaniments, and are often tifully sung, though somewhat wanting in chorale setting, and Abraham van den Kerck- rounded out with postludes of extreme sub- breadth of phrasing. But Miss Horne's de- hoven's Fantasia for an instrument with two tlety and sophistication. More than any other cision to undertake "I know that my redeem- manuals. pianist, Gerald Moore is capable of making er,- a soprano aria, was, I think, misguided. The collection has excellent variety and the piano parts essential components of the The tessitura is too high for her to manage (like the earlier volumes in this worthwhile song. Balances between voices and piano are the notes without strain, and as a result, her series) should he of great interest to con- ideal, and excellent translations by Walter phrasing loses its usual freedom and her in- noisseurs of organ Legge are provided. literature. The perfor- G. J. tonation falters. mances, on the fine Marcussen tracker organ The Bach side of the disc is less consistent- in Jaegersborg, Denmark, are on the whole WOLF: String Quartet in D Major. La ly impressive, because with the customary most commendable. Hansen reveals his usual SalleQuartet.DEUTSCIIE GRAM MOPI ION sumptuous tone we do not get enough ex- SI.PNI 139376 $5.08. skill in registration, although he tends torun pressive and emotional variety. For my taste, phrases together and inclines toward severi- Performance: Effective it all sounds a shade too cool, even mechani- tyin his rhythmic expression. The record- Recording: Excellent cal. The neat but matter-of-fact conducting ing isfirst-rate, and the jacket includes in- StereoQuality:Verygood of Henry Lewis may he partly to blame for formative notes by Joshua Rifkin. I. K. this, and I also miss a firm basslinein Along with the symphonic poem Penthcsilca HERMANN PREY: A Festive Evening. and the hallaoz Scrcitale for string orches- Beethoven: Die Himmel riihmen der tra, the String Quartet in D is pretty much Etrigen Ehre; Bitten. Bach: iVillst du dein the complete story of Hugo Wolf's purely Herz mir schenien. Handel: Xerxes: Largo instrumental output. The Quartet is a rela- (Ombra mai lu). Handel (spurious): Dank tively early work, built along superficially sei Dir. Herr. Mozart: Are rerum corpus. conventional lines. Yet for a man who felt Giordani:C.,,omioben. most comfortable and made his major con- Mendelssohn: Au! Fliigeln des Cesangef. Liszt: Ermuss tribution to the art in the small vocal forms, cisirunderbar ruin. Martini: PIaisir the quartet is imposing. In terms of length, d'amour. Bohm: Still:vie die Nacht. workmanship, and scope,itis an impres- Brahms: Iriegenlied. Hermann Prey (bari- sive. frequently eloquent, and moving work. tone);OrchestraandChorus, Furthermore, the discreetly innovative lyri- Wilhelm cal impulse, and, even more strikingly, the Schiichter cond. LONDON ® OS 26055 $5.98. subtlety and understated boldness ofhar- Performance: Homespun monic language that were to make Wolf's Recording: Good achievement in the lied\ irtually in a class Stereo Quality: Good by itself are in more than occasional evi- Here are a dozen concert favorites for light dence in the quartet. The work has power entertainment, and originality, even ifit doesn't quite sus- somewhat sentimentalized tain its length. and refurbished in modernized settings that are someimesappropriate(Stilltrigdie Since I must confess thatthe pieceis Nacht), but more often not. The whole pro- news to me, and that 1 am reviewingit grant seems like a German equivalent of without a score,I can only guess about the thekindof performance quality. The La Salle Quartet, radioconcert John Charles I would vouch, knows what it Thomas presented more than twenty years is doing and ago. --harmlessbut has given a performance of skill and rugged certainlynotserious. MARLIN \ NE The orchestrations are by Franz Josef Breuer, power.Therecordedsoundandstereo One singer in a millian quality are excellent. whose name I have encountered before on II'. F. similar ventures. I hope Herr Breuer is the -Erbatme dich... Whatever the Vienna Can- happy recipient of sizable royalty checks, be- COLLECTIONS tata Orchestra may be, it plays well, and has a cause aesthetically he is mired in a losing vety fine concertmaster in Alfred Stair. G. J. proposition (a syrupy treatment of Mozart's MARILYN HORNE: Bach and Handel beautiful Are rerun, carpus, harpsichord ar- Arias. Bach: Magnifica in D: lit Exubarit; MASTERWORKS FOR ORGAN: Vol. 7 peggios :std plucked bass in Auf F/iigeht Esuritntes.ChristmasOratorio:Schlafe -The Netherlands (17th Century). Cor- tics Gesakes-that sort of thing). mein Lithster.St. Afailhtw Passion: Er- net: Torrada dc/ibrmo. Sckronx: Echo. The enterpriseispartly harme click mein Gott. Bill du h

DEBUSSY: Feux d'artifice (excerpt). Connoisseur Society. BEETHOVEN: Wellington's Victory (Battle Symphony) (excerpt from the first movement) Westminster Records. MASSAINO: Canzona XXXV A 16 (complete) DGG Archive. CORRETTE: Concerto Comique Op. 8, No. 6, "Le Plaisir des Dames" Considered most ver- (third movement) Connoisseur Society. satileof top quality KHAN: Raga Chandranandan (excerpt) Connoisseur Society. World acclaimedcar- stereocartridges RODRIGO: Concert-Serenade for Harp and Orchestra (excerpt from tridge for profession- avaPable. At optimum als. Top -rated. Recom- tracking force of only Firstlowpricedin- the first movement) DGG. mended for manual 11/2 grams, ADC 550/E duced magnet car- MANITAS DE PLATA: Gypsy Rhumba (complete) Conn. Soc. turntables but can be performs in almost any tridge designed for MARCELLO: (arr.King): Psalm XVII "The Heavens are Telling" used in best automatic. equ prient with results automatic turntables (complete) Connoisseur Society. Induced magnet prin- matched by few car- that use elliptical sty- PRAETORIUS: Terpsichore:La Bourree XXXII(complete) DGG ciple. tridges. lus advantageously. Archive. Sugg. resale $49.50 Sugg. resale $44.95 Sugg. resale $39.50 BERG:,Wozzeck (excerpt from Act III) DGG. BARTOK: Sonata for two pianos and Percussion (excerpt from the ADC 990/E ADC 770 ADC 220 first movement) Cambridge Records. Cartridge Cartridge Cartridge BEETHOVEN: Wellington's Victory (Battle Victory) (excerpt from the last movement) Westminster. AVAILABLE IN YOUR CHOICE OF 331/2 RPM OR 45 RPM The Stereo Demonstration Record is processed and pressed on a newly developed, improved vinyl.Itis permanently anti -static, repels dust and dirt and promotes longer stylus wear. The use of this material is conducive to low surface noise and contributes to the production of full dynamics and frequency range. The record ontinuall, looks new, sounds new and wears longer. Because ofits tracking force range from Anall-purposemag- 11/2 to 4 grams, ADC netic cartridge for ex- Descriptive Booklet Enclosed Includes discussion of the 990/E is a fine choice cellentreproduction. Designed for minimum selections on the record, plus complete description of for a wide variety of Top -rated.Rugged, cost, ruggedness and FREEeach selection and the purpose behind Its demonstration. quality equipment. El- durable, highly compli- durability without sac- liptical stylus reduces ant.Incorporatesin- rifice of performance. inner groove distor- duced magnet prin- Well rated by leading ORDER YOUR STEREO DEMONSTRATION RECORD TODAY tion. ciple. publications. Sung. resale $29.50 Sugg. resale $27.50 Sugg. resale $19.50 Only $ 498 Postpaid Stereo Demonstration Record Cut out this handy buying guide when P. 0. Box 3463 Church Street Station New York, N.Y. 10008 Please send me HiFi/Stereo Review Stereo Demonstration Record Albums you're shopping for a Stereo Magnetic at $4.98 each, postpaid. My check (or money order) for $ is enclosed. Cartridge...or write for detailed specs. Check One: El 331/2 rpm 0 45 rpm (outside U.S.A. please send $7.00 per album ordered.) New York State residents please add local sales tax. AUDIO CID Print Name DYNAMICS SR -79 CORPORATION Addresc NEW MILFORD, CONNECTICUT 06776

City State lip Code NEQuality Magnetic Cartridges Home Entertainment Electronics HI Fidelity Speaker Systems PAYMENT MUST BE ENCLOSED WITH ORDER ms EN im CIRCLE NO.- 5 ON READER SERVICE CARD JULY 1969 101 ors).Falstaff :Eh! Tarerniere(Geraint Strauss: Der Rosenkaralier: Act 11 Finale set, it commemorates either the 236th anni- Evans,baritone).Puccini:La Boheme: (Michael Langdon, bass; Yvonne Minton, versary of the existence of the Royal Opera Addio, dolce sregliare(Elizabeth Vaughan mezzo-soprano).Elehira: /Wein! trehganz House asa permanent institution, or the and Maria Pellegrini, sopranos: Jean Bon- allein (AmyShuard, soprano). Wagner: 110th anniversary of its opening at its pres- homme, tenor; Delme Bryn- Jones, baritone). DarRheingold: Abendlich strahh(David ent site, or the twenty-second anniversary of Britten:A MilfummerNi,;;IE'sDream: \Xtard,bass). Covent Garden Opera and its reopening after World War II. In any Scene from ActIII (Elizabeth Robson. so- Chorus, Georg Solti, Edward Downes, Ra- case,itis an anniversary celebration made prano; Anne Howells, mezzo-soprano; Ken- faelKuhelik, Richard Bonynge, Reginald possiblethroughthecooperationofthe neth Macdonald, tenor; Delme Bryn -Jones, Goodall, andSir William Walton cond. Friends of Covent Garden, and it appears to baritone).Bill) Budd: Act I. Scene 3 LONDON OSA 1276 two discs $11.96, 0 be a proud stock -taking of the company's (Forbes Robinson,bass).Tippets.King 90152 (71',) S14.95. present resources. Georg Solti,the current Priam: Act 1, Scene 2 (RichardLewis, tenor; musical director, takes the lion's share of the John Williams, guitar). Walton:Troilus Performance: Mostly good, some outstanding conducting burdens. and Cressida: Act II. Scott, 1( MarieCol- A laudably high standardis maintained lier, soprano; Peter Pears, tenor). Beetho- Recording: Good to excellent Stereo Quality: Good throughout. Solti gets the parade off with a ven:Fidelio: Mir 1st ro wundi. lbar (Eliza- charactistically supercharged performance of bethRobson and Gwyneth Jones, sopranos; According to the information in the illus- theCarmen Prelude,afterwhich Suther- John Dobson, tenor; David Kelly, bass). trated booklet that comes with this elaborate land'sgleaminglyvocalizedb pically monochromatic Donizetticontri: ,n appears to be somewhat earthbound. Josephine Veasey's fine account of Dick's final scene is followed by theBorisCoronation Scene, in which Joseph Rouleau is revealed as a cred- For people who itable but by no means outstanding Tsar. The second side isall Mozart and Italian opera. Joan Carlyle's-Dore sono-reaches a high international standard. It is followed like classical music by an extended scene from Otellu'sfirst act, in which the-Fuoco di gioia-chorus is presented by Solti with maximum energy hut inasmallway. with less than maximum subtlety. Gobbi's Iago and Evans' Falstaff are both immensely authoritative, but neither artist appears in his best vocal form. The side ends with the quartet from Act Three ofLa Bobeme,involving younger members of the company, 1,1111om. all of them promising. Side three is all English opera. TheMid- summer Night's Dreamexcerpt offers fine ensemble singing ina piece of music that shows remarkable craftsmanship but suffers from being heard out of context.Forbes Robinson reveals outstanding power of char- acterizationastheevilClaggartinBilly Budd, thoughhis musicisunmemorable. Unfortunately, the excerpts fromKing Priam andTroilus and Cressidaleave an even less lasting impression, but Marie Collier's sing- IIISTilll11101SOLDE ing of her exceedingly difficult music is im- iIM, vprach /araihustra pressive despite occasionalstridencies. On the fourth side, devoted to German music, Gwyneth Jones dominates a fine rendering of theVidal°quartet, Langdon and Minton come surprisingly close to Viennese authenticity in the RosenJara/ier scene, and Amy Shuard confirms her growing international fame in Elektra's monologue. In the closing excerpt, however, David Ward appears to be just a dependable singer. Full texts and interesting illustrations are supplied. This is a set clearly intended for the British market. Over here it makes a perfectly enjoyable, but not really essential, contribution to our catalogs. G. J. RICHARD TAUBER: Auber: Fra Dia- volo: Ewig will ich dir gehi)ren. Verdi: Rigo/etto: Questa oquill.!; La donna e mobile. La Trariata: De' mini bollenti spi- 1.16.11 Troratore: Ab si, bca »iio; Di (India The newest pocketful from the world's pira. Aida: Duct from Act IV(with Sa- largest classical cassette catalogue. bine Kalter, mezzo-soprano).Smetana: The Bartered Bride: Es muss gelingen. Bizet: Carmen: Ich.cch'die Mutter dort(with ,:vatk. 1,1 Elisabeth Rethberg, soprano).Kienzl: Der i ';';; ' Erangelimann: Selig sind die Verfolgung

Deutsche Grammophon Cassettes L-- i leiden. Der Kutreigen: Lug' Dursel, lug'. are distributed in the USA by Polydor Inc.; In Canada by Polydor Records CanadaLtd. Puccini: Tosca: Recondita armonia; E luce- van le stelle. D'Albert: Tiefland:Wolfrer- zahlung.R.Strauss:Der Rosenharalier: CIRCLE NO. 16 ON READER SERVICE CARD 102 STEREOREVIEW rigori armato. Wolf -Ferrari: The Jewels pected from Alexander Schneider, who is, Die1'h:derma:is,Vilja from The Merry the Madonna: Madonna unter Tranen. after all, a superb chamber musician of long Widow, and other Viennese innocents. The ichard Tauber (tenor); orchestral accom- standing. Yet the familiar melodies remain Strauss pieces are subjected to so many has- animent.SERAPHIM 60086 $2.49. utterly Viennese, andloselittleoftheir tenings and siowings of tempo, such luna- charm for being stripped of the glittering tic orchestral ornamentation and wholesale Performance: Unique treatment they usually receive at the hands abridgement, that it's hard to recognize them Recording: Doted of big orchestras. The whole album, to put in their whorish new garb. Vilja opens with his is a reissue devoted to the early Tauber it mildly,is free of the slightest vulgarity. a thousand plucked strings and goes on from 1920-1932), a young, vigorous, supremely Vulgarity, on the other hand, is the whole theretoanincredible blatantblare. The anfident tenor who would attack any kind stock in trade of Mr. Muller, and visiting Explosions Polka actually explodes. But Herr f repertoire and, one way or another, would his Vienna after leaving Mr. Schnieder's is Muller is only warming up! On side twohe ame to terms with every technical or inter- like traveling from the somber formalities breaks into 1930's jazz in the middle of the retive challenge imaginable. In those days, of Town Hall to arrive at Radio City Music Radetzk4 March (allthat's missingisthe e was an artist fighting his way up, and Hall in time for the stage show. The Hide - line of Rockettes), sprinklestinsel snow- oing the full range of the tenor repertoire range spectacularities of Phase Four sound flakes all over The Skater's 11"//:.: of Wald- rom Radames to such distinctly passé,if become an absolute menace as his insane al- teufel, and ends with a Morning, Noon and ncerespectable,rolesasthe Kienzlor terations and additions are inflicted on such Night in Vienna that I wouldn't care to live V°If-Ferrari items here. But already Tauber victims as The Blue Danube, the overture to through again. Paul Kresh vas an individual, and everything he does iere exhibits his uncommon vocal personal- ty. With the exception of the Rosenkavalier cially formulated polystyrene. The entire tria, everything is sung in German, yet noth- Somebody finally designed edge of the speaker is firmly fixed on a ng sounds really unidiomatic. He is a deter- a speaker that's compatible frame. nined Radames(assisted bythe exciting What about the unusual shape of our kmneris of Sabine Kalter); he is an ardent with the human ear. speaker? Well, a grand piano isn't exactly \lanrico whose -Di quella pira'.(in B -flat) Speakers are shaped like cones, right? round. Like we said, the Natural Sound s convincingly martial; and he is downright The existing cone type speaker was Speaker operates on the same concept neroic-sounding in the Tie/land aria. In the invented by A. S. Sykes in 1919. Then it as the sounding board of a grand piano, more lyricalselections, of course, he was was refined by C. W. Rice and S. W. violin or guitar. They are shaped the way even more at home, sounding at times so Kellogg. The enclosure and bass reflex they are for a very good reason, and so absolutely right that it was as if he had ac- enclosure happened between 1920 and is the Yamaha Natural Sound Speaker. tually composed some of the music for his 1930. The exponential horn was devel- Tests show that a symmetrical design Own use and delectation. He does remark- oped about 1919. By 1930, the funda- (round, rectangular, square, triangular, able things (sudden transitions from full mentals were perfected. etc.) gives rise to degen- voice to mezzo -rote, incredible voix mixte And today, these funda- eration in the vibration effects,daring rubato while the orchestra mentals are still the same. mode at specific frequen- keeps to strict tempo) that only an artist of Recently, manufactur- cies. his virtuoso musicianship and almost exces- ers have tried to repro- In summary: The tone sive charm can, and should, get away with. duce sound which they quality of the Natural Technically, the recordings are old -sounding, believe is comfortable to Sound Speaker is uniquely but this is a disc for Tauber fans, and they the human ear - thus, the natural. The design of the couldn't care less about such things. G. J. advent of unreal booming speaker provides for a vir- bass and strident highs. tual omnidirectional effect RECORDING OF SPECIAL MERIT And, a great many people (rather than having the sound blast with a tunnel WALTZES FROM OLD VIENNA. Josef like it that way because Lanner: Die Romantiker; T)Toler Landler; they think it's high fidelity effect-common with many Dornbacher Landler. Johann Strauss, Jr.: (in a way it is), but it usu- conventional speaker sys- ally isn't NATURAL sound tems) yet, a full and dis- livicller-Bonbons; W.:tenet Blur'. Josef Strauss: Mein Leheyslauf in Lich' told Lust. the way it was originally tinct stereophonic effect is The Alexander Schneider Quintet: Alexander produced. retained. Schneider, Felix Galimir, and Paul Wolfe With full consideration The Yamaha Natural (violins); Walter Trampler (viola); Julius of the human ear and Sound Speaker brings Levine (bass).ODYSSEY ;2 16 0300 52.98. with the desire to pro- more live and psychologi- duce a speaker which cally pleasing sounds to VIENNA. Johann Strauss, Sr.; Radetzky faithfullyreproduces the human ear. March; Explosions Polka. Johann Strauss, sounds as they were orig- Listening fatigue is re- Jr.:Blue Danube11.:111z; Die Pledtrmaus inally created, Yamaha duced to a minimum, if not Overture.Lehar: 71ja;Deinistmein successfully developed the NATURAL eliminated entirely. gauzes Herz; Anon: Erzher:og Johann Jod- SOUND SPEAKER. It's not based on the The specifications: ler. Kreisler: SchiM Rosmarin. Waldteufel: NS -15 NS -10 piston motion concept of conventional Impedance - 8 ohms 8 ohms Skater's Valtz; Sieczynski: Nur cone type speakers.It's based on the Power capacity - Du .dlein. Karas: The Third Mm Theme; 30 watts 20 watts principles of acoustic musical instru- Tone control - Von Suppe: Morning, Noon and Night in ments such as the piano, guitar or violin. Conlinuouoly Variable Continuously Variable Vienna Overture. Werner Muller and his The quality of sounds produced are Speakers - orchestra. LONDON SP 4411855.98, ® Natural Sound: Natural Sound: directly correlated to the acoustical 13 x 17" 11 x 15" 74118 (71/057.95, ® 1-111856.95, CO Cone: 2" design of their sounding boards. The Cabinet - Cone: 2" 8 1118 55.95. Removable grille Removable grille sounds are called BENDING MOTIONS Straight-grainStraight-grain Performance: Sublime vs. ridiculous of sound, and they are natural sounds. American Walnut American Walnut Following the concept of acoustical Open pore. oil finish Open pore, oil finish Recording: Odyssey good, London awful Dimensions - Stereo Quality: Ditto bending motions of sound, Yamaha Height: 231'2" 26" developed the Natural Sound Speaker. Width: 16Vz" 14" How do you like your Viennese schmaltz? Depth: 7,/z" 7rr Its construction is entirely different from Weight: 22 lb 151/2 lb Straight, cold, or souped up? There couldn't that of a conical type speaker.It has a For more information mite be a greater gamut than is run by these two rigid diaphragm constructed of a spe- Audio Products Division albums. In the Odyssey reissue are old-time Strauss waltzes and Landler by Josef Lanner YAIVIAllit withallthe sentimentality removed, executed by a small chamber group with the 7733TelegraphRoad, Montebello, California kind of elegance and musicianship to he ex- Other Yamaha produf sclude pianos: skis, ::' -rcycles, guitars. CIRCLE NO. 61 ON READER SERVICE CARD

103 music critic for the New York TillieS Thirteenth in a series of from 1958 to 1962, and for the New short biographical sketches York Herald Tribune from 1963 to its of our regular staff and demise in 1966. In recent years, with contributing editors, the the exception ofafewarticles, his critical writings have appeared exclu- "men behind the magazine" sivelyin STEREO REVIEW. And that -who they are and how they brings us to his thoughts about records. got that way. In this issue, "The experience of records is a very composer -critic strong one, and it transforms the whole experience of listening to music. This is partially because the sound is com- ERIC ing from speakers, not from a visible group of musicians, and partially because the conditions of listening are so SALZMAN different-and when listeninghabits By JAMES GOODFRIEND change, the way people listen changes too. A few more of Eric's credits wait patiently to be listed. He is currently FRIG SALZMAN is the fastest walker I for a full -evening (that's what he said) Music Director of radio station WBAI, know."Actually,"hesays,"I dance work by Daniel Nagrin; TheNew York's non-commercial, educa- don't always walk fast. It depends on Nude Paper Sermon, for actor, Renais- tional, and, recently, controversial FM thetempo oftheparticularday." sance consort, chorus, and electronics, station. He is also Artistic Director for Maybe. My own experience leads me the first multimedia music -theater work the concert series called "New Image to believe that most of his days arecommissioned by arecord company of Sound," now just finishing its sec- Allegro molt°, with a tendency to ac- (Nonesuch); and Can Alan Survive?,ond successful year at Hunter College. celerate into Presto. Andantes I con- tape and electronic "environments" for a And he is artistic advisor to "The Elec- sider rare, and I have yet to see him in walk-through, mixed -media exhibition tric Ear," a series of electronic music the throes of an Adagio (espressivo or aboutpollution,conservation,and and mixed media events at the famous otherwise). Measuring the scope and ecology now at New York's American New York discothequetheElectric extent of his accomplishments againstMuseum of Natural History. Circus. the fact that he was born no more Relating what the music sounds like Eric's hook, Twentieth -Century Mu- than thirty-six years ago tends to sup- is a bit difficult, but the aesthetic basis sic: An Introduction(Prentice -Hall, port such observations on his life tem- is clear. "My own path is outside the1966), isselling extremely well, and pos. Any man who does as much as he modern -musicestablishment,andI he has another now in preparation. He does has to walk fast. have a rather independent position. Ihas taught at Princeton, Hunter, and Eric is professionally a composer, a don't believeinthe old dogmas of Queens College, and conducted master critic, a writer, a lecturer, a radio mu- modern music, which really come out classes at Bayreuth. He has given talks sic director, and a concert director and of Romanticism-such as that a certain and lectures all over the world, and producer. He has something tosay style of composition is current or con- since he has combined his lectures with about all of them, "But," he says, "I temporary and therefore that every- actual mixed -media performances, he tend to regard all my musical activities thing else is passé. We're entering a could probably make a good living off as aspects of one. I believe that music post -modern -music,or, actually, a that alone. is a social art and that all manifesta- post -modern -artage,in which these tions of it are relevant to contemporary questionsaresecondary. Technology ERIC lives, with his charming wife life and not an escape. Therefore,I makes C Major, the Aeolian mode, Lorna and two lovely daughters, in an have an interest in technology and the chromatic harmony,thetwelve-tone old house, on an old street, in an old new media as well as the old." method, aleatory music, and practical- section of New York called Brooklyn That gets us into composition. Eric ly everything else simultaneously avail- Heights. The walls of most ofthe studied composition with Otto Luening able. In the last decade, and through rooms areallbut covered with old and Vladimir Ussachevsky at Colum- records, all of these have become inte- master paintings, drawings, and prints. bia University (B.A. 1954; Phi Beta gral parts of contemporary life, andHe likes to eat, to drink wine, and to Kappa), and with Roger Sessions and this is the deeper meaning of the word entertain, and he has several thousand Milton Babbitt at Princeton (M.F.A. 'multi-media'-aconflictor dialogue friends, of whom the writer of this 1956). He also held a Fulbright Fel- of music of every kind. Speaking as a piece is one. What does he do on those lowship for two years at the Conserva- composer, my own music, for better or rare occasions when he finds himself at torio di Sta. Cecilia in Rome, taking worse, is tied up with all these things." home and at leisure? He thinks up new time out tovisitthe modern -music Eric was born in New York City in projects. "I plan to start a music thea- center at Darmstadt, Germany. He has 1933 and attended Forest Hills High tercompany-musicians,technicians, been composing since he was eleven, School. His college background we've singers, theater people-to do a great and his works have been performed in already been through, and that brings variety of musical -theater and multi- New York, Boston, Minneapolis, Buf- us to music criticism. He is, of course, media things," he says, "to create as falo,Paris, Vienna, Belgrade, Buda- one of the two recipients of the 1969 well as recreate. I want a pool or a pest, and a lot of other places. Some SangPrizeformusiccriticism,of group of people who can work in col- of hisrecent works areVerses and which more is reported elsewhere in laboration-like the sort of local cen- Cantos, a music theater for voices, in- thisissue. That alone gives him the ter I mentioned earlier. I think maybe struments, and electronics, written with right to some strong opinions on the it can be sponsored by WBAI. Where? the avant-garde poet John Ashbery; subject. But his experience in the field I don't know yet. But I'm working on The Peloponnesian War, a tape score goes back quite a few years. He was it."

104 STEREO REVIEW For technicalsound recording everything points toRevox

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Plug-in audio input/ Uniquemulti -bank Plug-in 1;0Kc/s micro -watch unit, pro- output amplifiers. Plug-in record relay. biasoscillatorob- viding orb -off, speed and viatesmultiplex spool size/tensi)n varia- interference. tions cn )ne control. New from the Wil i Studer Factory comes the indifference to fluctuations in mains sc.pply revolutionary M3cel 77 incorporating design periodicity. With a wow and fluter level below developments based or experience gained in broadcast standard requirements plus aI near the broadcast fielc with the 37 and 62 Series response from 20-20,C00 Hz a: :z ips. (±2 db) Studer machines. The 77 isa studio quality and an ultra low noise level, this new Revox now machine compac-ly presented andoffering sets the standard by which the rest MI be features unique in -his price class including total judged. Wite or call for foraher informatioo REVOX CORPORATION, 212, Mineola Avenue, Roslyn Heights, N.Y.11 :7. New York. Telephone: (51E) 484-4650.

CIRCLE NO. 64 ON READER SIERVICE CARD 105 JULY 1969 Acoustic Research AR -3a speaker systems are important professional tools to composer/arranger Don Ellis.

Don Ellis creates music that ranges from the ancient sitar toa novel four -valve quarter -tone trumpet specially made for him. His work is well exemplified by Electric Bath (Columbia 9585), which was Album of the Year (1968) in Down Beat, placed second in Playboy's annualpoll, and third in Melody Maker; the record was also nominated for a Grammy Award. Mr. Ellis' high-fidelity system in his studio consists of an AR turntable,a Bogen-Lenco B62 turntable, an AR amplifier, a JBL 600 amplifier, a Koss Pro 600A headset, Revoxand Crown tape recorders, and a pair of AR -3a speaker systems. Mr. Ellis advises AR that the turntables, amplifiers, and tape recordersare all capable of highest -quality reproduction, so that making comparisons of different tapes and recordscan be done dependably with any of them. However, he finds that only AR -3a speaker systemsare accurate enough to use in his work.

Acoustic Research Inc. 24 Thorndike Street, Cambridge, Massachusetts 0214-, Overseas Inquiries:Write tC JAR loternational at aboveaddress CIRCLE NO. 2 ON READER SERVICE CARD 106 STEREO REVIEW ENTERTAINMENTPOPS JAZZ FILMS TH EATER FOLK SPOKENWORD

Reviced by CL1VE BARNLS DON HECKMAN PAUL KRE'il REX REED PETER REILLY

prototypeforimpersonationsby RECORDING OF SPECIAL MERIT 'there's also a comprehensible dubbing (at Carol last)of the monolog Mrs. Cohen atthe Burnett. Here, in that quavering, suicidal, FANNY BRICE/HELEN MORGAN. Fan- Beach (I remember as a child straining in alcoholic little voice that always holds this ny Brice (comedy and vocals); instrumental front of the horn on my Aunt Jenny's wind- listener just a hair's breadth away from hi- accompaniment. I'd Rather Be Blue over You; up Victrola nderstanding something like larity, she offers her famed renditions of Bill My Man; Second Hand Rose; Becky Jr Back every fifth word and wondering why I was and Can't Help Lorin' Dat Man for which in the Ballet; Cooking Breakfast for the One laughing). It must be the progenitor of every P. G. Wodehouse supplied the lyrics and I Lore; Mrs. Cohen at the Beach; The Song Jewish -mother portrait to which we've since which provedtobethebiggesthitsin of the Sewing Machine. Helen Morgan (vo- been subjected (are you listening, Portnoy?), Jerome Kern's score for Show Boat. cals) ;instrumentalaccompaniment.Bill; except that Fanny Brice's Mrs. Cohen has a Other old favorites in Miss Morgan's act Can't Help Lot -in'Dat Man; Don't Ever gentleness about her that later and more cor- are Don't Ever Leaz e Me and More Than Lear, Me: More Than You Know; Frankie rosive satires have simply missed. There are YOu Knott', followed by her plaintive inter- and Johnny; What Vould I Do for That also a couple of fillers: Cooking Breakfast pretation of Johnny Green's Body and Soul, Man; Give Me a Heart to Sing To; Body and for the One I Love, an old soundtrack ex - at the sound of which strong men once were Soul. RCA C) LPV 561 $4.98. known to break down sobbing over their bathtub gin.There'salsoanattenuated Performance: Smiles and sighs of yesterday Frankie and Johnny from the 1934 motion Recording: Remarkable restoration job picture of that name,allcleaned up and Exhuming the past is a precarious business, transformed somehow from a salty ballad especially where popular entertainmentis into another sad, sobby torch song. I waited concerned.The much -toutedmiraclesof in vain, though, for Mean to Me, that peren- modern technology can restore the quality of nial favorite of the disciples of Herr L. Von a voice,filter out record scratch with in- Sacher Moasoch. P. K. genious devices, andset out scholarly or nostalgic album notes in neat lines of type. THE FIRST EDITION: The First Edition Restoring the original ambiance of an era, '69. The First Edition (vocals and instru- however, or the frame of reference in which mentals). ButYouKnow I Lore You; I Just a performer first won renown, isstilla bit Tranna Give My Lore to You; It's Gonna Be beyond us. Our time machines-the phono- Better; The Last Fir Threads of Love; All graph and the late, late show- -are only part- that I Am; and five others. REPRISE RS 6328 ly effective. The real miracle here, therefore, $4,98, © 6328 85.95. is not a technical one (although R(:A's engi- Performance: Another good group neers have done a stunning job of that), but Recording: Okay the fact that these two performers, one main- Stereo Quality: Good ly merry and the other melancholy, can still reach us so effectively and shake us up when Alright, already, so LauraNyroiseveryone's allthe landmarks of their time have van- idol. Over and over we now hear those thin ished or been altered beyond recognition. Fanny Brice (top), with dancer Sally Band:, stringy imitative voices, jumping their tiny Fanny Brice (she was horn the daughter in a photo spoof of the fan dance (1934) octaves (I know an octave is an octave, but of a saloon -keeper in Brooklyn in 1892 un- unless it's Nyro doing the jumping, an order the name of Fannie Boraih) became one cerpt that should have been left lying inits dinary octave just isn't as big). If imitation of Broadway's most celebrated comic figures Hollywood sault, and I'd Rather Be Blue is the sincerest form of flattery, this group and was the model on which Barbra Streis- orerYou, which MissBriceco-authored has a lot of sincerity. They jump in and out and based her portrait in Funny Girl. Yet with Billy Rose when she was married to of other people's bags like red ants at a pic- Fanny Brice began her career as a torch - him in the late Twenties (her first-hand Rose nic. So if you don't care about originality singer, and could break hearts any time with period, asit were). The recital concludes and enjoy listening to ten sets of juvenile My Man as surely as she could lighten them triumphantly, though, with The Song of the lyrics-well, enjoy, enjoy. Oh yes, there's a with Becky Is Back in the Ballet. She can be Sewing Machine, a heartbreaker about an drummer for the First Edition who seems to heard singing both on this disc, in fact, and immigrant girl fading fast in a garment -in- be too big for his perambulator (a photo on if you think you know all that can be done dustry factory at the turn of the century. No the jacket shows him turned over on the with Second Hand Rose, just wait until you Baby Snooks inthis collection, and that's sidewalk). Did the First Edition think of this discover-or rediscover-the original:the more than all right with me. allbythemselves or didthey seeiton Rose you've been told oflatelyisstrictly Miss Morgan, who supplies the moodier -Laugh-In"? R. R. third -hand in comparison. of the two sides here, was a Chicago high school dropout with unrealized ambitions GENTLE SOUL:GentleSoul.Gentle (including the hope of a career in opera) Soul (vocals); instrumental accompaniment. Explanation of symbols: until the night in 1925 when she climbed on Oretiure; Marcus; Song for Eolia; YOung ®= reel-to-reel tape top of a piano in a New York nightclub and Man Blue; Renaissance; See My Lore; and ®= four -track cartridge established her image for what may turn out five others. EPIC BN 26371 $4.98. to he eternity. Her appeal mat' not be as = eight -track cartridge Performance: Too sweet, too soft sure-fire today as that of the more wholesome ©= cassette Recording: Very good Miss Brice, but she once turned on an entire Monophonic recordings are indicated by Stereo Quality: Very good the symbol @; all others are stereo generation and is still a figure of nost4ic interest inthis harsher age,if only as the (Continued on page 108)

JULY1969 107 It's probably a measure of the times that have heard singers that sound alike before I/ - music with the sweet felicity of that pro- but seldom anything like this: after the firs duced by Gentle Soul just doesn't sustain few bars of his lead-off number, Love Ca) one's interest. Yes, it's well done; yes,it's Fly, were bellowed, I checked the labeltt LISTENING pleasant, sweet, and vaguely reminiscent of see whether or not a Tom Jones recordin,t The Euphonics Miniconic® phono a hundred distant folk themes and melodies. had been substituted by mistake. No, it wa: system represents the ultimate in But is that enough? I don't think so. If I'm Humperdinck all right-or all wrong, de modern high-fidelity technology. going to listen to folk music these days in pending on how much you like Tom Jones its commercialized form,Iprefer to hear And he shares with Jones a plastic musica the modified, but enormously more power- ear, a supreme indifference to the meanini_ ful, transformations provided by the likes of lyrics, and sonics that make him seem tc of Bob Dylan, Tim Hardin, and Miss Joni be singing inside a steel drum. Both also Mitchell. D. H. overdramatize even the most benign lyric, so that something like Les Bicycleues de Bel- RECORDING OF SPECIAL MERIT size, heard here with gibbering chorus and oversized orchestra, sounds asifDelilah JOEL GREY: Black Sheep Boy. Joel Grey might be back in town with her four broth- (vocals) ; orchestra, Jimmy Wisner, George ers,andall Tipton, Joe Renzetti arr. and cond. If I lrere of them bent on revenge. I might add that both Jones and Humperdinck a Carpenter; 1941 ;Scarborough Fair/Can- TOTAL CARTRIDGE RESPONSE ticle; Both Sides Now; Lalena; She's Leav- are tremendous commercial successes. Won- DC to 30 KHz. Acclaimed by Recording and ders never cease. Broadcast Engineers. ing Home; and five others. COLUMBIA CS P. R. SEMICONDUCTOR ELEMENT 9794$4.98. 10,000 times the energy output of magnetic cartridges. PS -15 adapter, supplied to match Performance: Generous and all amplifier inputs. giving LOWEST EFFECTIVE TIP MASS AND Recording: Tasteful COMPLIANCE StereoQuality: Fine Unequalled tracking ability at high and low frequencies. Joel Grey is a very generous, compassionate, The amazing Euphonics Miniconicis and talented young man. His gifts have been truly a unique and rewarding auditory obvious in many theatrical efforts, especially experience. in Cabaret and George M!, and certainly in At better dealers everywhere, or write for name of nearest Euphonics repre- his previous recordings (whichIloved). sentative. He's made his own bighits. On "Black Sheep Boy," he proves his generosity as an artist by how much he gives to other peo- pcyuaRays ple'ssongs. He can hardly hide hisen- DEPT. 51 thusiasm for the talents of other contem- 'uphonics porary artists.I suspect Joel is busy right

8782 SW 131st ST. MIAMI, FLA. 33156 now preparing his next album, to be filled CIRCLE NO. 11 ON READER SERVICE CARD with all the selections he didn't have room for on this one. And that will be welcome, too. "Black Sheep Boy" is a veritable horn of plenty of great modern hits and a few other truly beautiful songs that may never make it to the top, but which musicians cherish. Joel's approach is compassionate-his soft, 0/t.e0Feaate,4-a,& understated, simple singing is that of a min- JOEL GREY and that is all we make! strel whose lifeisin the lyrics as well as A gentle minstrel sings other people's hits VISIT OUR SHOWROOMS TO SEE THESE EXCLUSIVE the music. "Black Sheep Boy" brings togeth- DESIGNS PLUS MANY OTHERS er a few of the real poets of our abundant SHAKE KEANE: Dig It! Shake Keane "now" music:Mr. Tim Hardin, Messrs. (flugelhorn); chorus and orchestra. Bend TOUJAY Lennon and McCartney, Messrs. Simon and Me, Shape Me; By the Time I Get to Phoe- TOWERS EA -3 Garfunkel, Miss Joni Mitchell, Mr. Nilsson, nex; Green Onions; Soul Serenade; Sunny; A collection of exciting and Mr. Donovan Leitch. verticalstylesinall and seven others. LONDON SP 4 41 1 5 $4.98, periods. Traditional Joel Grey has done the world of recorded ®74115 $6.95, © 84415$5.95. Towers are available in music an enormous favor by putting under many different decora- Performance: Shook, rattled, and winded tor finishes and also one cover all this beauty, truth, and humor. es kits. In the words of Miss Jean Brodie, here is Recording: Okay Stereo Quality: It's there, "the creme de la creme." R. R. I guess Isee no reason why this record was made. Is ENGELBERT HUMPERDINCK: Engel- there an underground cult of flugelhorn wor- bert. Engelbert Humperdinck (vocals); or- shipers who want to see this instrument com- chestra. Love Can Fly; Let Me into Your promisedasasubstitutefora Chubby Life; Marry Me; To Get to You; True; A Checker vocal? As an instrument, it has had Good Thing Going; and six others. PARROT enough trouble just trying to live down its PAS 71026$4.98, ® 79026 (33/4) $5.95, SOUND -X -PANDER whimsical name. But at least that was nice, The most advanced concept in audio furniture. ® 79426 $5.95, ® 79026 $6.95, 79626 clean fun. Here, Shake Keane torments the A console that actually increases your listening $5.95. pleasure by: Aiming, Converging and Expanding sweet thing into screams, burps, and gasps the sound direction while isolating the speakers. Performance Will the real Tom Jones that are enough to cast the poor flugelhorn as Pauline in a remake of the old Perils and Designed by hem Joseph. F.I.P.D stand up? w Recording: Fair put Mr. Keane in the role of the mustachi- 611111.1P4:0%61:1MV:44Ev si9r-s Stereo Quality: Good oed villain. Unhand that lady, Keane! There isn't much left to discuss. The songs CUSTOM DESIGNS & CONTRACT WORK Engelbert Humperdinck and Torn Jones Showroom Visits through your [Haler or Decorator. are standard Shake items harking back to Hours Tuts. tnru Sat 10.S pm have several things in common-recording thosealready -mentionedChubby Checker NEW YORK 146 E. 53rd St., New York, N.Y. 10022 and music -publishing companies of which clays when the organ was king of the twist LOS ANGELES they are part-owners, a large audience that palaces and the dancing girls wore Day-Glo 144 N. Robertson Blvd.. Los Angeles, Calif. for lull tone Irteratura. color chart a. Dattlar is mostly female and mostly over thirty- scantiesontheirinterminablyquivering irstrng sand 2511 to N.Y. Whoa only. and, judging by this new release, they must buns. Modern blues songs like Goin' Out of have about the same vocal -cord structure. I My Head and Honey don't benefit by having 108 STEREO REVIEW flugelhorn rather than a good vocalist. I guess the only thing more alert to sounds bind all the tortured blowing is a corny around him than a pop record producer is an orus oohing and aahing over what's left of underfed Doberman pinscher. For some time .?.se numbers. When Shake Keane blows, now, at least some as time is reckoned in the liner notesclaim,"itenvelops your recording industry, it has been obvious that sole being in velvet." But itis the tacky country-and-western music is having a big eproofvelvetofcountlessPeppermint resurgence, bringing it into the mainstream zunges, now peeling off the walls of places of American pop music. Paul Masse, in this sere nobody goes anymore. R. R. album, has tried an uneasy marriage of c -&-w to psychedelic lyrics. Neither comes offvery EONDA: Woman in the Sun. Leonda well. Not the most galvanizing of perform. rocals and guitar) ; with various other mu- ers, Mr. Masse often sounds merely odd :ians. Mist in the Sly; Somebody's Gonna when he mixes his guitar and his down- rk Me Who I Vas; II I Lived in My home voice in such lyrics as "Chocolate men, randmother's House; Blue Diamond in a silverwings/ marshmallowhouses,and 'atinum Selling ; Mother in Love; and five golden things/ kings and queens, magic hers. EPIC BN 26383 54.79. songs/allare waiting,so come along." Masse has written all the material in the Performance: Pleasant, but unmemorable album, and some of the songs are fairly good Recording: Very good -but most are not. Butterfly Lake, Foret,r, Stereo Quality: Very good and Suzanne struck me as the best of the lot, eonda's previous history is a mystery to me. probably because in essence they are straight. he is a mildly pleasant singer with a mixed on ballads without the psychedelic stalag- 1g of mannerisms that are reminiscent of mites. Suzanne, who inspired Suzanne, has ve or six other female balladeers who come provided the liner notes. It sounds like love, mind; her guitar playing, presumably, is all right. F. R. lequate. Seven Leonda originals and two adaptations" are included here-a consid- HELEN MORGAN (see Fanny Brice) rable number for a first outing. Ironically, owever, the one tune not written by Leon- NICK NOBLE: I'm Gonna Make You Love a, IFAl/ I Lived .. ., is the most attractive Me. Nick Noble (vocals) ;orchestra, Pete n the album. With the number of new re - Dino, Chuck Sagle, Jimmy Wisner arr. and eases that pour out of record -company pop cond. I'm Gonna Make You Love Me; Lonely livisions every day, it's pretty difficult to be- as I Leave Ybu; The Look of Love; I'm So rme excited over anything less than spar - Busy Being Broken Hearted; To irait for :lingoriginality.Leonda iscompetent Love; and five others. COLUMBIA CS 9810 the alough, and her material has its moments; $4.98. znfortunately, that's not enough. D. H. Performance: Swell fella THE Recording: Poor Nick is swamped iORACIO MALVICINO: The Brazilian JENSEN Touch of Malvicino. Orchestra, Horacio Stereo Quality: Excellent technically Only aEout the TF-25 \falvicinoarr. and cond. Jazz 'n' Samba; Such a nicefella, Nick-so kind, so or- size of a bread box, 2uiet Nights of Quiet Stars; Goodbye Sad- dinary, so good-hearted. I mean you can just but the new Jensen TF-25 gives ness; One Note Samba; Sal y pimienta; and hear how good-hearted Nick is. He must be depth and excitement to tie six others. DECCA DL 75083 $4.98. or he'd have spoken up loud and clear and most intimate sound in a medium- Performance: Too long at the samba had the orchestra brought down a few deci- priced 2 -speaker, 2 -way Recording: Okay bels. But not our Nick, not our long-suffer- loudspeaker system. Dura-syn Stereo Quality: Good ing Nick. He just stands there and sweetly walnut finish. $89.50. tries to be heard; over, above, and around all If watered-down Jobim is to your taste, then those arrangements. Nick is well-known to Hirsch -Houck independent test Malvicino is your cup of Tia Maria. Per- the "in -crowds" at Playboy Clubs all over laboratories puts it this way: "The sonally,I'llpass.Antonio Carlos Jobim the country. Maybe he's been romping among Jensen. TF-25 has a balanced, doesn't need me or anyone else to tell you the bunnies so long he has forgotten what it uncolored sound which can be of his particular genius as a composer and/ feels like to be areal wolf and bare his or performingartist.Anditfollows he fangs once in a while. But then I have the listened to for hours without fatigue. We can only agree with doesn't need Malvicino either. feeling Nick Noble always playsitsafe. But Malvicino has presented us with this Why else would every song he sings be Jensen's statements and claims."* album, and Jobim is too prominent among someone else's big hit? R. R. It's the kind of speaker you'd the composers to be ignored. When I get a Jobim number, I start humming a lot and expect from the company which THE SACRED MUSHROOM. The Sacred has pioneered almost every major longing for a vocal by Luiz Henrique or Mushroom (vocals and instrumentals).I Francis Albert Sinatra. Only when there is Don't Like You: You Won't Be Sorry; Cata- advance in speaker technology Jobim song canIrespond at all to this tonic Lover; All Good Things Must Hare since Deter Jensen's invention of album. Elsewhere itis hard to tell the dif- an End; I'm Not Like Everybody are; and the loudspeaker. ference between the selections. Most of the three others. PARALLAX P4001$4.98. album is one long samba, and as they say in *For the complete report and the song, it's a One Note Samba. The ques- Performance: Anonymous rock Jensen's new catalog, write: tion is, just how badly do you need to samba, Recording: Good Jensen Manufacturing Division a dance once described by a Texas friend of StereoQuality: Good The Muter Company mine as "people scooping each other up?" Two brothers named Larry and Danny Gos- 5655 West 73rd Street, You know, it's bad for your back. R. R. horn are the whole show here, singing fine Chicago, Illinois 60638 solos and mellow harmony. Larry offers some PAUL MASSE: Butterfly Lake. Paul Masse driving guitar, as well. Unfortunately, that's (vocalsandguitar);orchestra.Butterfly about as far asit goes. Sacred Mushroom Lake; Ms Gone; Something Bad; Dream is certainly competent enough, but one has Jensen Along; Whiskey; Suzanne; and five others. tosearch toofar and toolungfor the LIBERTY LST7600$4.79. phrases that might distinguish it from the Seethe man with D. H. the button-your Performance: California c -&-w plethora of faceless rock groups. Jensen dealer-today. Recording: Good Stereo Quorty: Good (Confinued on page 110) CIRCLE NO. 33 ON READER SERVICE CARD .1L!LY1969 IfI) LEONARD SCHAEFFER:A Boy and I Dog. Leonard Schaeffer (vocals and inst mentals).Dreamin'; Someone inMil State Fair; The Artist; The Meeting; Lod, LOW PRICES spear; and six others. WARNER BROTH' Stereo Corporation is one of America's largest wholesale franchised dis- WS 1756 $4.98. tributors. All merchandise shipped same day from our warehouse, fully insured in factory sealed cartons. Our one aim is your complete satis- Performance: Some sort of phenomenon faction, - merchandise -wise, price -wise! From HI-FI components to com- Recording: Good plete stereo systems, if it's' nationally advertised, We have it! Discounts Stereo Quality: Clever of course! Right now, write now ...for your special quote. Savings are bigger than ever in honor of our recent expansion. Excuse me. I want you to come over here a minute and meet the Schaeffers. This is N

N Schaeffer, the pianist. He told his son Let. ard, -Music's a good profession, Len.- TI CORPORATION te is Mrs. Schaeffer, Leonard's mother, the ch OF AMERICA dren's-story writer, and this is her father, t 2122 Utica Ave., Bklyn., N.Y. 11234 (212) 338.8555 cantor from Russia, he should live and STEREO well, who said to his grandson, "Sing, Leo CIRCLE NO. 56 ON READER SERVICE CARD ard, for itis our family's heritage to plea ears." This is Grandpa Schaeffer, who tour, ABOUT YOUR SUBSCRIPTION the Orpheum Circuit when he was youn YOUf subscriptionto STEREO REVIEW is start sending you twocopiesof STEREO This is David, Leonard's older brother, tl maintained on one of the world's most mod- REVIEW each month. Other examples of com- writer-at least, he wrote the liner notes fl ern, efficient computer systems, and if you're binations of names that would confuse the Leonard's album. And this is Leonard. He like 99% of our subscribers, you'll never computer would include: John Henry Smith eighteen. When he was five he wrote his fir have any reason to complain about your sub- and Henry Smith; and Mrs. Joseph Jones and song which began"Ahorse isbig, that scription service. Mary Jones. Minor differences in addresses true, indeed." Now he has his own group - can also lead to difficulties. For example, to We have found that when complaints do not to mention his own record-and his sty the computer, 100 Second St. is not the same arise, the majority of them occur because hasn't changed much. Leonard sings gent as 100 2nd St. of homely matters: the pleasures of drean people have written their names or addresses So, please, when you write us about your differently at different times. For example, ing, the importance of smiling "on the ou subscription, be sure to enclose the mailing side," the vexation of waiting for a phon if your subscription were listed under "Wil- label from the cover of the magazine-or else call that doesn't come, the excitement of liam Jones, Cedar Lane, Middletown, Ari- copy your name and address exactly as they state fair. The words are always a little crazy zona," and you were to renew it as "Bill appear on the mailing label. This will greatly and Leonard's quavery voice soundslik Jones, Cedar Lane,Middletown, Arizona," reduce any chance of error, and we will be Menasha Skulnick's might if he was ever le our computer would think that two separate able to service your request much more loose on country music. But the effect is no subscriptions were involved, andit would quickly. unpleasant, especially the instrumental back grounds which comment with some wit or the action, such as itis. Never mind. Leon. COMMUNICATIONS HANDBOOK ard is destined for big things. P. K COMMUNICATIONS HANDBOOK 1969 148 fact packed pages for the CB, SWL or HAM. Equipment 1969 #86 CARL SMITH:Faded Love and Winter buyer'sguide-photos-tables-charts-getting a license -everything to make this the world's most complete guide 1968 =53 Roses. Carl Smith(vocals) ;orchestra. 1 to communications. 1967 --47 Put the Blue in Her Eyes; It's Been So Long ELECTRONICS INSTALLATION & SERVICING HANDBOOK Darlin'; MIITS Lore; I'm a Lonesome Fugi- tive; She'.r Looking Good; and six others. For the serviceman who is also a businessman-the hobbyist ELECTRONICS who is also a perfectionist! Covers all 8 areas of consumer COLUMBIA CS 9786 $1.98, ® 1810632 $6.98. HANDBOOK electronics servicing-all the tricksof the trade-in one 1969 #83 tom. complete, up -to date guide. This is the industry's "how-to" 1968 #58 Performance: Assured book for installing and servicing consumer electronics equip- 1967 #43 Recording: Good ment. Stereo Quality: Good ELECTRONIC EXPERIMENTER'S HANDBOOK Carl Smith is the Cary Grant of country-and- 148 pages of the most fascinating and chal- 1969 WinterEdition =85 1.--f..k.ELECTRONIC lenging construction projects western music. In personal appearances he for the 1968 Spring Edition ±-80 EXPERIMENTER'S electronicshobbyists.Allwithcomplete is suave and witty, often acting as emcee to DBOOK schematics,illustrations,partslist,and 1968 Winter Edition =50 easy -to -followinstructionsthatguarantee 1966 Fall Edition . =39 introduce the other acts. His performing at- you perfect finished products. 1966 Spring Edition =36 tire is noticeably well tailored, and his hair, 1969 Spring Edition -#88 1965 Fall Edition 9 grown grey, has been allowed to stay that STEREO/HI-Fl DIRECTORY way. This is quite a relief from the many Giant 180 page buyer's guide lising more than 1,600 indi- popular country-and-western singers who get vidual Stereo/Hi-Fi components by 176 manufacturers. Nine 1969 themselves up in outfits that look as if they individual sections complete with specs,photos, prices- the works! 1968... #56 had been assembled by Trigger's personal tailor (who also owns a sequin factory), and TAPE RECORDER ANNUAL whose hair is often dyed that peculiar metal- Over130 pages covering every aspect of tape recording. lic mahogany-when they have hair to dye. Complete buyers guideto the brands and models on the When they do not,they surmounttheir market. Expert tips on equipment-making better tapes- 1969...... #81 skulls with wigs that look either like spa- editing-copying-everything you want and need to know 1968...... #59 about tape recording. ghetti strands sewn to their scalp or widow's- peaks jobs that seem to be painted on. There Ziff -Davis Service Division-Dept. W 595 Broadway, N.Y., N.Y. 10012 isalsosomething verycarefullytailored I am enclosing $ for the annuals circled below. My remittance includes about Smith's performances. I suppose they an additional 250 per copy for shippingandhandling (Outside U.S.A. all magazines arec-&-w-oriented-thesongsthemselves are $2.00 per copy, postpaid.) most certainly are-but thereisa certain $1.25 each 939 43 47505356 3681 tongue-in-cheek approach in his reading of 58 59 82 84 8588 $1.35 each 8386 PRINT NAME lyrics that is very alien to this style. For in- ADDRESS stance, when he sings The ParWs Over, one senses that possibly he might be remember- CITY ing not the party's bitter rue but the glasses STATE ZIP of brew. Personally,Irather like his ap- PAYMENT MUST BE ENCLOSED WITH ORDER proach, and since he has a passably good voice 110 STEREO REVIEW id excellent projection, I found this an en- Randy California.Botharemembersof yable album-very smooth. P. 1?. Spirit. Though the Spirit seems willing, the materialis sneak. The songs that Ferguson 'ANKY AND OUR GANG: Anything and California have written seem torely m Choose. Spanky and Our Gang (vocals more on the good orchestrations and per- id instrumentals). Yesterday's Rain; flung formances they receive here than on any in- 'mg Blues; Without Rhyme or Reason; trinsic merit. But aside from the songs them- fc (I'd Flat Blues; Leopard Skin Phones; and selves --which run what is by nosy a pretty ght others. MERCURY SR 61183 $4.98,C) familiar gamut-this is a superior album in 1183 (33/4) $5.95. almost every respect. Spiritis an excellent group indeed, each of its five members being Performance: Cheerful and competent a strong performer in his own right. The Recording: Good album is beautifully produced, and the or- NOW Stereo Quality: Excellent chestrations are first-rate. This is one group

1 . highly professional and musical group, whose future,think, might better lie with panky andOurGang are out to cover all the recording of works by other composers, se bases on this album. In songs ranging at least for the time being. It seems a shame rum the old time blues of Mecca Flat Blues to waste so much performing skill and mu- the mild psychedelia of their hit Al/jibing sical imagination on material that is still so -au Choose and to the more or less straight - formless. P. R. at commerciality of Without Rhjme or Rea - on, they display a realversatility. Every - THREE DOG NIGHT: Three Dog Night. ThreeDog Night(vocalsandinstru- FREE' mentals). One; //catin Is in )fur Alind; It's for 1,11; LitAleGo; Chest Feuer; and five others. DuNiiii.L DS500-18 5-1.98, ® 50-18 (33/4)S5.95, ®45048 $5.95, ® STEREO 850-18 $6.95, ©55048 $5.95. Performance: Rock standards' Recording: Very good INFORMATION Stereo Quality: Very good Three Dog Night is another one of the in- FM Station Directory terpretive rock -blues groups-those that spe- cialize in material not composed by members The directory lists 1571 FM sta- of the ensemble_ It features three non-play- tions in the United States and ing singers whose voices are well -matched to the swooping, in -and -out vocal counter- Canada. All the stations broad- point they employ. The tunes are familiar, casting in stereo are listed. but these renditions rarely approach the excellence of the original versions. Among the better tracks are Neil Young's The Loner Test Reports (Young is a member of the Buffalo Spring- field), Nilsson s One, Tim Hardin's Don't Test reports full of facts. The test Make Promisef, and,surprisingly,an old standardrecentlyadapted as a rhythm-and- reports were made by independ- blues specialty, Try a Lade7end,,w5,. ent laboratories. Tests cover tun- Smut' Oh, yes. -Three Dog Night.' is a phrase Performers of skill and imagination referringtoapracticeofthe Australian ers, preamps, power amp/pre- aborigines. Since their technology does not amps. Read the facts from test thing is extremely well performed, with no yet provide textiles, they depend upon the raggededges, but, unfortunately, not very close companionship of dogs for warmth on experts. much realexcitementeither.Considering cold nights. A one dog night is moderately how many groups possess nothing but the cool, a two dog night is chilly, and a three excitement that comes from a kind of raw clognightisabsolutelyftigid. Atleast Big 36 -Page Catalog s itality, the quiet certainty of Spanky and that's what Dunhill says. D. H. Our Gang, who seem to know exactly what You get a 36 page catalog.It they are doing, comes as a refreshing change. For a group as intrinsically pop -oriented as THE TYNIES: People. The Tymes (vocals tells you about tuners, power and instrumentals). People; Look of Lori; theyreallyare,their album cover hereis amplifiers, preamplifiers, pre- something of a trial. On one side they are Alfie/For Once in My Life; Wichita Line- alllooking rather glum and on the other man; Make Someone Happy; and six others. amp/power amplifier combina- 9778 S-1.98. theyareall laughing it up. The record itself COLUMBIA CS tion and tuner preamps. has a yellow labelon oneside and a red one Performance: Old smoothies on the other. What allthis means escapes Recording: Good me, and I find it pretentious. P. R. Stereo Quality: Fine ALL FREE SPIRIT: The Family that Plays Together. If you're a chart watcher (and I don't mean Spirit (vocals and instrumentals). I Got a a medical or astrological chart, but good old Line,,n).)u;It Shall Be; Poor Richard; Cash Box), you know that The Tymes' Silky Sam; Dalin' If; She Smiled; and five song People has had a place way up there PLEASErintash SENID ME YOUR CATALOG others. ODEZI -1401-i $-1.98, ZQ 1123 for ages. Obviously, The Tymes are close McIntosh Laboratory, Inc. (7! ) $6.98, ® Zt-1 44014 $5.95, ® Z18 chart watchers and just love to snatch those 7 Chambers St. Binghamton, N. Y. 13903 I lot$6.95. big hits created by other artists and then work them over intheir ownsometimes NAME Performance: Good dreary but usually better than passable ar- Recording: Excellent rangements. What comes out are alot of STREET Stereo Quality: Excellent second-hand roses, neatly tied in a nosegay CITY \lost of the songs here are written by Jay of only yesterday's memories, and smelling Ferguson..1 he onesthatarenotare by (Continued on page 113) STATE ZIP______CIRCLE NO. 38 ON READER SERVICE CARD JULY1969 111 more tolerable to the young white audience. Presley was the man. His arrival was hardly viewed by all as a step forward in the salvation of popular music. An older generation, steeped in the rigidity of the Crosby/Como performing style, soon realized-correctly--that Pres- ley's twisting, writhing body was an expression of emotions that it had carefully and deeply buried. And the exposure of those emotions was too much for some; when he appeared on network television, the cameramen were strictly admonished to direct their lenses only at the upper half of Presley'svibrating body. (One wonders how they might have dealt with, say, Chuck Berry.)His songs, dealing openly with emotions generally revealed only in the back seats of cars at drive-in movies, were offensive to this older generation, but they spoke directly and acutely to the young- to those who remembered World War II only as a distant image in childhood and who were ready now to loosen the shackles of the emotionally restrictive cultural environment which surrounded them. Presley signalled the beginning of the Drawing by Richter; (g) 1067 The New Yorker Magazine. Inc. breakout. Yes, there had been others be- "And now it's time fora stroll down Memory Lane. Here's fore him-Bill Haley, for one, had already Elvis Presley and 'Blue Suede Shoes.'" produced severalrock-and-rollhits.But Presley put it all together. He had an electrifying personal presence; his distillation of rhythm-and-blues and country-and-west- THE PERSISTENCE OF ELVIS ern rarely went too far in one direction or the other; perhaps most important, he had By DON HECKMAN the benefit of management and promotion thatwasthoroughlycognizantofhis unique qualities.

ITS hard to believe that nearly fifteen man at the right time; in effect, he was the NBC -TV's Presley special of last winter years have passed since the placid sur- highly physical embodiment of an idea provided a fine opportunity to reexamine face of popular music was roiled to a froth whose time had come. this remarkable performer. Unfortunately, byaswivel -hipped,pompadour -topped Consider, for example, the state of popu- the sound track leaves much to be desired, Memphis singer -guitarist named Elvis Pres- lar music at the time. Consider that some in both quality and presentation. Presley's ley. Those fifteen years, undoubtedly, have of the more prominent hits were The Bal- light-hearted interchanges with his musical dimmed our memory of the upheavals at- lad of Davy Crockett, The Little White associates, his powerful visual image, and, tendant upon Presley's arrival, for it wasn't Cloud that Cried, Love and Marriage, and more subtly, his natural machismo have not just the music industry that felt the impact. -can you believe it?-Doggie in the Win- been adequately translated onto the record. Arguments about the relative degree of im- dow. There are those, of course, who would The songs, virtually all of which will be moral behavior that would be generated by say that a generation that had allowed itself familiar to the long-time Presley fan, are a each bump ofPresley's gyrating pelvis the luxury of silence during the various careful mixture of best-sellers like Hound raged acrossthe land-from newspaper activities of Joe McCarthy was simply get- Dog, Heartbreak Hotel, Jailhouse Rock, editorial to church pulpit. ting the popular music it deserved-music and Love Me Tender, less familiar songs, Most observers expected Presley's appeal that was melodically banal, rhythmically and a few new pieces. Side two includes the to fade rapidly. After all, meteoric careers turgid, and emotionally asexual. And in obligatory "sacred" songs. In the rare mo- in the entertainment arts were not exactly one sense,itsurely was true that such ments when the heavy arrangements and unprecedented, and more than one popular bland, pablum-like music was a perfect re- the tinny television sound do not intrude, singer had arrived with an explosiveness flectionofthe sentimentsthatbrought one can experience some sense of Presley's comparable to Presley's, only to fade like Eisenhower to the presidency;it was a special performing mastery. But more often the trailing vapor of a comet. music that was a public extension of the than not one simply recalls him, much better Obviously, Presley hasn't faded. In the private desire for a simple, understandable the originals are. intervening years he has made more than world. Seething beneath the surface of our The same is true, in a slightly different twenty-five movies, has produced forty-five society, however, was a black revolution sense, of the Camden recording, a mish- records that have sold atleasta million that was slowly beginning to find its voice. mash of old and new. Old Presleyites will copies each, and has run up a single -record The music of that revolution-although no be bored by these tracks; the new listener sales total of more than 83,000,000. No, he one yet realized it-was the pulsating, vis- will simply wonder what all the fuss was was not exactly a flash in the pan. The ceral sound of rhythm-and-blues and the about. MGM publicityoffice,infact,witha soul -reaching cry of gospel songs. characteristic fondness for cosmic generali- It didn't take long for a new generation ELVIS PRESLEY: Elvis. Original sound- zations, informs us that Presley has ".. . of youth to discover that its implicit need track recording from his NBC -1'V Special. one of the most heard voices in the history for a music that was rhythmically active, RCA LPM 4088 $4.98, ® TP3 (33/4) 1008 of mankind." And the poor Beatles merely alive, and expressive of its age was not $6.95, C.) PSS 1391 $6.95. aspired to a comparison with Jesus Christ! satisfied by saccharine strings and moody What was it, then? What were-and are ballads. But unadulterated black music was ELVIS PRESLEY: Elvis Sings Flaming -the special circumstances that have made not quite the answer, either. A mediator Star.FlamingStar;WonderfulWorld; Presley such a remarkable phenomenon? was needed, one who could translate the Night Life; All I Needed Was the Rain; In retrospect, it seems clear (as it did not gutsy, sometimes overtly sexual implica- Too Much Monkey Business;andfive in the mid -Fifties) that he was the right tions of black rhythm-and-blues into a form others. RCA CAMDEN CAS 2304 $1.89.

112 STEREO REVIEW mostly of other groups, like the Temptations, the Four Tops, and sometimes even vintage Mills Brothers. If yOU don't mind your pop music dis- If you're tilled, The Tymes are really a first-rate quartet. The People arrangement is socko enough the man to deserve its high rating. Their Those lrere the Dals I classify as one of the more passable versions out of the hundreds currently wethink making the scene-there is a charming piano strolling through the song (shades of Car- men Cavallero!). Thisisfollowed by an you are, oldchurch -camppicnicversionofG,,1 Bless the Child, which is a good change of pace. But the very choice of such a play -it - ORNETTE COLEMAN: Ornette at12. safe as Make Someone ILIppx betrays the Ornette Coleman (violin, trumpet, alto sax); this is the KiRch lurking deep down inside this group. Dewey Redman (tenor sax); Charlie Hay- Still,ifyou prefer your hash well-done den(bass);Ornette Denardo(drums). instead of tartare, this is your group. They C.O.D.; Rainbows; New York; Bells and camera you apply an itsy-poo Mary Poppies approach to Chimes. ImpuLse AS 9178 $5.98,(fr-t) 9178 a hard -rock drum beat and then have the (71/2) $7.95. chutzpah to add the black falsetto of the Performance: Coleman & son should own. head Ink Spot. Recording: Good The Look of Lore, For Once in My Stereo Quality: Wandering File, and /ry canallbe lumped together under thebanner''Tyme Marches On !- A decade has passed since Ornette Coleman Careful fellows,it may pass you right by exploded on the music scene, setting off a while you are all still chart -gazing. I?. R. sequence of events that would reshape the substance of jazz. Most of Coleman's mem- WICHITA FALL: Life Is But a Dream. orable work was produced within the suc- Wichita Fall(vocals and instrumentals). ceeding four or five years. More recently, he Morning Son,c; Once in the Morning; Sunny has workedinspurts ofactivity,adding Road; Going to Ohio; Playground; Orna- trumpet and violin to his instrumental bat- mental Sideshow; and seven others. ImPE- tery, producing compositions for string quar- RIM, LP 12417 $4.98, C) LTR 4918 $6.95, tet and woodwind ensemble, and picking up 0 TR 8918 $6.95, COI) C 0918 $5.95. a Guggenheim Fellowship along the way. In his newest group he has employed his son, Ornette Denardo, as drummer, noting Performance: Excellent that, ''Ornette Denardo is hard to keep up Recording: Fine with if you don't tell him what to do.-I Stereo Quality: Fine suppose a statement that most parents You enjoy owning fine Wichita Fallis an enigma to me. Ilikeit could make, although I doubt they would al- premium quality high fidelity components, (them). I don' t like it (them). It's (they're) ways express it with the positive connotation for example. When you buy something, good. It's (they're) mediocre. It's (oh, hell, that Coleman does. On the evidence here in- price s secondary to value. In your own way, let's settle for the singular) brilliant. It's just cluded, Ornette Denardoisa remarkable you live a pretty interesting life, and okay. Wichita Fall is a music drama that is twelve -year -old performer, but few listeners because you do, we think you'll be to today what Gordon Jenkins was to 1945. would mistake him for a mature musician. interested in our camera. The entire album tells a story, the story of a Although this program-Coleman's first It's the Honeywell Pentax Spotmatic, an a day in the life of . . but then remember, the for Impulse-was apparently recorded at uncommonly good 35mm single-lens reflex. Beatles already did that-and better. The -live- concert, the album gives no indication So good, it's the world's best-selling day represents the life of man. God knows of when or where. Itis a characteristic set, fine camera. how many people have already done this, with the leader playing violin on one track, The' Spotmatic is compact, lightweight, starting way back with the riddle of the trumpet on another, and alto on the remain- and a joy to handle. It features uncannily Sphinx. So my conclusion is that the prem- ing two. Coleman has improved consider- precise through -the -lens full -format exposure ise of -Life Is But a. Dream'' is sophomoric. ably in the last year or so on both the former control, superb optics, brilliant human This istrue, but I can'tlet go ofit. The instruments, and his trumpet work has gained engineering, and magnificent workmanship. more Ilisten, the more Ilike Wichita Fall a pitch focus and placement accuracy that he result is a camera that produces and its I_P. We get lots of those clock -wind- was previously absent. Coleman's alto lines, professional -quality pictures, yet it's ingsoundeffects,crescendos,andviolin however, continue to be his most attractive. remarkably easy to use. sweeps that are supposed to knock us dead Both C.O.D. and Nett, York, the latter one With a great Super-Takumar f/1.4 lens, with their theatrical effect. But when Wich- of his most pleasant compositions, are filled the Spotmatic costs about $300, depending ita Pall leaves out Such sound effects it can withhissometimes ingenuous, sometimes upon accessories. See it soon at your make very pretty music. complex, bur always light and dancing im- Honeywell Pentax dealer's, or mail the Physically, it looks as if it (is about to em- provised melodies. Tenor saxophonist Dew- coupon for complete literature. bark on the Lewis and Clark expedition. But ey Redman continues to impress, especially lyricallyIdiscover itis only attempting to inhissolo on Rainbows.Bassist Charlie Honeywell lakes the guesswork get from Ohio to Reno. Its (their) message Hayden, aveteranof Coleman'searliest out of fine photography. once againis lostina kind of muddied groups, plays a particularly fascinating solo Thoreau -Walden -Pond syndrome ofmists, on New fork, building his improvisation on 4;71 r Honeywell-- Photographic rain, and falling leaves which I really can't successive fourths and fifths that echo Cole- believe has much to do with any youthful man's rising melody line. P.O. Box 22083, Denver, Colo. 80222 experience these days. When the group can't Coleman's music no longer sounds radical, Pleasesend Honeywell Pentax literature to: a revolutionary, or ugly-a fact that may have think of other words, they do Tho-la-la- Name lot. as much to do with our environment asit Sunny Road is a sweet and sadly romantic does with our ears. This is not one of his best Address song. Sometimes Wichita Fall goes totally outings, but itis the work of an influential falsettoand almost barbershop -quartetin jazz musician. D. H. City/State/Zip style,as in Mr. Drake's Afternoon Show. This must be why it is so mystifying-from MILES DAVIS:FillesdeKilimanjaro barbershop to Beatles, from Thoreau to nur- (see Best of the Month, page 77) Honeywell sery rhymes. Just where are you, Wichita L Fall? Ilove you hate you. R. I?, (Col/Ill/lied on next lu,:;e) CIRCLE NO. 31 ON READER SERVICE CARD

JULY 1969 I 1 3 WILD BII.L DAVISON: Wild Bill at But as theMUSICproceeds, Kirk seems to be- Bull Run.WildBill Davison (trumpet), come impatient, and digs deeper intohis orchestra. I Found a Nr re Baby; Black and improvisation, producing aseries of vocal DISCOUNTS Blue; I'ou're Lucky to Me; Louisiana; Geor- and instrumental sound effects that probably gia on My Mind; Rorrna; Blue Turning will lower the piece's popularity with disc SELLING HI-FI Grey over YOu; Someday Srcreibearr. JAzz: jockeys. NATION- WIDE °LOGY j30S5.98. Obviously, I don't want to criticizeKirk Performance: A hot trumpet in tepid water fur the honest expression of his creative impulses WORLD Recording: Another anachronism -more power to him for possessing Stereo Quality: Okay them. But I can't help but wish that Kirk and WIDE Atlantic's productionstallwould assemble This isanother prize for the collectors of shorter, perhaps more carefully edited, set- SINCE musical anachronisms. If you like your jazz sions of some of Kirk's tunes fur possible 1948 memories fresh out ofthe garden :Indnot 15 -rpm disc distribution, I seeno reason \\h) - outof the canned rerecorded Versionsof orig- :tpatently inadequate flutistlike the player COMPONENTS RECORDERS inals, thisis good pickin's. \X'ild Bill Davi- withlethro 'Full(an English rock group) KITS SPEAKER SYSTEMS TAPE son here gives usan excellentpresentation of should he selling thousands of records while those good old times whentrumpets were Kirk isstilllimited largelyto a jazz audi- hot,trombones strutted,clarinets wailed,and ence. the musk Was black and blue. Glorsoski! Kirk'smusicalviewpoint,especiallyin New Lower Prices Those were the days! (Ma0ae.) I?.R. this collection, reminds me of Yusef Lateef. Same Day Reply To Your Inquiry LikeLateef,he has beerscontinuallyfas- Mfrs. Sealed Cartons CHICO HAMILTON: The Best of Chico Double Boxed Where Possible Hamilton. Chico Hamilton (drums);or- Fast, Insured Shipments chestra. l oi 1'1,11'cl- -.5/01r1.1T; Fore CI Package Deals Save You More 1111CV ntl; Moplc; Chic Chit Chic,: Franchised Distributors for Over and four others. ImPursEA 9I7-i S5.95. (iri 50 Mfrs. 917-1 (71'2) 57.95, 8917-1 56.95, lc) 5917-1 Open Monday thru Saturday $5.95. Free Parking at Door Performance:Holy drummer Phones: N.Y.C. (212) 369-6212 Recording: Danbury, Conn. (203) 775-2562 Drums and more drums Stereo Quality: Drums to the left, drums to the right

WRITE FOR SPECIALS VISIT If thisis the new wave of jazz, Ins going OUR SHOWROOM/WAREHOUSE under for thelasttime, screaming, -Don't make waves!- Chico Hamiltonisavery CAR ..STON good drummer-ifyoustilllike drummers. R.F.D. #3 - ROUTE 7 Jazzisasexy fine American institutiort-- - BROOKFIELD, CONN. 06804 if you diginstitutions. Progressiveschools of anything went out with Freud and the spare -the -rod -spoil -the -child theory.I admire these musicians for (pardon the pun) stick- ing to their drums, but do people still take THIS trips on :illthisjazz.? R. R. RECORDING OF SPECIAL MERIT ROLAND KIRK: Left & Right. Roland OVER YEARS ROLA ND KIRK 6 4 (nsanzello,stritch, tenorsax, Kirk flute, IIron erful ja:.zman and experimenter OF RELIABILITY celeste, thumb piano, and()tiler smallin- struments) ;carious accompanying groups. cinated with unusual tom! colors and exotic Black lien Brrn Rr Haled ;Exp.m- instruments; and, alsolike Lateef, he isa sions; Lady'( Bluer; /X Lore: Ho/ Cha; aad powerful jazzman whose experimentation is IS WHY STEREO & HI-FI three others. ATLANTIC SD1515 55.95, ® solidly underlined by excellent basic skills.

81518 $6.95. I can think of kw Kirk recordings of recent BUYERS CAN BE SURE OF Performance: Multi -talented Kirk at his best vintage that have gin en such :t wide range of Recording: Very Good expression to those skills. From his brilliant Stereo Quality: Well-balanced rendering of Billy Strayhorn's Lorr.foine7hin0totheup -and -damn. Roland Kirk has never reached.4 large an episodic, but captivating nine -part suite titled SAVINGS audience as he should --a shame, because he Expanaiwia, this is Roland Kirk at his finest. AT RABSONS ismore directlyconcerned withsettingup D. AtRabsonsCompetitivePrices, Reliabilityand all intimate communication between himself PersonalService havebeen bywordsforover and his listeners than almost any jazz player HUBERT 62 years. LAWS: Laws' Cause. ftubert It'sso EASY and SAFE todealwithRabsons. who comes to mind. A number of his record- Laws (time and piccolo); s;irious other

Upto36 months topay onEasy Pay Plan ingshavecontainedworks which,given isi,re; It Yon kite u; Dal urib As close as your telephone -- asnearas your appropriatecommercialexposure,might You; Pl..nrLe/ Go; and three others.AT- mailbox . Fast Air MailResponse on Quotation Requests . Franchised Distributor for HiFi Lines ha\ e had* a fair crack at hitting high on the LANTIC SD 1509 55.98, ® 81509 56.95. Allmerchandise brand newinfactory sealed pop one of his problems issim- cartons, shipped double -packed, fully insured Performance: Nice flute, not much else . Greater sayings ply that Kirk is too good a musician, too im- promptly from our warehouse Recording: Very good oncomplete systems . Exportpacking 220 mersed in his own creativity, to be satisfied Volts,50 Cycle merchandise aspecialty.Free Stereo Quality! Very good listofmonthlyspecials. with the kind of bland performances that us. nailsare requiredfor pop (or jazz)-hits.- The flute is such :I maligned instrument that BEFORE YOU BUY GET A RABSONS A caseits point here isalovely original itisa pleasure to hear itplayed in a man- QUOTE... YOU'LL BE GLAD YOU DID! titled Lady's Bluer(obsiouslyin memory nerthatbeginstoexploititsenormous of Billie Holiday), in which Kirk's gentle potential. Laws, one of the best studio -jazz melodicline and markedlypersonalflute flutists to comealong inyears, plays with a RABSONS57 ST. INC. 119 West 57th Street, New York, N. Y. 10019 style havethequality of immediatefamiliar- tonalrichness and technical precisionthat Tel. Area Code 212-247-0070 ity thatisthe hallmark of all-hit- songs. aren't usually found in jazz flutists.Tilt! inn - CIRCLE NO. 40 ON READER SERVICE CARD 1 I4 STEREO REVIEW sic, however, does not extend his creative limits.Itis an extremely uneven program, ranging from alight,rockish vocal piece (No More) to pianist Chick Corea's Trio Why? lor Flute. 13.1.firmll, dual Plant). Laws handles itall with ease. Even though very little of DO THO SANDS OF HI-FI what he plays in this collection will be registered in your bodying Jazz Memory Book. ENTHUSIASTS RIY FROM Hubert Lawsisaplayer who should be heard. D. H. AUDIO UNLIMITED EMIL RICHARI)S: Journey to Bliss. Emil Richards ( pert ussion ); oe Porcaro (drums ) ; It's Obvious! Mike Craden (percussion); Dave Mackay RECORDING OF SPECIAL MERIT (ke,board); Ray Neapolitan (bass); Tom "_OWEST PRICES Tedesco (guitar) ;Mark Stevens(percus- UP TIGHT (Booker T. Jones). Original - jTo. sion); Hagan Beggs (narration). Maharim- soundtrack recording.STAXSTS 20(16 FAST SERVICE ha; Bliss; Mantra; Enjoy, Enjoy; Journtvto Bliss.ImPut.sE AS 9166 55.98. Performance: Atmospheric FACTORY SEALED UNITS Recording: Excellent Performance: The Microtonal Blues Band, FULLY INSURED SHIPMENTS and then some Stereo Quality: Excellent Recording: Very good Booker T. Jones has done an excellent job PACKAGE DEALS-SAVE MORE Stereo Quality: Very good here of scoring several standard blues into a Percussionist Emil Richards was one of the cohesive whole to serve as the music for (7, FRANCHISED DISTRIBUTORS participantsinthe improvisational experi- Tight, Jules Dassin's re -make of The In- Write for FREE Listing today mentation with unusual rhythms and micro - former. I have not seen the new version, but I am familiar with the plot front the old tonal pitches that was taking place on the SEND US YOUR LIST \Vest Coast inthe early Sixties. The most John Ford film. Jones has caught the right tangible result of that experimentation is the note of inexorable menace to express the FOR OUR AIR MAIL magnificently disciplined big bandled by doom that closes in on the informing hero, QUOTE TODAY Don Ellis. But other players, not necessarily and his frantic, but useless, attempts to es- on the scale or in the directions advanced cape it. The performances by Jones and his Visit Our Store Warehouse by Ellis, have continued their work; Rich- group, the M G.'s, are allexcellent. Judy CLOSED MONDAYS ards is one of the more adventurous. Clay is the vocalist in Childrtn, Don't Get Forthisoutinghehas assembled a Ircary, and I thinkitis the strongest per- CtAUDIO unlimited, inc. group of rhythm instrunents to play a set of formance on the disc. Jones sings two songs, Johnny, I Love You and Blues in the Gut - originalcompositions,allofwhich use 395-S Third Ave. (Nr. 28), N.Y., N.Y. 10016 rhythms that will sound disjunct and off -bal- tic, in good style, but his real achievement ance to the listener nurtured on the familiar is his orchestrations. They are mordant and /4 and .1/4of Western music. The real compelling, with top-flight performances by questionis whether facility with the play- himself at the organ, Steve Cropper on gui- ing of these rhythms is sufficient. At firstI tar, Donald Dunn on bass, and Al Jackson found myself sitting back in sheer wonder Jr. on drums.I don't know if you could call at the ease with which Richards' musicians music thatisfrequently so angry asthis WRITE FOR improvised in such meters as 5/i, '/1, 11/4, -entertainment,- but it certainly makes for or. But Isoon began to feel that the actual interesting listening. The value of theal- musical content of the improvisations rarely bum is greatly enhanced by the fine quality QUOTATION possessed enough substance tosustain my of the recorded sound and the tasteful use interest. of stereo. P. R. FACTORY SEALED CARTONS Another problem that disturbs me about FRANCHISED DISTRIBUTOR WM/in/led on nu jazz improvisation using Unusual meters -- QUICK SHIPMENT Richards' included-is that the meters tend to be used additively: that is,1 i/-I becomes 3+3+3+2, 7/4 becomes 2+2+3 or per- A Correction: haps 1+3, tic.Isuspectit would be con- Promises, Promises siderably more provocative if these rhythms David Merrick, producer ofthe were useddivisively,as well-a method WE GIVE much more consistent with \Nit:stern musical musical show Promises, Promiscs, in- tradition. Thus, for example, a time signa- forms us that, contrary to the state- ture of 7/4 might be superimposed over 14/8 mentinRex Reed'sreview (May with appropriately subdivided rhythmic ac- issue)of the original -cast album of DISCOUNTS cents); or, conversely, 5/2 might be super- the show, the voices of the female imposed over two measures of 5/4, again chorus were not prerecorded and pro- ON HI-FI withappropriaterhythmicemphasis. N, jected electronically to blend with the doubt Richards is aware of this, and En),,. singing of the cast and the playing of the orchestra. Mr. Merrick says that COMPONENTS Enjoy does use fascinating divisions ofa basic 12/1 measure, withalltheimplicit there are, in fact, four female singers potential of hemiola (3 against 2, 6 against who:onstitutetheliveorchestral voices-Kelly Britt, Patti Dal. is, Bet- 1, etc.)that such a measure contains;itis then made even more complex by uneven tye McCormick, and Ilona Simon- superimpositions of 5, 7, 9, at". Because of who have been and are performing in SOUND this, Enjoy, Enjoy is one of the albums most the orchestra pit with the musicians effective tracks. .it all performances. \\'e are sorry that our reviewer did not understand the REPRODUCTION, Side Two isdevotedto a -Meditation Suite'' titled Journey to Bli. The poetry- technique being used in this aspect of the show, and of course intended no INC. written by Barbara Gess-is bland and clerk - 460 CENTRAL AVENUE ative; the microtonal instruments sound like digit!: either to Mr. Merrick or the production. -Ed. East Orange, New Jersey 07018 a borrowing from Harry Partch. I much (201) 673-0600 prefer the original. D. II. CIRCLE NO. 54 ON READER SERVICE CARD JULY 1969 More gypsy music? Stiffen for the cimbalcm, Itold myself, brace for the balalaika. Here .9he they come again. I was fooled! These songs Ow nn We from Macedonia-which in my atlas stretches SLarpe3tPena& vaguely across sections of Greece and Yugo. slavia-are entirely free of the slobber and Jown.f. sprawl of the Hungarian restaurant music -911 were accustomedtoassociate withthis genre. Instead, here is music of startling fire and energy. The topics of the songs are characteristic and simple, dealing with such homely matters asa bachelor who doesn't RECORDING OF SPECIAL MERIT want to get married and enumerates his reasons,a widower mourning for his young YOU SAVE MORE PORTRAIT OF ANDALUSIA:Andalu- wife lost in an earthquake, a bride shouting ON HI-FI COMPONENTS sian Flamenco music, produced and recorded at her father to wake up because it's her wed- on location by Deben Bhattacharya. Saetas; ding day. The musicissomething else- & TAPE RECORDERS Soled; Easter procession; Serrana; Cantinas wild, swirling, filling the air with the fresh-

e invite your testofour de Cjdiz; and five others.ARGO ZRG560 ness ofitsinstrumentation, a mixture of "We Will Not Be Undersold Policy." l RG 560 $5.95. Greek and Near -Eastern elements and some-

15 -day money -back guarantee. Performance: The real thing thing undefinably and altogetherits own. 2-yr.unconditionalguaranteeparts 8. Recording: Superb Some of the songs are sung in Macedonian, labor no charge, at local warranty stationorfactory. Stereo Quality: Adds realism some in Greek, some in Romany. All are

Trade-ins-highest allow.Send yourlist. alive with the unmistakable life yielded only Mostitemsshippedpromptly from our Those enterprising people at Argo, who do by passionate performances. The two women $250,000 inventory, fullyinsured. not hesitate to send their documentary pro- who sing most of the numbers have clear and Our specialty-APO & Export. ducers anywhere from the darkest pits of a forthright voices free of tricks and glib man- 23rd yr. dependable service-world wide. Welsh mine tothe heights of the Hima- nerisms, and the several ensembles offer them Rated #1service-satisfaction according to layas to capture the sounds of this world, extremely skilled support. P. K. nationwide survey. have turned their attention here to the real Write for Our Price first) You'll Be Glad You Didl music of Andalusia. To bring Flamenco hack alive, Deben Bhattacharya, the producer of RECORDING OF SPECIAL MERIT this one, decided to concentrate on the little VIVA BAH] A. Con juntoFolcloricoda HI -FIDELITY town of Puente Genil, surrounded by the Bahia (vocals and instrumentals). PHILIPs musical centers of Seville, C.Ordoba, Grana- PCC 629 55.79. CENTER The House of Low Low Pnees' da, and Malaga. In the cafés and squares of Performance: Haunting the town, his crew set up excellent equip- 239-A East 149th St., Recording: Superb field job New York, N.Y. 10451 ment to capture the flavor of the saeta(a Stereo Quality: Superior four -lined religious chant said to have ob- CIRCLE NO. 30 ON READER SERVICE CARD scure origins in Hebrew prayer ritual), the da Bahia, the two -level Brazilian soled (a kind of gypsy love song), the ser- cityofteemingmarkets,twistedstreets, rana (a love song from the mountains), the andconglomeratearchitectureofancient fandango, the .iiguirita, and the other cate- churches and all -glass skyscrapers, offers a Stereo Review gories of Flamenco. Examples of these aus- variety of enchantments not only to the eyes SUBSCRIBER SERVICE tere forms are played bylocalguitarists but to the ears as well. The Bahians have like Jose Bidmar and sung by singers like established, along with other colorful cus- Please include an address label when writing about Antonio Fernandez and Manuel Garcia with toms, a unique music that blends the songs, your subscription to help us serve you promptly. inimitable authenticity. But the real excite- sounds, and dances of black Africa with the Write to: Portland Place, Boulder, Colo. 80302 ment conies with contrasts of nerve -tautening chants of the Brazilian Indians and the Por- CHANGE OF ADDRESS: .AFFIX LABEL-. tension in field recordings taped at a Good tuguese influences of the conquistadors. This Please let us know you Friday processioninSeville.Here, amid stunning album, beautifully decked out with aremoving atleast the throbbing of muffled drums, the proces- photographs, texts oflyrics and narration, four to six weeks in sionis heard moving before the church of and superb annotations by folklorist Henri- advance.Affixmaga- La Macarena, while sactas are intoned by etta Yurchenco, conveys the haunting quality zine address labelin cp CD men and women whose voices rise above the of that music as it is played at carnival time, space to the right and hubbub of the procession. All the passion of in the secret religious rites of candomb/(a print new address be- curious mixture of African magic and Por- low.If you have a cra, the occasion is captured as a lone voice sobs questionaboutyour co out to the Virgin, ''You are in sorrow and tuguese -styleCatholicism),and duringa subscription, attach in pain, but do not cry any morel- And the February festival when fishermen honor Ye -

address label to your o_ drums pound on until they fade in the dis- mania, Goddess of Water. Here are songs letter. of the bitter days of slavery, of the sadness -o tance,asthe awesome pageant passes. A TO SUBSCRIBE: haunting experience, enhanced by an infor- Bahians feel when leaving their beautiful Check boxes below. mative booklet of notes and photographs and city with the luminous green waters of its 1:1 New Renewal r- complete texts. P. K. harbor; of the gold and silver chains a Ba- O 5 years $21 hiana wears around her neck to guarantee cs. O 3 years $15 o_ RECORDING OF SPECIAL MERIT her a paid -up funeral; of the raft called the TT; 0 1 year $6 Or jungada and its lonely fisherman passenger, SONGS OF A MACEDONIAN GYPSY. SPECIFY: co tossing for days on the rough sea. Here, too, co Esma Rediepova and Usnija JaSarova (vo- CI Payment enclosed- are chants for the hauling in of the nets, and You get 1 extra issue L- cals) ;Stevo Teodosievski,Urosevit*:,and the sounds of the conga -like drums that ac- per year as a BONUS' Nasko Morley Ensembles (instrumentals). company the trances of candomble initiates Acicri postage- $1 per year outside Zenam D Bill me later. U.S..its possessions & Canada. Da Me Molat Ne Se Iron't Get -all recorded on location, brilliantly edited, 051 Married); Buda Dikljum(1Hare Seen and put together inanaltogether lovely Much ); Ah, Della (Oh, My God); Soborsko package. P. K. name please print Oro (Macedonian Hora); Me Suneste Allan (Sweet Dreams); and seven others. MONI- address TOR MFS 496 $4.98.

city Performance: The real thing Recording: Excellent state zip -code Stereo Quality: Excellent 116 STEREO REVIEW LILLIAN SMITH.Slrunge Fruit (selec- SPOKEN WORD t feu, ). Smith(reader).SPoKEN. AR rssSA 96 i55.95. Hear and Compare Performance: Compassionate Recording: Admirable \( Itisdifficulttoenvisage now the impact ATHENA Ida the novel Strauge Trait made whenitx\ as first published in 19-I-1. It was a novel about No. 3 of the South that cut through a great deal of hypocrisyabout black andwhite relations. a series On thisdisc,which she recorded shorth before her death in the fall of 1966, Miss Smith reads some of the most touching and MOLIERE: Tarlittle. William Hutt, Doug- poignant episodesinthe book,including lasRain, Martha Henry, Leo Ciceri,Pat the description of Tillie and her children '249" Galloway(performers) ;Richard Wilbur, and the harrowing whipping scene. She has translator;Jean Gascon, director; Gabriel also recorded a very moving introduction to Charpentier,music. CALDMONTRS 332 three the excerpts. At the end of this she notes discs 518.85. that she had never consideredit"a book Your best value for the dollar spent anywhere Performance: Good about racial problems," and continues:"It Recording: Good is a book not about a lynching but about chil- A classicallystyledandexquisitely Stereo Quality: Good dren in anguish; white and Negro children crafted two-way acoustic suspension forbidden to grim: openly as human beings; system in solid walnut or oak blends There are both advantages and difficulties in- they are the strange fruit on white culture's with Alediterranean or Italian Provin- herent in taking a stage cast and a stage pro- twistedbranches.''Strangefruitindeed! cial decor. Has 12" bass speaker. three duction and recording it. The advantages are C. B. 31.'2"midrangetreblespeakersand self-evident: it can be a performance far bet- adjustablethree-waycrossovernet- work. Strong solid bass down to 311 Hz ter rehearsed than one with a cast specially LAUGH -IN '69 (see Best of the Month, with- exceptionally low distortion. gathered together for recording. Also, the page 76) x 20 3" x 20:l3".Perfectas recording acts as an original -cast album, a end table. most persuasive memento, for all who saw THE SOUND OF DISSENT. Voices of Availableatthe most respected highfidel- theactualproduction. Yet, ontheother Eartha Kitt, Dr. Ralph Abernathy, George itystores.Writefordealer nearest you. hand, a cast used to the audience interplay Wallace, Senator Eugene McCarthy. Martin and obvious visual aids of theatrical perfor- Luther King, Stokely Carmichael, Al Capp, AZTEC SOUND mance may not settle down too well to the Hilbert Humphrey, James Farmer, Senator AZTEC CORPORATION mere spoken word. Robert Kennedy and others. MERCURY SR 2140 So. LipanDenver, Colo. 80223 Itis perhaps for this reason that this per- 61203 5-1.98. formance by the Stratford National Theater of Canada of Afoliere's Tattuffe seems mar- Performance: Exciting but oversaturated 611.11111..111.1111.1.1110 CIRCLE NO. 6 ON READER SERVICE CARD ginally less impressive on discs thanit did Recording: Excellently edited in the flesh in Stratford, Ontario, last sum- Stereo Quality: Enhances the actiol mer, even though the castis unchanged. It jack AlcAlahon, the producer of this collec- does, however, retain two enormous Merits. tion of typical confrontational sounds from The firstisRichard Wilbur's beautifully the dissenting Sixties, had a good idea: take DEFA ELECTRONICS idiomatic translation, whichissuppleand the voices we've been hearing on the air out amusing, and sounds like an originaltext. ofthe archives and buildadocumentary Fisher400-T The secondis William Hutt's consummate thatsays somethingaboutthemoment Complete AM-FM Stereo System performance of 'Fart une. though which America is now passing. A Mr. Hutt has long been regarded as one cleverly engineered mosaic of sound isthe i ::.. of Canada's finest actors, and this 1 artufle is result. Here is Eartha Kitt explaining why :,... I a splendid reminder of his quality. Here is sine got caustic at Lady Bird's luncheon table %VW. the complete hypocrite, with a voice that in the White House; Eugene McCarthy, in growls rather than whines, and makes virtue the days when he was still audible, promis- t.tll- -- =:. into its own forgery. The strength of Moliere ing,ifelected,to curb the power of the Fisher 150 Watt AM -FM Stereo Receiver is to be found in the invincible humanity of Pentagon; Dr. Spock and the Rev. William with Stereo Beacon and Tune-O-Matic his characters. Tartuffe, the ice-cold hypo- Coffin and Paul Krasner, the editor of the Pushbutton Memory Tuning. List $349.95. Two Fisher XP -60 Speakers crite, the religious caterpillar, piously dep- Realist, talking Qgainst the war in Vietnam; featuring two 8" high -compliance bass recating his way lo success, is as alive today and James Farmer and Stokely Carmichael speakers &two 3"widedispersion speakers. as when Moliere created him. So alsois expressing their respective views about black - ALL NEW DUAL 1212 AUTO/STANDARD TURNTABLE WITH BASE Includes: Balanced tone Orgon, the eternal gull, the essential dupe power.1 he soundtrack supplies nut only arm. Flawless tracking as of Tartuffe's plans. the voices of individuals, but the sounds of wini... ' low as a gram. Gentle cueing controlBuilt-in ft was the virtue of Jean Gascon's staging mobs, the claxons of theriot squad cars Antrskating Variable 44 inStratfordthatitnotonly movedas during the Paris student riots, a podium get- I speed pitch control...... Constant speed motor. smoothlyas a minuet, but also showed the ting smashed up as Peace Marchers in Wash- Change up to 6 re..rr ,. shafts of feeling beneath the play's formal ington rusha speaker. The most effective SHURE M91E HI TRACK CARTRIDGE structure. Here were the positive and nega- moments are when stereois used imagina- .,I,..' ' track tive sides of knavery, the perfect con man tively-so that the listener may hear, for ex- and the perfect victim. Something of the ele- ample, Mayor Alioto making his nominating gance of this strongly patterned production speech for Hubert Humphreduringthe WRITE FOR OUR QUOTE ON PACKAGE ;---HFS is necessarily lost on record. Douglas Rain, 1968 Democratic National Conventionin 109 & ANY OTHER SYSTEM OF YOUR CHOICE the Orgon, was not ideally cast on the stage, Chicago over one speaker while the confron- STEREO SYSTEMS -COMPONENTS tation between kids and cups roars out simul- and in this version his uncomplicated gulli- Send For Our Quote Today! bility seems to make him an even less worthy taneously from theother.In the final mo- We Carry All the Famous Brands. foil for Hutt's elidblerie. ments,thelateRobert Kennedyisheard Of the rest, the best, as they were on stage, warning solemnly about the -mindless men- DEFA ELECTRONICS CORP. are Martha Henry's sensible and feminine ace of violence in America.- Unfortunately 2207 Broadway, N.Y.. N.Y. 10024 Elmira,theacid -tonguedDorineofPat for the effectiveness of the album, the mind- PHONE 874-0900 & 87441901 Galloway, and Leo Ciceri's bluff honesty as less menace ofDanArmstrong's rock music, Cleante. C. B. persists relentlessly throughout. P. K. CIRCLE NO. 15 ON READER SERVICE CARD

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1 H STEREO REVIEW STEREOTAPE

Reviewed by DAVID HALL DON HECKMAN GEORGE JELLINEK PAUL KRESH PETER REILLY ERICSALZMAN

seems oddly unresonant in the uppermiddle 5. Peter Schreier Thereis,inshort,anultimate rightness BERLIOZ:Requiem, Op. performances. The recording, register. D.11. ( tenor), Bavarian Radio Choir andSym- aboutthese brilliant almost to the point of shrillness, phonyOrchestra,CharlesMunchcond. COLLECTIONS DEUTSCHE GRAMMOPHON DGK 9265 fails to capture the warmth of the Cleve- land's orchestral sound. G. J. $11.95. RECORDINGS OF SPECIAL MERIT Performance: Grand GRIEG:Piano Concerto, in A Minor, Op. Recording: Rich Piano Concerto No. 1, in E - GREAT MOMENTS FROM GRAND 16. LISZT: Don Gi- Stereo Quality: Reverberant Van Cliburn (piano) ; Philadel- OPERA, VOLUME II. Mozart: flat Major. Chicago Symphony, Fritz Speed and Playing Time: 71/2 ips; 83'51" phia Orchestra, Eugene Ormandy cond.RCA ovanni: Overture. The Bather of Seville: TR3-1001 56.95. Reiner cond. Rossini: Out of respect for the memory ofCharles Ecco tidente.Cesare Valletti (tenor), Metro- Munch, one shouldnot, I suppose, come Performance: Uneven politan Opera Orchestra,Erich Leinsdorf down too hard on one of his last recorded Recording: Likewise cond.Donizetti:1rcrczia Borgia:Corn'' performances-and one of a workwith Stereo Quality: Acceptable hello! Ouale incanto.Montserrat Caballe which he was said to have a deep affinity. Speed and Playing Time: 33/4 ips; 46'45" (soprano), Orchestra, Carlo Felice Cillario Nevertheless, I must say that I am very unim- Cliburn presents us with a finely glittery comf.Donizetti:Lucia di Lammermoor; pressed when I ought to be overwhelmed. I (tenor), Rome Liszt, tempered effectively by hisessentially Tomb Scene. JanPeerce appreciate the conductor's desire to set the Opera House Orchestra,ErichLeinsdorf huge crack -of -doom brass and timpani choirs cond. Wagner:Tannkluser: March.Har- in an acoustic worthy of the day of wrath, vard Glee Club,Radcliffe Choral Society, hut, frankly, I prefer the music of Berlioz to Boston Symphony,ErichLeinsdorf cond. allthe ringing reverberation in the world, Flotow: Arappati.JonVickers reverberation that definitely obscures the mu- ( tutor), Rome Opera House Orchestra, Tul- sic. The sound covers up a small multitude lioSerafin cond. Verdi:LaTrariala: of sins, mainly rather careless playing and Br;ndisi.Montserrat Caballe (soprano), singing. Cases in point: any number of late Carlo Bergonzi (tenor), RCA Italiana Opera choral entries; the total lack of contrast be- Orchestra and Chorus, Georges Pretrecond. choral tween the short detached chromatic 11Trovatore: Miserere.Leontyne Price (so- eighth notes and the legato instrumental dou- prano),RichardTucker(tenor),Rome blingsintheRequiem movementitself. Opera House Orchestra and Chorus, Arturo Munch makes some effective big lines, but Basile cond. Gounod:Faust: Jcwel the colors of this performance are Old Mas- Anna Moffo (soprano), Rome Opera House ter-with lots of warm brown varnish on Orchestra, Tullio Serafin cond. Verdi: top. 'the original, in all its glorious and ter- Mocked Ball; Di' to se fedele it Alto.Jussi rifying brilliance, is more impressive.E. S. Bjoerling (tenor),MaggioMusicale Fioren- tino Orchestra, Alberto Erede cond. Saint- RECORDINGS OF SPECIAL MERIT Saens:Samson a Dalila: Mon coeur s'outte a to roix.Rise Stevens (soprano), Mario del DVOitAK: Slavonic Dunces(complete). Monaco (tenor), Metropolitan Opera Or- The Cleveland Orchestra, George Szell cond. chestra, AlbertoEredecond.Mascagni: COLUMBIA MO 1077 S7.95. C.ir.///tiria Rfesticana:I of tosapete.Renata Performance: Masterly Tebaldi and Rina Corsi (sopranos), Maggio GEORGE SP -A.1. MusicaleFiorentino Orchestra, Alberto Recording: Brilliance stressed Slavonic Dances with lilt and elegance Stereo Quality: Good Erede cond. Puccini: Turando/:litqui.,13 Speed and Playing Time: 71/2 ips; 67'10" lyrical instinct. However, the Griegfares less rti.t;gi./.Birgit Nilsson and Remit.' Tebaldi dis- (sopranos), Jussi Bjoerling and Alessi() De Much asI may be exposed to Dvorak's six- well, sounding to these ears curiously pirited and slack-all prettiness and no back- Paolis(tenors), Rome Opera House Or- teenSlavonic Dances (Opp.46 and 72)-and bone. There is ample tape competition for chestra and Chorus, Erich Leinsdorf cond. I am considerably so-it seems I never tire of RCA TR3 5012 $10.95. their melodic and rhythmic inspiration, par- Cliburn-Ormandy inthe Grieg, including, ticularly when they are served up with irre- most notably, Curzon and Fjeldstad onLon- Performance: An orgy of opera highlights sistible lilt, elegance, and mastery of nuance don and Rubinstein with \Vallenstein on Recording: Splendid, but with some cruel a laSzell. These are loving interpretations, RCA, but the price tag in each instance is splices but free of excess sentimentality: the pre.klos a dollar higher. Stereo Quality: Thrilling are galloping, and therivacescould hardly The most disturbing feature of the Cli- Speed and Playing Time: 33/4 ips; 78'32" be more so. And of course the orchestra is a burn-Ormandy tape received for reviewis is not only troubled by Back in the early Twenties, when opera sing- marvelousinstrument:notetheprecision the sound, which by pro- audible flutter inthe piano tone on both ers were immortalizing their voices with which they respond to the mercurial jecting them into immense horns, my father tempo changes in the first Dance of Op. 72! sides, but also by the curious acoustics of the Saratoga Performing Arts Center, where the cherished his collection of several dozen 78. recording sessions were held in August of rpm acoustical twelve-inchers featuringthe cc voices of Caruso, Galli-Curci, and others, . Ill /alit r Ic 17c wcilare el-to-14'c l.Monn- last year. The ambiance around the orches- b.)the and regarded his library as quite extensive. /rhonicrccordin;;1' are indica/tri trais uncomfortably barnlike, and the solo .1m hol othcrc .are stereo piano, which emerges in closer perspective, wonder what he and his fellow -collectors 119 JULY 1969 would have made of this series from RCA! as Gonna Find Me a Bluebird and Love of Here on a single tape, in a welcome sequel excellent background playing and well-con- the Common People, which arenot exactly ceived arrangements, most of bliss Hilde- to Volume I, are more opera highlights than great songs in the first place and don't bene- you could store in the entire cabinet space of brand's songs sound atleastsuperficially fit much by the gee-willikers note in hisper- better than they really are. Her voice is a console Victrola, with some of the most formances. Perhaps a nice tape for Mom- pleas- spectacular singers of our own time at the ant, if not particularly distinctive. The good on second thought, make that Grandma. qualities-especially the nice, buzzy edge in top of their form, stereo to add opera -house P.R. realism, and never the scratch of a needle to her tone-might have beenmore attractively showcased in a program that included offend sensitive ears. The presentconcert, JAMES COTTON: Cut You Loose! James at least toeing a fine line between the popular and one or two familiar items. After all, a girl Cotton (vocals and harmonica); James Cot- who can assemble a program in which There's the overfamiliar, should be a boon especially ton Blues Band. Cut YEt Loose; Ain't No- to those who respond to opera's high points, a Coming Together is followed by And it body's Business; Set a Date; Slip pin' and lras Good can't be all bad. buttendtogetrestlesswaiting around Slidin'; Negative Ten -Four; and five others. Don IL through all the recitative and expositioon VANGUARDVGX 9283 $5.95. full-length recordings. Hereare nothing but KANGAROO: Kangaroo (vocals and in- the big moments-so many andso strong, in Performance: Subdued Cotton strumentals).Sucha Long Long Time; fact, that they almost cancel each otherout. Recording: Very good You're Trying to Be a lroman; Daydream But what a cast, as they say. Montserrat Ca- Stereo Quality: Very good Stallion; Make Some Room in Your Life; balle ignores all nuances of plot and lyrics Speed and Playing Time: 33/4 ips; 36'38" Frog Giggin';YOu Can't Do This to Me; and six others. MGM MGX 4586 $5.95. as she seizes the opportunity to vocalize spec- James Cotton is a former member of Muddy tacularly in an aria from Lucrezia Borgia, \Vaters' Chicago Blues Band, anda disciple Performance: Ordinary and later joins forces with Carlo Bergonzi of the great harmonica player SonnyBoy Recording: Clear and a richly recorded chorus for the popular Stereo Quality: Persistent Brindisi from La Traviata; Leontyne Price Speed and Playing Time: 33/4 ips; 39'32" and Richard Tucker are overwhelming inthe Misertre from II Trormore; Jon Vickers Standard is the word for thegroup that calls makes more than it deserves out of"Map- itself Kang.troo, three youngmen with regu- pari" from Martha; Renata Tebaldi isglor- lation -length long hair and a girl who sounds iousina five-minute tour de force from like Judy Collins or Joan Baez but isn't. This CavaFeria Rusticana; Jussi Bjoerling bowls is drums, guitar, bass, and some sort of key- you over with an excerpt from Verdi's board instrument, all soupedup to a hard - Masked Ball; Anna Moffo tossesoff the rock sound identical with that produced bya Jewel Song from Faust withno apparent dozen other groups. (Are they all reproduc- effort:Rise Stevens warbles to Mario del ing by some sort of parthenogenesis? There Monaco about how her heart throbs at the must be one combo like this for every teen- sound of his sweet voice; Jan Peerce is inim- ager in the land by this time.) On this pressive voice as he throws thepower of his tape they sing surly songs about love, stal- tenor into the intricacies of an extended aria lions, frog -hunting, and a restaurant called from the Tomb Scene in Lucia; CesareVal- "Tweed's Chicken Inn" (you can almosttaste letti delivers a segment from The Barber of the grease), mumbling the lyrics in incom- Seville with obvious relish. Tovary the pace, prehensible country -style drawlsso that it's impossibleto the editors have opened the show withthe understand anything-which late Fritz Reiner urging the ChicagoSym- may be a mercy. The parts that go into this phony through a power -packedtreatment of kind of product are interchangeable, and the the Overture to Don Giovanni, thrownin a whole is equal to less than the sum of them. startlinglyalive Leinsdorf-led March from To these ears, it simply adds up toa pouchful Tannh.-inser, and concluded witha thirteen - of oise. The tape comes complete with the minute all-star super -scene from Act II of ANNA MOFFO address of the Kangaroo Fan Club,an or- Puccini's last opera, Turandot. Unfortunate- A fine "Jewel Song" for anopera potpourri ganization I do not expect will be nominating me for an honorary membership. ly,thelastis snipped off rather abruptly, Williamson. Although he P. K. jolting the listener by a sudden and arbitrary isan energetic performer strongly rooted in the mainstream THE SOUND SYMPOSIUM: Paul Simon silence at the end of this thrill -packed musi- of rhythm-and-blues, he is unusually sub- cal roller -coaster ride. P. K. Interpreted. The Sound Symposium(in- dued here. Much of the time, in fact, isal- strumentals). The Sound of Silence; For lotted to his accompanying musicians, ENTERTAINMENT most Emily, Vherever I May Find Her; I Ama of whom areexcellent.Organist -pianist Rock; Mr.f. Robinson; Bookends; The 59th Wat Talbert and guitarist James Cookget PAT BOONE: Look Ahead.Pat Boone Street Bridge Song; and seven others. DOT most of the solos; if they do not yet possess DTC5871 57.95. (vocals); orchestra, Anita Kerrarr.and first-rate jazz voices, they speak with fire and cond. The Day after Forever; TooSoon to verve. Their work brings a jazz atmosphere Performance: Unobtrusive .know; More and More; Kaw-Liga;Love of to Recording: Good the Common People; Baby; the proceedings which is unusually in- IFeel Like tense for a blues outing. Don H. Stereo Quality: Well-balanced ;and five others. DOT DTX 5876 Speed and Playing Time: 71/2 ips; 30'53" $5.95. DIANE HILDEBRAND: Early Morning Simon is the composer half of Simon and Performance: Bland Blues and Greens. Diane Hildebrand (gui- Garfunkel, and what we have here is perhaps Recording: Good tar and vocals): various accompanying musi- a too reverential musical offering of his mel- Stereo Quality: Good cians.Early Morning Blues and Greens; odies by a group with a pleasantly plunky Speed and Playing Time: 33/4 ips; 30'44" The Reincarnationof Emmalina Stearns; approach and a taste for the Baroque rather You WonderII -byYou're Lonely; Come than the harrowing, aggressive Pat Boone has spent the last decade anda stanceas- Looking for Me; Given Time; and six oth- half maintaining his squeaky -clean sumed by so many of their competitors. In image, ers.ELEKTRA E EKX4031 $5.95. this collection are lodged instrumental and although the cover photographdoesn't com- show his feet, I have a sneaking suspicion Performance: Bland and easily forgotten ments on such favorites from Simon's free- flowing pen as Mrs. Robinson's theme from that he might be still walking aroundin Recording: Very good white buckskin shoes. This tape is Stereo Quality: Very good The Graduate, The .59th Street Bridge Song, another and the Scarborough Fair "canticle," with exercise in Boone's particularly blandand Speed and Playing Time: 33/4 ips; 31'07" unexciting approach to music,an approach its gentle Elizabethan ambiance. Attimes, Somebody at Elektra digs bliss Hildebrand. as in the number called Cloudy, these that has not changed much since thedays She has been allowed to record sym- of his first hit, Anastasia. Appearing a program of posiasts produce a sound unexpectedlymore a bit eleven originals, and onlyone-a wordless lost in the Anita Kerr arrangements,Boone French than fashionable, andIespecially old -world -sounding tune called Gideon-is liked them for that. A good tape for dancing. gives a lugubrious once-over to suchthings at all memorable. But given the benefit of P. K. 120 STEREO REVIEW By CRAIG STARK HI-FI COMPONENTS TAPE RECORDERS TAPES, ACCESSORIES SLEEP LEARN KITS TAPE HORIZONS MERITAPE LIVE VERSUS RECORDED SAVE MONEY Es are sometimes considered tobe the ''ears'' of a tape recorder. But such a comparison overlooks someimportant differences between LOWEST PRICES /IICROPHON SERVICE ;:rophones and ears, and, if pushed too far, willalmost certainly lead to un- INTEGRITY FRANCHISED DISTRIBUTORS isfactory recordings. For example, if you listen to a persontalking from about WRITE FOR OUR VERY LOW -cc feet away and then moveback about fifteen feet, you are not likely tohear thing PACKAGE QUOTATIONS yr pronounced change inthe quality of his voice. If you try the same Nationally Advertised Brands th a microphone, however, the result, whenplayed hack, is likely to be shock - Factory Sealed Cartons g. A voice recorded at fifteenfeetas opposed to three feet-willbe very thin, Woke FREE CATALOG d previously unnoticed room echoes and othernoises arc likely to lend a hollow, Visit Our Showrooms noying quality to the sound. philosophical questions about the DRESSNER This phenomenon raises both technical and 1523 G JERICHO TPKE. (ture of live vs. recorded sound. Inthe concert hall we might sit eightyfeet NEW HYDE PARK, N.Y more from the stage andenjoy the performance immensely; microphones so 11040 unlistenable recording. Traditionally, cated would probably produce an all but CIRCLE NO. 20 ON READER SERVICE CARD idiophiles have aimed at making recordings thatwould put the listener in ''the est seat in the house.- But whowould suppose that the best seat was one situ- :ed perhaps eight feet above the stage and sixfeet back from a solo performer- ne typical microphone location. Is the recordist's art, then, one of sonic conjuring,concerned with creating an BEAR HERE lusion of the ''real'' sound? If it were, thenobviously nothing could he more real'' than the original sound itself. Yet people whohave attended a concert and FOR THE UTMOST fterwards heard a good tape of it have been known tocomment that the recorded 'ersion actually sounded more -realistic.-And this should not be too surprising, 'or that complex of sound waves that embody thesound of the music is not the DISCOUNTS ame at any two points withinthe concert hall itself. physical location .1,s an abstraction ON NATIONALLY The ''best seat in the house'' is not so much a ADVERTISED _rented by mentally comparing the sound we do hear withthe sound our musical appreciation tells us we .r/ion/r/ hear. In those long -agodays of the 78 -rpm discs and the cactus needle, the listener quite unconsciouslyadded the missing musical HI-FI STEREO harmonics and filtered out the extraneous noise anddistortion, transforming the obviously low -fidelity sound waves into an experienceof the music itself. The \lYIPONENTS same process of mental translationfrom the immediately perceived to the inferred reality is involved when we say a person's voicesounds the same from across the All Merchandise Shipped PromptlyFullyInsured From room as it did close up. Our Warehouse. The fact, then, that no rule of thumb cancorrelate proper microphone placement with the sound perceived at anyspecific location in the hall does not make the product of the recording art inherentlyartificial. The recordist is concerned DOWNTOWN with conveying a realitythe music itselfand not simply with capturing the sound waves that appear at an arbitrary point in space.From the time that sound AUDIO, INC. enters the microphone, the recordist isprimarily involved in the attempt to pre- learning to place the microphones in such a way 17 WARREN ST. serve the original faithfully. But NEW YORK, N.Y.10007 that the waves they pick up lessen rather thanincrease the required mental 267-3670-1-2 transformation from perceived sound to musical experienceis an art born of pa- DEPT. S.R. tience and a great deal of critical listening. CIRCLE NO. 18 ON READER SERVICE CARD 121 JULY1969 STEREO REVIEWCLASSIFIEE

COMMERCIAL RATE: For firms or individuals offering commercial $9.00. Payment must accompany copy except when ads products or services. 904 per word (including name and address).Minimum on for 12 months paid in advance. are placed by accredited advertising agencies. Frequency discount: 5%for 6 months; it READER RATE: For individuals with a personal item to buy pany copy. or sell. 550 per word (including name and address). No minimum! Paymentmust acct GENERAL INFORMATION: First word in all ads set in bold caps at no extra charge. Additional words may be set in bold caps at 104 extraper wo All copy subject to publisher's approval. Closing Date: 1st of the2nd preceding month (for example, March issue closes January r'bmittance to: Hal Cymes, STEREO REVIEW, One Park Avenue, New York,New York 10016. 1st). Send order 2

EQUIPMENT FREE ELECTRONICS PARTS FLYER. Large cata- STEREO 78 Tapes, for your listening pleasu log$1.00deposit.BIGELOW ELECTRONICS, The great BANDS, VOCALISTS and GIANTS WRITE for quotation on any Hi-Fi components: BLUFFTON, OHIO 45817. the JAZZ and SWING ERA, in Modern Day Stet, Sound Reproduction Inc., 460 Central Avenue, JAPAN & HONG KONG DIRECTORY. Electronics, offering again, their great Hits of the '20s a East Orange. N.J. 07018. 201-673-0600. all merchandise. World trade information. $1.00 '30s. Also available in Mono and 8 Track C. HI -Fl Components, Tape Recorders, at guaran- today. Ippano Kaisha Ltd., Box 6266, Spokane, tridge. Sample Tape, lists and Collector's !tc teed "We Will Not Be Undersold" prices. 15 -day Washington 99207. record -only $5.80 postpaid. Available only frc money -back guarantee. Two year warranty. No JAZZ BAND HALL, 757-A 18th Avenue. S FREE Catalog low priced, high performance sub- Francisco, Calif. 94121. Catalog. Quotations Free. Hi -Fidelity Center, 239 miniature listening devices direct from manu- (HC) East 149th St., New York 10451. facturer. Dealers welcome. Emery R7, 156 Fifth RECORDING TAPE AT HONG KONG PRICE FREE! Send for money saving stereo catalog Avenue, New York, N.Y. 10010. 1200'longlifepolyester -7" reels.Absolu r.7:H7R and lowest quotations on your individual EXCITING lighting effects color organs. Write money back lifetime guarantee. $11.95 cloy component, tape recorder, or system require. N.E.L. Co., P.O. Box 186, Marseilles, III. 61341. postpaidUSA. Custom Record Developmer ments. Electronic Values,Inc., 200 West 20th Box 3-R, Mamaroneck, N.Y. 10543. St., N.Y., N.Y. 10011. ELECTRO VOICE PATRICIAN 4 -way corner 18 inch speaker system. Hand crafted oak cabinet. CLASSIC radio shows! For sale on tape. Rad KIT Experts-Dynaco Specialists -Kits at reason- The ultimateintonalperfection.Bestoffer. Ltd., P.O. Box 23, Ann Arbor. Mich. 48107. able prices are our specialty. Also custom wired Charles Hogg, Box 364, Lincoln, Kansas 67455. kits guaranteed to exceed factory standards at substantial savings. Beautiful handcrafted Wal- TWO EACH: JBL 375 Horn -Lens -drivers, RECORDS nut cases for complete Dynaco line, plus every- Stephens103LXWoofers.Total$810 -New, thing in audio. Kitcraft. Dept. HS -79, 248 Utica $385. James Carey, 48 Frances Dr., Seymour, HARD to find collector's LPs, like new. Lists 501 Avenue, 11216. Brooklyn, N.Y. MA 2-5230. Connecticut 06483. Records, Hillburn, New York 10931. TAPE recorders. Hi-Fi components. Sleep Learn- STROBES, COLOR ORGANS, THE INCREDIBLE "HARD To Get" records --all speeds. Recor ing Equipment tapes.Unusualvalues.Free STROBIT. See your music in dazzling light. Fac- Exchange, 842 Seventh Avenue, New York, N.1 catalog. Dressner, 1523R Jericho Turnpike, New tory prices. Save 25-50%. Catalog 254, refunded 10019. Hyde Park, N.Y. 11040. first order. Teletronics, Box 1266, South Lake Tahoe, CA 95705. UNBELIEVABLE Classicalrarities.Catalogu LOW, Low quotes: all components and record- FREE! M.I.T.M. 271 Autumn Avenue, Brooklyr ers. Hi Fi, Roslyn, Penna. 19001. TAPE AND RECORDERS N.Y. 11208. GOVERNMENT Surplus Receivers, Transmitters, Snooperscopes, Radios, Parts, Picture Catalog SPECIAL INTEREST RECORDS AVAILABLE, PRO 250. Meshna, Nahant, Mass. 01908. BEFORE RENTING Stereo Tapes try us. Postpaid DUCED BY THE EDITORS OF THE WORLD'$ both ways - no deposit - immediate delivery. LEADING SPECIAL INTEREST MAGAZINES DON'T THROW YOUR OLD CARTRIDGES AWAY. Quality - Dependability - Service - Satisfac- SEND FOR FREE CATALOG. RECORD CATALOG Send us $50.00 and any old used cartridge and tion -prevail here.Ifyou've been dissatisfied HF, ZIFF-DAVIS PUBLISHING COMPANY, ONE we will ship you via air prepaid anywhere any in the past, your initial order will prove this is PARK AVENUE, NEW YORK, N.Y. 10016. one of the following Top Stereo Cartridges; no idle boast. Free catalog. Gold Coast Tape Shure V-15 Type II.Empire 999VE, 10EMK II, Library, Box 2262, Palm Village Station, Hia- PROTECT YOUR LPs: Heavy poly sleevesfor Stanton 681EE. Write for lowest quotations all leah, Fla. 33012. jackets 54; poly lined paper sleeves 104; rounc stereo components. DEFA ELECTRONICS, 2207 bottom inner sleeves 31/24; white record jackets Broadway, New York, N.Y. 10024. HI -Fl Components, Tape Recorders, at guaran- 204. Min order $5.00. Record Supplies, Hillburn, teed "We Will Not Be Undersold" prices. 15 -day New York 10931. THE Price is Right! Hi-Fi Components. J. Wright money -back guarantee. Two-year warranty. No Co., 65-B Jensen St., East Brunswick, N.J. 08816. Catalog. Quotations Free. Hi -Fidelity Center, 239 CASH for your unwanted LP's, prerecorded tapes ACOUSTIC RESEARCH, Dyna, Koss, Shure dis- (HT) East 149th St., New York 10451. and cassettes. Reder, 81 Forshay Road, Monsey, counf specialists. Write for Free catalog. Stereo New York 10952. Component Systems Corp., 95 Vassar Street, TAPEMATES makes availableto you ALL 4 - Cambridge, Mass. 02139. TRACK STEREO TAPES -ALL LABELS -postpaid FREE 40 PAGE CATALOG offers hundreds of re- to your door -at tremendous savings. For free cordings. ofrareRenaissance,Baroque and NEW low prices on all stereo components and brochure write: TAPEMATES, 5727 W. -Jefferson Classical music. Some records priced as low as tape recorders. Write for our quote. Stereo Corp. Blvd., Los Angeles, California 90016. $1.00 each! All late recordings in Stereo only. of America, 2122 Utica Avenue, Brooklyn, New MHS RECORDS, Box 932 -HS, New York, New York 11234. CASSETTE blanks, also educational andlan- York 10023. guage, accessories and recorders. Literature - DON'T THROW YOUR OLD CARTRIDGE AWAY. Write CASSETTES UNLIMITED, P.O. Box 13119-S, FREE CATALOGS Broadcasts. Sound Tracks of Send $19.95 and any old cartridge. We will ship Pittsburgh. Pa. 15243. Thirties. ARG, 341 Cooper Station, New York PREPAID any one of the following top rated City 10003. elliptical diamond stereo cartridges NEW: Shure RENT 4 -track open reel tapes -all major labels- M75E, M91E, M92E, M93E, Empire 888E, Picker- 3,000 different -free brochure. Stereo-Parti, 55 COLLECTORS JOURNAL -valuable data. record ing V15AME3, XV15 ATE, ADE 660E, 550E. Write St. James Drive, Santa Rosa. California 95401. mart. Six issues -$1.50. RECORD RESEARCH, for lowest quotations allstereo components. SCOTCH RECORDING TAPE,lowest 65 Grand Ave., Brooklyn, N.Y. 11205. DEFA ELECTRONICS, 2207 Broadway, New York, prices. N.Y. 10024. TAPE CENTER, Box 4305,Washington,D.C. CLAUDIA discoVers Natural Music. An absolute- 20012. ly new adventure in music style accidentally QUOTES: STEREO COMPONENTS Foreign & Do- STEREO TAPES, Save 30% and up; no member- discovered. Buy this 12" LP Stereo album now mestic, Box 18026, Seattle, Washington 98118. ship or fees required; postpaid anywhere U.S.A. at your local record dealers, Record No. YA- BRITAIN'S leading mail audio specialists save Free 70 -page catalog. We discount batteries, 2000. Or send $4.77 (POSTPAID) to: YOUNG you up to 50% on leading brands. 100 page recorders, tape/cassettes. Beware of slogans, ARTISTS RECORD COMPANY, Box 20022, Minn. 55420. Record mailed same day check received. illustrated catalog $1.00 bill (Airpost $2). K.J. "not undersold," as the discount information Enterprises, 17 The Bridge, Wealdstone, Middle- you supply our competitor is invariably reported Money back Guarantee. sex, U.K. to the factory. SAXITONE, 1776 Columbia Road, OLDIES -45RPM -original hits.Over4000 N.W., Washington, D.C. 20009. available. C & S Record Sales, Box 197, Wamps- DIRECT from Europe, Dual, Miracord, Revox, ville, N.Y. 13163. Philips, Telefunken, etc. Send $2.00 for com- TAPE RECORDER SALE. Brand new nationally plete list, DET European Exports, Box A021621, advertised brands, $10.00 above cost. Amazing 75 Karlsruhe, Germany, Hauptpostlagernd. discounts on stereo components. Arkay Elec- TUBES tronics,1028-A Commonwealth Ave.,Boston, FOR SALE Mass. 02215. RECEIVING & INDUSTRIAL TUBES, TRANSIS- SCOTCH Recording Tapes. Wollensak Recorders. TORS, All Brands -Biggest Discounts. Techni Catalog 64. Tower, Lafayette Hill, Pa. 19444. cians, Hobbyists. Experimenters -Request FREE WHOLESALE components: Manufacturers and Giant Catalog and SAVE! ZALYTRON, 469 Jeri- distributors only. Request free catalog on busi- STEREO TAPES:CARTRIDGES, CASSETTES, cho Turnpike, Mineola, N.Y. 11501. ness letterhead. WESCOM, Box 2536, El Cajon. REELS, 33% DISCOUNT. California 92021. LARGEST SELEC- TIONS, UNAVAILABLE ELSEWHERE. MAIL 204 WANTED ELECTRONIC Bargains Diodes,Transistors, -CATALOGS. STAR RECORDINGS-ZD, BOX Tubes, Courses. Free Catalog -Immediate Ship- 1055, EL PASO, TEXAS 79946. QUICkSILVER, Platinum, Silver, Gold. Ores Ana ment. Cornell, 4215-H University, San Diego, TANDBERG 64$250. Calif. 92105. Cheatham,Box1654, lyzed.FreeCircular. Mercury Terminal, Nor- Norton AFB, Calif. 92409. (714) 883-6180. wood; Mass. 02062. 122 STEREO REVIEW Engineeringearned DEGREE inElectronics SPORTS ACTION FILMS mostly by correspondence.Free Brochure. Dept. of Engineering, 1505 N. . . Free Cata- 'HORS' SERVICES G-9. Grantham School California 90027. START YOUR OWN COLLECTION . Western Ave., Hollywood, log 8/Super 8 COLORACTION. SPORTLITE IORS! Learn how tohave your book pub - FILMS, Dept. SR, Box 500,Speedway, Indiana Free booklet "ZD," I, promoted, distributed. PRINTING 46224. ige, 120 West 31St., New York 10001. business FREE LITERATURE: Addresslabels, HYPNOTPSM cards, printing, RubberStamps. JORDAN'S, 552 Sleep Learning 3AZINES Ohio 45801. FREE Hypnotism, Self -Hypnosis, West O'Connor, Lin-va, Catalog! Drawer H400, Ruidoso,New Mexico DATE MAGAZINES! Sendneeds. Midtown, 07607. 88345. 117 -HS, Maywood, N.J. EMPLOYMENTINFORMATION HYPNOTIC Sleep Learning recordingsproduce 1936.44 ASR Foundation, IC MAGAZINE -Monthly since fabulous results. Details free. All phases. 3 monthtrial $1.00. Genii, FOREIGN and USA jobopportunities available Box 7021eg Henry ClayStation, Lexington, Ky. s. trades.Earningsto Box 36068, Los Angeles,CA 90036. now. Construction,all 40502. overtime, *ravel,bo- FEMALES! -Unnoticed! $3,000.00 monthly. PaidEmployment, Wood- HYPNOTIZE MALES, nuses.Write:Universal Quickly! Nerves! Exciting!$2.25. Research En- SINESS OPPORTUNITIES Woburn,Mass. bridge, Conn. 06525. terpri3es,29-SN21 Samoset , Earnto $1000 01801. ESTIGATE ACCIDENTS: thly. Men urgently needed.Car furnished. PERSONALS ness expenses paid.No selling. No college REMAILING SERVICE :ation necessary. Pick ownjob location. In - through interna- address SECRET. hour spare MAKE FRIENDS WORLDWIDEIllustrated brochure free. MAIL service --keep your 'gatefull time or earn to $8 tional correspondence. Executive, 7215 Bellefontaine,Kansas City, Mo. r. Write for FREEinformation. No obligation. Hermes, Berlin 11, Germany. tersal Schools. CZ -7, 68101Hillcrest, Dallas, 64132. 35 75205. PHOTOGRAPHY -FILM, EDUCATIONAL Little -Known Busi- EQUIPMENT, SERVICES .E BOOK "990 Successful, 345-G, Brooklyn, OPPORTUNITIES ses." Work home! Plymouth Strange Free Giant Catalog LEARN WHILE ASLEEP,Hypnotize! York 11218. SCIENCE Bargains -Request Box 24-ZD, -Astronomical Telescopes,Mi- catalog free. Autosuggestion, ADE $40,000.00 Year bymailorder! Helped "CJ" -148 pages Binoculars, Kits, Parts, War Olympia, Washington 98501. ors make money!Start with $10.00 - Free croscopes, Lenses, Scientific Co., 300 of. Torrey, Box 318-N,Ypsilanti, Michigan surplus bargains. Edmund Edscorp Bldg., Barrington,New Jersey 08007. MISCELLANEOUS 97. catalog of yeasts, Stop Looking! Start Your own only -"Childbirth" one WINEMAKERS. Free illustrated ILORDER . . MEDICAL FILM -Adults equipment. Semplex, Box12276, Minneapolis, 1416-F.D.,LafayetteHill, reel, 8mm $7.50, 16mm$14.95. International H, siness!Methods, New York 11548. Minn. 55412. insylvania 19444. Greenvale, Long Island, STEREO MORE THAN 250,000BUYERSof Ifyou care thoroughly each QUALITY COLORPROCESSING: REVIEW read these columnsCLASSIFIED pages for ,STRUCTION about your color film youought to know about month. They look to the catalog. Professional Color and services of interest to PCL. Send for free sources of products if your advertising ARN Electronics OrganServicing at home. All Laboratories, Dept. SR,Roselle, N.J. 07203. them. They'll buy from you Experimental kit- appears here regularly.For space in the next ekes, including transistors. Free Book- to:Hal .uble-shooting. Accredited NHSC, issuesforward copy and payment Stockton, Dept. A, GOVERNMENT SURPLUS Cymes, Classified AdvertisingManager. STEREO . Niles Bryant School, 3631 REVIEW, One Park Avenue,New York,N.Y. cramento, Calif. 95820. $53.90 . TrucksFrom JEEPS Typically From Airplanes, Multi - 10016. E.I.'s famous (5) week coursefor the First $78.40 ... Boats, Typewriters, ass Radio TelephoneLicense is the shortest, Transceivers, Electronics DELUXE nation. Over 98% meters, Oscilloscopes, Condition, 100,000 Bid ost effective course in the for 1st Equipment. Wide Variety, R.E.I. graduates pass F.C.C. exams Bargains Direct FromGovernment Nationwide. RECORD AND TAPECASES ass license. Total tuition$360.00. Job Place- and Surplus Catalog Radio Engineering Complete Sales Directory ent free. Write for brochure $1.00 (Deductible First$10.00 Order). Surplus PlusOm) cataloging forms corporated Schools, 1336Main Street, Sara- Michigan 49423. Road, Service, Box 820-L, Holland, ita,Florida 33577 -or 3123Gillham ansas City, Missouri 64109 -or809 Caroline Ireet, Fredericksburg, Virginia22401 -or 625 E. MOVIE FILMS 91205. Padded Plorado Street, Glendale, California Shorts, New, Used for back UPERIOR Auction School - nation'stop auc- 16mm SOUND Features, Cinema, 333 W. 57 East Cerrogordo, Sale. Free Catalog. National )neers own and instruct. 120 St., N.Y., N.Y. 10019. Dust ecatur, Illinois 62523. 7 proof ;--...-- . To i iII ORDER FORM Gold I CLASSIFIED ADVERTISING data concerning terms, embossed Pease refer to heading on first pageof this section for complete frequency discounts, closing dates, etc. -Or 4110k. Decorative and sturdy cases constructedof reinforced fiber 5 board and covered in rich leatheretteto keep your record 3 4 about and damaged. Availat 1 and tapes from getting tossed Resii 10 your choice offive decorator colors. Stereo 9 in themselves hanckomely 7 8 Record and Tape Cases lend 6 the decor of any room. Paddedback (in your color cho 15 in an exclusive designavailable oak 13 14 is gold tooled Cases. Sides are in s' 12 Stereo Review Record and Tape 11 them looking new after 19 20 and black leatherette to keep 18 stant use. Extra with eachrecord and tape case you 16 17 charge, a specially der,igner 25 you will receive, free of backing for aft 23 24 loging form with pressure sensitive 21 22 the side of the case.It enables you to list the 30 names and artists to help youlocate your albums 28 29 26 27 Record cases are available inthree sizes for 7", 35 Center divider separatesrecords 34 12"records. records in I 32 33 accessibility. holds an average of 20 31 in their orig @ $.55 Reader Rate ( nal jackets. Tape case holds 6 tapes ( $ -Ziff.Dayis Pub. Co. Dept. SD 1 Park Ace. N.T.. Words .90 Commercial Rate My remittance in the amount of S. be Quantity Isenclosedfor the Cases indicated Total Enclosed $ Tape Case at S4 ea , 3 for $11, 6 for SZ Insert time(s) 7" Record Case at S4 ea., 3 for S11. 6 ICI" Record Case at 54.25 ea., 3 for $ NAME - 12-' Record Case at $4.25 ea., 3 for' I ADD 51 00 PER ORDER FOR SHIPPING(side A ADDRESS m Check color choice for back of case STATE ZIP 0 Midnight Blue [2 Red CITY -jj Pine Green F Name SIGNATURE (New York) counts as one word Name of city (Des Moines) or of state IAddress WORD COUNT: Include name and address. if space does not permit.) Count (Publisher reserves right to omit Zip Code 35mm. COD. Slat each. Zip Code numbers not counted. letters as a word. Symbols such as II City initial, single figure or group of figures or SR -769 each abbreviation. PAYMENT MUST BE ENCLOSE/. Hyphenated words count as two words. PO, AC, etc.. count as one word. J

LILY 1969 STEREO REVIEWADVERTISERS'INDEX READER SERVICE NO. ADVERTISER PAGE READERSERVICE NO. ADVERTISER PAGE 1 ABC Records Corp. 2 Acoustic Research, Inc. 32 32JVC America. Inc. 3 Altec Lansing, Division of LTV Ling 43. 106 33 7 4 Altec, Inc. 89 Jensen Manufacturing Company Ampex Stereo Tape Division, AmpexCorp. 109 5 Audio Dynamics Corp. 23 Audio Unlimited, Inc. 101 34Kenwood Electronics, Inc. 6 Aztec Sound Corp. 115 35 King Karol Records 26, 27 117 16

36 7 Lafayette Radio Electronics Benjamin Electronic Sound Corp. 37 8 London Records 83 Beseler Co., Charles 55 84 9 91 Longines, Wittnauer Watch Co. Bosch Corporation, Robert 6 10 Bose Corporation 8 11 Bourns Euphonies 56 103 British 108 Minnesota Mining & Mfg., Co.(3M Co.) Industries -Garrard 38 McIntosh Laboratory Inc 118 2 111

63 41 Pickering & Company, Inc. Cadet Records 39 Carston Studios 82 Pioneer Electronics Corp. 3rd Cover 12 Citadel Record Club 114 15 13 Columbia Records 5 14 02RCA Victor Records Concord Electronics Corp. 81 40 24 Rabsons-57th Street, Inc. 78 42 Record Club of America 114 43 Rectilinear Research Corp. 11 15 Defa Electronics Corp. 64 Revox Corporation 47 16 Deutsche Grammophon (DGG) 117 44 Rheem Roberts 105 18 Downtown Audio 102 93 20Dressner 121 60 Dual 45 Sansui Electric Co., Ltd. 121 46 22 Dynaco,Inc. Sansui Electric Co., Ltd. 12 51 47 30 Schober Organ Co. 13 100 Scott Inc., H. H. 92 48 28, Sherwood Electronic Laboratories,Inc. 29. 45, 87 23 Eastman Kodak Company 49Shure Brothers, Inc. 41 19 Electro-Voice,Inc. 25 50 Sony Corporation of America 49 21 Empire Scientific Corp. 4th Cover 51 Sony/Superseope.Inc. 98. 99 24 Empire Scientific Corp. 53 52Sony/Superscope,Inc. 19 22 53Sony/Suoerscope,Inc. 85 54Sound Reproduction, Inc. 94 55 Stanton Magnetics, Inc. 115 25 Finney Company. The 26 17 Fisher Radio Company 33 110 65 Frazier Inc. . 2nd Cover, 1, 35 28 Harman-Kardon, Inc. 95 57Teac Corporation 29 Heath Company 21 Toujay Designs 31 30Hi -Fidelity Center 36, 37 108 31 Honeywell Photographic Products 116 113 59 uniClub,Inc. 60 United Audio Products. Inc. 14 Institute of High Fidelity, Inc. 51 97 61 Yamaha International Products Corp.(Audio Products) Classified Advertising 103 122,123

STEREO REVIEWPRODUCT INDEX 'n additional reader service,we list below, by classifications, 'ssue.If there is the products advertisedin a specific product youare shopping for, look for the pages indicated for the its listing and advertisements of manufacturerssupplying that equipment.

PAGE NUMBERS e40. CLASSIFICATION tee°O.s PAGE NUMBERS Vex 33 Receivers, Stereo 2nd Cover,1,7,12, \ 13.26.27, 36.37, 43 15,21,26-27, 28-29, 36-37,41. 83, 89, 98-99. 4th Cover 108 25, 91, 113 Records 17,22,49, 101, 3rd Cover Record and Tape Clubs 32, 78. 81, 84, 102 5,11, 111 14 'n0\d<1s Speakers and Speaker Systems 30, 36-37, 35 43,45.47,53. 56. 89, 95, 103. 106. 109. 117 75 10. 06*( 97 Tapes. 5ott- Prerecorded Tape, Recording . 23 36-37,87 Tape Recorders and Decks 94 14, Tuners, FM 19, 24, 31, 85, 93. 105 92 Turntables and Changers 26-27, 36.37 7 2, 43, 51,55 -1-9 4. 8 Watches l'1) 6

Printed in the U.S.A. STEREO REVIEW 0% MUSICPOWER

PHOTOGRAPH BY FRANZ ROBOT Words are inherently limited in stimulating of every instrument. With no loss of power. the emotions aroused by music. This is especially so That's what it takes for a cartridge to in descrhing how high fidelity components perform. recreate the most subtle nuances that With cartridges, for example, we speak of distinguish one musical instrument from flat frequency response, high compliance, another. An oboe from an English low mass, stereo separation. Words like these horn. A trumpet from a cornet. enlighten the technically minded. But they do We call this achievement "100% music power." little or nothing for those who seek When you play your records with an XV-15, you won't be only the sheer pleasure of listening. concerned with even that simple phrase. We kept both aspects in mind when Instead, you'll just feel and enjoy the renewed experience developing the XV-15 series of cartridges. of what high fidelity is really all about. We made the technical measurements. And we listened. PICKERING We listened especially for the ability of these cartridges to reproduce the entire range

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

CIRCLE NO. 41 ON READER SERVICE CARD .-- P ' . N I 1 N ,A 5 a WIENIM -1R1.II - Wwww.mm ,.11114 + JIM ,..,...... , . - --- -.45;CF%- '"%i; AMC-AIM.,. .E...N. --=orz.-i-- .=w__ .....

..... i ""Sii.r- ...r Mein-A1±. rird= emu. rms. ..AgaimammaamtsArarrArars=riramma is. = it=== -114; 1 ...FAIM.Alaumionw..min.1 g ..... ~A lwaRNINi 7- '`'W''" '00",=warm. __...,,,...ilMing =alsM,,,tx ..,., ate. 1.....1t.....101= , 77.7z I 7arrAiCaMITAWANN. rirAIS ."Tdirr imPITAIPIMIv=10111 MMus 1111,...... ,.....m...... ma...... msallaaaMMEIERUMIM.n.,1.'''M, i I11=0:=ZWAIINTIZee4=0.1..=va I ijff====i1MNIM=151==.1.11._Mial111Mminihumai.11111W IMPridnirlaigal=1101111.111NWMINIMM limwAIMIAllimor ANNEWININFN- -11//!=w 7/1/MBINIIIIINDiallIMENEIMININIONNWant. lel II i IfilfIllaINEMMIIMEMINIMMOMM 1115ONNWAINW ANNFININIAL.r -' iminrariormsna, wallow!UM zmIlMill(1=mM emin. manii111111m=====.1."1= =ima, irlerarsomFAlimmtrzilrI Momr.r. ammoa N in g Bow milamommumININIma IIMEMII Mirct'li*Ailli A16.16rdA= Alt21.-1111.0-eMMAIIMI=4VMM: a: Inia''"a-:. dovjoin.111111/AILWSaINII.IV7aWM,.....1111;===.111111 imM91101 - IP E -V FOURA E -V FIVEC E -V SEVENB 12" 3 -way $199.95 E -V EIGHT.A 10" 2 -way $99.95 8" 2 -way $66.50 6" 2 -way $47.00

Any similarity between these four pectroVoice bookshelf speakersystems is strictly scientific!

These four speaker systems share to design every speaker in their line from musical sensitivity to take full advantage 1 a surface beauty. But don't be mis- scratch, the way Electro-Voice does.But led. Underneath - where it counts of these unique laboratory facilities. - then, not everybody has a scientific com- When you select an E -V speaker sys- there are scores of important differences. puter that pre-tests hundreds of ideas on There have to be. tem - regardless of size or price- you paper to find the few good enough to can be certain it truly represents the state Because what's right for a small system build. of the art... and good value to boot. may be all wrong for a big one. And what works well in a 2 -way system may be And not everybody has a huge ane- Anything less would be a cop-out. poison for a 3 -way. (Even a little change, choic chamber (like the one above) to But don't take our word for it. Listen. prove the superiority of each design. Nor like just 1" more cabinet, can upsetthe Compare. The difference you see and design of every component inside.) the staggering array of test equipment hear is what high fidelity is all about. that goes with the chamber. Or- most Of course not everybody can afford ELECTRO-VOICE, INC.,Dept. 794F. important- the engineering talent and 616 Cecil Street, Buchanan, Michigan 49107

For name of nearest dealer, call TOLL -FREE:(800) 243-0355 ANY HOUR, ANY DAY. In Connecticut call collect: 853-3600

high fidelity systems tuners, amplifiers, receivers public address loudspeakers microphones phono needles and cartridges space and defense electronics giewermfecz A Su BSIDIARY OF GULTON IN.:USTRIES, INC. 19ON READER SERVICE CARD