A Christmas Audio Shopping List

In _this issue: a Christmas audio shopping list

THE MAGAZINE FOR MUSIC LISTENERS 60 CENTS

4 50% mere retailing time per reel

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NOW... a truly professional quality for EVERY sound recording need and EVERY recording budget!

-PLASTIC -BASE AUDIOTAPE, 11/2-mil on cellulose acetate, SUPER -THIN AUDIOTAPE on 1/2 -mil "Mylar" gives you twice meets the most exacting requirements of the professional, as much recording time per reel as standard plastic base educational and home recordist to excellent advantage, providing tape. 1200 ft on a 5" reel, 2400 ft on a 7" reel. Suitable for extended unsurpassed recording quality at minimum cost. This is the standard play applications where tape tension is not excessive. Series 31, in Audiotape, which has already been sold in billions of feet. Series 51, the yellow box. in the red and black box. * * * These five types of Audiotape differ only. in base material, tape AUDIOTAPE ON 11/2 -MIL MYLAR* is a premium -quality thickness and footage per reel. Whatever type best meets your tape that provides the utmost in mechanical strength and particular immunity to extremes of temperature and humidity. Assures freedom requirements, you can be sure that there's no finer from breaking or stretching under stresses of super -fast rewind, recording tape made anywhere, at any price. That's because instant stops and starts or poorly adjusted clutches. Will not dry there's only one Audiotape quality - the very finest that can out or embrittle with age, even under unfavorable storage conditions. be produced. Its fidelity of reproduction and consistent, uni- Series 71, in the De Pont reed. green box. Me,t re, ee,r.".' rem form quality have made it the first choice of critical professiona I recordists the world over. Now amateur and home recordists TYPE LR AUDIOTAPE on 1 -mil "Mylar" gives you 50% more can get this same professional -quality Audiotape at no extra recording and playback time - eliminates reel changes and cost. There's no need to go elsewhere or accept substitutes. You permits uninterrupted recording of program material that exceeds can meet all your requirements with genuine Audiotape. For conventional reel capacity by up to 50%. The 1 -mil "Mylar" base the complete story on all 5 types, ask your Dealer for a copy is actually stronger at high humidity than the standard 11/2-mil of the new, 5 -color Audiotape Bulletin No. 250. write to plastic base, assuring long tape life even under unfavorable condi- Or Audio Devices, Inc., Dept. H tions of use or storage. Series 61, in the black and red box.

PLASTIC -BASE LR AUDIOTAPE provides 50% more recording and playback time per reel, on a low -cost 1 -mil cellulose AUDIO DEVICES, Inc. acetate base. Hence it affords maximum economy for -play extended 444 MADISON AVE., NEW YORK 22, N. Y. applications where high mechanical strength is not required. Series IN HOLLYWOOD: 1006 N. Fairfax Ave. IN CHICAGO: 6571 N. Olmsted Ave. 41, in the blue box. Export Dept.: 13 East 40th St., New York 16, N. Y, Cables "ARLAB" High Jidelitq

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

This Issue. This magazine is now five Volume 6 Number 12 December i 956 years old going on six (our birthday comes in midsummer, when no one notices insti- tutional birthdays), and has grown rather Noted With Interest 4 fantastically, along with the public, the art, and the industry it serves. Change On The Counter 14 is not to be regretted (and it cannot be fought), but it poses editorial problems. Letters 21 Record reviewers nowadays, for instance, take note of a record's sound chiefly when it is not good. Sonic merit is almost uni- AUTHORitatively Speaking 37 form today; most of 1956's LPs would have seemed aural marvels in 1951. Audio Books in Review 39 equipment, too, has changed for the better, however gradually, and the criteria whereby Editorial: The Mozart Year, by C. G. Burke 53 it is judged - by customer as well as by professional tester - have altered also. Opera Taped Where It Grew, by Max de Schauensee 54 When HIGH FIDELITY, Vol. 1, No. s, came Bohème in Milan; The Barber in Florence. out, at least one major audio distributor still was offering "complete high fidelity" A Jewel In A Plastic Trough, by J. Gordon Holt 58 rigs, including tuners, for less than $150. First in a series reconsidering high -fidelity criteria. The dollar was worth more then than now, of course, but not that much more. The The First - Stereophonic - Noel 6o fact is, what was considered adequate "be- A photographic feature. ginner's fi" then would not now be thought acceptable at all. The equipment consisted He Who Lathes Best, by Fritz A. Kuttner 62 largely of modified public address com- in Scully. ponents, and sounded like it. Adequacy, Adventurers Sound: Lawrence J. 1956, comes higher in price. But it comes For Fi -Man's Christmas Stocking . 65 also lower in distortion. And even the The untutored now have become particular on A Yuletide list of presents for audiophiles. this score. Hence a series we begin this 69 issue, which could have been titled (but Music Makers, by Roland Gelatt isn't) How to Take a New Look at High Fidelity. It starts on page 58. Record Section 73 -119 Records in Review; Dialing Your Disks; Building Your Record Library. CHARLES FOWLER, Publisher R. D. 121 JOHN M. CONLY, Editor Tape Deck, by Darrell ROLAND GELATT, New York Editor Tested in the Home 131 J. GORDON HOLT, Technical Editor Altec 9oiB reproducer and 7ooB, 824A, and 826A speaker sys- ROY LINDSTROM, Art Director tems; Components Professional Junior turntable; RCA SorSr Biaxial speaker; Fisher transistor preamplifier; Gibson Girl Assistant Editors Semi -Pro tape splicer; Heath SS -rB range extending speaker kit; MIRIAM D. MANNING; JOAN GRIFFITHS Fisher 2oA amplifier; General Apparatus Van -Amp crossover. Manager, Book Division FRANCES A. NEWBURY Tested -in- the -Home Index 140 Contributing Editors Trader's Marketplace 151 C. G. BURKE R. D. DARRELL Audio Forum JAMES HINTON, JR. 153 MARSH ROBERT CHARLES General Index of HIGH FIDELITY Magazine, 1956 158 WARREN B. SYER, Business Manager ARTHUR J. GRIFFIN, Circulation Professional Directory 16o Manager Advertising Index 163 Advertising Main Office - Claire Eddings, The Publish- High Fidelity Magazine is published monthly by Audiocom. Inc., at Great Barrington, Mass. ing House, Great Barrington, Mass. Tele- Telephone: Great Barrington 1300. Editorial, publication, and circulation offices at: The Publish- phone: Great Barrington 1300. ing House, Great Barrington, Mass. Subscriptions: $6:00 per year in the United States and Michalove, Room 600, Canada. Single copies: 60 cents each. Editorial contributions will be welcomed by the editor. New York - Fred C. will be arranged prior to publication. Unsolicited manuscripts 6 East 39th St. Telephone: MUrray Hill 5 -6332. Payment for articles accepted should be accompanied by return postage. Entered as second -class matter April 27, 1951 at the Chicago --John R. Rutherford & Associates, post office at Great Barrington, Mass., under the act of March 3, 1879. Additional entry at the Inc.. 230 East Ohio St. Telephone: Whitehall post office, Pittsfield, Mass. Member Audit Bureau of Circulation. Printed in the U. S. A. by 4 -6715. the Ben Franklin Press, Pittsfield, Mass. Copyright 1956 by Audiocom, Inc. The cover design magazine are fully protected by copyrights and must not be repro- Los Angeles - Brand & Brand, Inc., 6314 and contents of High Fidelity San Vicente Blvd. Telephone: Webster 8 -3971. duced In any manner.

DECEMBER 1956 3 Briggs at Carnegie

*Listening Quality As he did in 1955, G. A. Briggs of Wharfedale Loudspeakers gave a concert on October 3 of "live and re- GRAY opens new frontiers in SOUND with corded music" in Carnegie Hall. Ir was a well -worthwhile evening for the 2,500 enthusiasts who attended and The DYNAMIC RANGE AMPLIFIER though some may have been uncertain as to how well recorded sound fared in the tests, no one could help ad- Here is an Ampli- miring Mr. Briggs for his courage in fier that REALLY undertaking again so sizable a project. Mr. Briggs was assisted by sun- passes the LC) TEST dry recordings and by live performances by E. Power Biggs, ' LISTENING QUALITY Morton Gould with a percussion ensemble Like the American cars which included the tap dancer Danny of 1956 the Gray Dy- Daniels, and Teicher and Ferrante, namic Range Amplifi- duo -pianists. er has reserve power It is perhaps unfortunate that a when you need it. good many people in the audience Make sure your Sys- came with the expectation that they tem has "AUDORAM- would hear, for example, Haydn's IC SOUND ". Concerto for Trumpet and Orchestra so reproduced that they could close their eyes and be unable to tell if 1. 50 Watts of Power with less than 1% I.M. distortion. it were reproduced or live. The possibility of such an achievement is, as 2. Exceptional Stability for both High and Low frequency a matter of fact, remotely conceivable operation is assured through use of a newly created circuit and a Dynaco output transformer. -but to expect it of the equipment used by Mr. Briggs, and in Carnegie 3. Transients controlled through critical damping prevent Hall, is little short of ridiculous. oscillatory surges from pulse type signals. What is remarkable about the demon- 4. Full frequency fidelity from 6 to 100,000 cycles, response stration is that it came as close as it outside audio band is smooth and controlled. did to this ultimate achievement. 5. Circuitry has extremely wide band -pass characteristics to Mr. Briggs used three Wharfedale prevent square wave distortion. corner systems most of the time; on 6. With 100 Watts of Peak Power, distortion due to over- some occasions (guitar solo, for ex- loading is Dynamically prevented. ample) he switched to a pair of bookshelf -size speakers. We sat in a box Gray also manufactures the famous viscous damped in the first balcony - goodness knows Tone Arm and Turntable, available at your local how many feet from the stage. From Gray high fidelity dealer -or write direct for com- this position, there was little doubt plete descriptive literature. which was which in the live versus recorded comparisons. The reproduced sound, in general, did not have RESEARCH G and Development Co., Inc. the bigness of the original. To de- Manchester, Conn. scribe precisely the difference is most EXPORT DIVISION: Rode Internat,onol Corp., 13 E. 40th St., New York 16, N. Y. difficult; "bigness" is perhaps as good Cable: ARLAB a word as any because it can mean SUBSIDIARY OF THE GRAY MANUFACTURING COMPANY Continued on page 8

} HIGH FIDELITY MAGAZINE 1. Advanced Audio Design. The exclusive patented McIn- tosh circuit is world- renowned for virtually perfect amplification.

PERFORMANCE PROVES 2. Purity of Signal. Low Harmonic distortion of 1/2 of 1%, even at full rated output, from 20 to 20,000 c.p.s., and 1/2 of 1% Intermodulation assures no lost, distorted or McINTOSH OUTCLASSES intermixed tones. 3. Adequate Power Reserve. 60 watts continuous, 120 EVERY EXISTING AMPLIFIER watts peak to meet the power demands of natural sounds under any room conditions. 4. Great Stability contributes clean bass characteristic, no ON EVERY SCORE oscillation problem, long dependable life even under adverse operating conditions. 5. Highest Efficiency for less heat dissipation and less power consumption for greater output. 6. Matchless Performance guaranteed for your protection of quality sound.

Send for free booklet "Lost Instruments" and complete specifications llt1nfosh LABORATORY, INC. 322 Water Street, Binghamton, N. Y. Export Division: 25 Warren St., New York 7, N. Y. Cable: SIMONTRICE N. Y. NOTED WITH INTEREST Continued front page 4

There's a prestige and thrill in several things, in several dimensions. owning a Rondine! But The reproduced sound did not have remember too - you purchase a the depth, the apparent dynamic range, nor the breadth of the original. Rondine with peace of mind .. . On the other hand, the similarity was assured the one shipped to you remarkable. We had the silly feeling performs like the one at your that if the speakers would just take dealer ... assured it will be one good deep breath to expand their quiet for keeps! chests, everything would be wonder- Admire its colorful styling .. ful. Remember: this is our impression from then look it over closely. Lift the the balcony, from almost as far away as it was possible to get. turntable free of the well, and One of the people sharing the box listen for the "pop" that tells s' ith us said with considerable con - you here is the ultimate in fiction that he could do better at machining and self- lubrication home. Of course. That is exactly the for lifelong balanced rotation. point, and an important one. Mr. Briggs used three "domestic" Underneath is a motor so smooth speaker systems. Each one is more ... soundless . you'll not find or less capable of handling a large

its equal in other turntables ! living room. Three of them should handle three living rooms. And that is about what they would have had to ope with if Mr. Briggs had turned

I hem around, faced them into the h.tck of the stage, and dropped the u[rain. Instead, he aimed them into the cavernous maw of Carnegie Hall, populated with close to 3,000 highly sound -absorptive objects. If these factors are kept in mind, then Mr. Briggs's efforts were a grand success simply as a demonstration of how close home systems can come to concert hall sound even in a concert hall. To find out how important the factor of proximity might be, we went downstairs and sat much closer to the speakers. The difference between live and reproduced sound was still noticeable, but not as pronounced as in the balcony. The smoothness with which the evening's entertainment proceeded was indeed remarkable. Mr. Briggs opened bes! of all... there's a with a delightful short talk about the Rondine for every budget! objectives of the evening and then Rondthe 1r.- 2-Speed $59.95 proceeded to put on a series of nine- Rondina -3 -Speed $84.95 teen short selections. Columbia had Rondin-a Deluxe -3 -Speed hysteresis made rape recordings ( last July, to synchronous motor ...... $129.95 Ix exact ) of the duo- pianists Teicher rightly h:pher west of Roekies and Ferrante, who reappeared on this evening to alternate with the tapes. The timing and synchronization was See yocr dealer. Write for Catalog and FREE strobe disc nothing short of remarkable! K -O -KUT COMPANY, INC. An even more difficult live -to- 38 -01 Queens Blvd., Long Island City 1, N. Y. recorded comparison was made by

EXPORT; Morhan Exporting Corp., 458 Broadway, N. Y. 13, N. Y. Morton Gould with a group of per- CANADA: Atlas Radio Corp., 50 Wingold Ave., Toronto 10, Ontario cussionists and the tap dancer. This is one selection in which the sound background walnut Weldwood was so good and the switching done

5 HIGH FIDELITY MAGAZINE so rapidly and so fluently that which was live and which reproduced be- Qigt Otit,lutt0ta knight Hi-Fi came almost impossible to tell. VERY FINEST FOR LESS: Many are due words of thanks and THE are built to ALLIED's public acknowledgment for their ef- Knight Custom components own special high standards to deliver outstanding forts. In addition to Mr. Briggs, musical quality with distinguished appearance Harold Leak and E. Power Biggs at money- saving minimum cost. Each unit is gave short talks; behind the scenes unconditionally guaranteed for one full year. were the staffs of British Industries ( importers of Wharfedale, Leak, and Top Value knight Hi -Fi Components Garrard products) and, last but defi- the Columbia engi- nitely not least, ONLY ONLY neers who produced the remarkable $9950 tapes. $9450

Klipsch at Bushnell Deluxe 24-Watt Amplifier. "Space- Saver" Deluxe Basic FM -AM Tuner. Matches De- 40,000 Luxe amplifier; AFC; tuning meter; tuned not design; response, t 0.75 db, 20- October, this year, was the month cps; 12- position compensation; variable RF on FM and AM; FM discriminator; only of high -fidelity exhibits but also damping; loudness control; rumble filter; 2 cathode followers; exceptional sensitiv- input; hum balance. U.L. Ap- ity. FCC Approved Radiation; U.L. Ap- of hi -fi demonstrations. G. A. Briggs, tape head proved. Shpg. wt., 30 lbs. Net $94.50 proved. Shpg. wt., 17 lbs. Net .. $99.50 of Wharfedale, rook over Carnegie Hall in New York City on October ONLY ONLY 3; six days later Paul Klipsch, in conjunction with Gray Research and $645° s145o Development Co. and the Audio Workshop of West Hartford, Conn., filled nearly every seat in Hartford's "Bantam" 12 -Watt Amplifier. Response. "Bantam" Basic FM -AM Tuner. Matches AFC; FM limiter Memorial Hall. Although ± 0.5 db, 20- 20,000 cps; 3- position com- "Bantam" Amplifier; Bushnell pensation; variable damping; loudness and discriminator; output level control; one's first reaction to Bushnell is that control; built -in preamp; tape head input; RF stage; high sensitivity; temperature - FCC Approved it is considerably smaller than Car- 7 inputs; "Space- Saver" design. U.L. Ap- compensated oscillator. proved. Shpg. wt., 18 lbs. Net $64.50 Radiation; U.L. App. 13 lbs. Net.. $74.50 negie, that is an illusion. It does not have the great height of Carnegie, it compared to 2,76o but seats 3,277 ONLY for the New York hall. Mainstay of the evening's enter- $10495 tainment was Paul Klipsch, who rode through a number of "technical dif- with good humor and a ficulties" "Uni -Fi" Tuner -Amplifier Combination. quick wit which delighted the audi- Single chassis construction; complete FM- ence. But by no means in a secondary AM Tuner, Preamplifier and Amplifier all in one; compact. 4 % x 15 x 10W; 10 -watt role was the Hartford Symphony Or- amplifier has every advanced feature; chestra under Fritz Mahler; the even- FCC Radiation Approved. ing was a fine demonstration of the "Uni -Fi" chassis only. 17 lbs. Net . $104.95 LOW -COST knight PHONO SYSTEM -Fi" complete in "Space- Saver" cab- ONLY orchestra's excellent ability ... and "Uni in a fine Hi -Fi inet. 21 lbs. Net $109.95 Top value most of the evening, it was live music. music system. You save 17450 of individual After a fine Egmont Overture, by $18.32 over cost ONLY components. No cabinets required. In- the orchestra, a disk recording of cludes Knight "Bantam" amplifier; E -V Danse Macabre seemed a trifle weak $4459 Baronet Speaker System (specify limed Webcor 1632 - by comparison. A oak or mahogany finish); and out of balance 27A Changer with G.E. RPX -050A Tri- planned FM broadcast relay did not ple Play Cartridge (dual sapphire styli). materialize because of technical prob- Preamp -Equalizer. Lowest -cost Easy installation. Shpg. wt., 67 lbs. self- powered preamplifier. 3- 94 PA 600. Complete System.... $174.50 lems, much to the concern of Mr. position compensation; rumble Klipsch and the amusement of the switch; loudness switch; t 1 db, audience. 30- 30,000 cps. U.L. Approved. Shpg. wt., 8 lbs. Net .. $44.50 The stereo -taped versus live per- ALLIED RADIO PRICES NET, F.O.B. CHICAGO formance of parts of Britten's Young ALL Amer,ca's H, -F, Center Person's Guide was exciting if much ALLIED RADIO CORP., Dept. 49 -M-6 too short for the tastes of most people. FREE 100 N. Western Ave., Chicago 80, III. The orchestra went through it all, first; ALLIED'S 1957 Ship the following KNIGHT Hi -Fi equipment_._ then it was AB'd and A B'd 356 -PAGE CATALOG - - S enclosed by a pair of Klipschorns, and it ap- Send for this value - Send FREE 356 -page ALLIED 1957 Catalog peared as if the reproduced sound pocked catalog fea- might well have been a surprisingly turing the world's largest selection of Name - close facsimile. But ... there was too Hi -Fi components and systems, os well Address as everything in Electronics. C,tv_ _ Zone State Continued on page 12 Write for your copy today. t.

DECEMBER 1956 9 GREAT NEW COMPONENTS FRODI... H

Sculpture and paintings courtesy Museum of Fine Arts, Boston. Accessories courtesy Talisman Shop, Boston.

AM -FM STEREOPHONIC TUNER (MODEL 3308) Most advanced tuner ever produced, its features will keep it current for years to come. FM Section: Same features as 31IB FM tuner shown at right. AM Section: Unique AM circuitry lets you hear audio frequencies beyond 10 kc, an octave above what has heretofore been practical New AM detector design is completely distorfionless Sensitive signal strength indicator Completely separate FM and AM sections for stereophonic operation 3 position AM selector switch for optimum reception under any signal conditions 10 kc whistle filter Tape recorder, multiplex and stereo outputs Both fast and vernier tuning. $199.95 FM Tuner (MODEL 3111) Rated tops by leading high fidelity publi- ACCESSORY CABINET PRICES: DIMENSIONS IN WOOD CABINET: cations.. Features include Wide band Traditional or blond mahogany circuit designs far highly s&ective drift -free (all models) ... $19.95 213E, 99C, 330)3, 331B 15% x 5x 12;4 Leather -finished plastic covered metal performance Sensitivity 3 microvolts for (all models) ... $9.95 31113, 121C, 310B ... 131,¡ x 5 x 9). 20 db quieting Signal strength and tuning meter for precision tuning on weak stations Separate !ape and multiplex All Tuners Meet FCC Radiation Specifications. All Prkes Slightly Higher West of Rockies. outputs Automatic gain control makes manual adjustment of sensitivity unneces- send for H. H. Scott sary. $119.95 catalog HF -12 FREE just off the press! Now everyone in your family can operate your high fidelity system! All they do is set controls on the Green Dots ... adjust volume .. , and play. All important operating features are retained ... H. H. Scott no controls have been eliminated. But Scott designers have labeled all controls so your high fidelity system is easier to operate than introduces your TV set. You'll find components from the H. H. Scott a new Laboratories offer you versatility, exclusive features, and new engineering innovations found nowhere else. If you want to hear truly professional EASIER equipment, designed for you and your family, ask your H. H. Scott dealer for a demonstration. way to operate your hi if system

Just set controls to the green s'THE 99" ( MODEL 99C COMPLETE AMPLIFIER ) dots 22 WATT CONTROL & POWER CENTER

Green Dot controls 2 magnetic Inputs 5 position and record compensator that includes special tape curve Separate in -out switches for scratch and rumble so even old 78 records sound good Loudness control for perfect sound at any PLAY! volume setting 2 tape outputs, one for recording, one for monitoring Separate bass and treble tone controls ....""...."..)Output connections for any speaker Impedance Frequency Response: Flat 20 cps - 30 kc. Harmonic distortion less than 0.8% First -order difference -tone inter-madulatlion distortion less than 0.3% Hum Level: 80 db below full output. $99.95

H. H. SCOTT, IINC., 385 Putnam Ave., Cambridge, Mass., Export Dept.: Toluca International Corp., 270 Park Ave., N. Y. 17 NOTED WITH INTEREST

Continued from page 9 little of it, and while A + B can be dramatic, it makes a comparison difficult. Once again, we were impressed by two things: the courage of Klipsch, Gray, and Audio Workshop in undertaking so large an experiment, and for that alone all deserve a most hearty commendation, with lots of urging to do it again on, if necessary, a smaller scale and with perhaps a bit more time given to the reproduction of sound. Our second impression, which we have never had before, was of the small size of a Klipschorn! That two of them, pushed to the sides of the stage, should be expected to be the equal of the seventy -odd members of Which pickup is best? The ESL, reports The the orchestra, seemed ridiculous. How Audio League. After impartially testing nine- does one K -horn compare in size with teen leading cartridges, this authoritative report one bass viol, for example? Or look concludes: at the size of one of Klipsch's mid- range squawkers, as he calls them. "...The ESL Professional and Concert Series cartridges are by And compare the relative size of the instruments it is supposed to repro- far the finest phonograph reproducing instruments ive have heard." duce! "In A -B comparisons with its closest competitors, even persons who had never previously been exposed to high fidelity reproduction were struck Whose Pictures?

by the superior definition of the ESL." We sent out a questionnaire to a small sample of our readers several "For sheer naturalness and undistorted ease, the ESL has no peer."* months ago, asking for descriptions Give the best for Christmas: give the ESL. Your own ears and of equipment owned. One reader was kind enough to send us photographs records deserve this superlative electrodynamic cartridge, too. to supplement his answers and asked Join the professionals- switch to ESL. Free information that the pictures be returned. Unfor- upon request. tunately, there was no return address on the questionnaire nor on the pictures. We have been holding on to FOR L I S T E N I N G AT ITS B E S T them for some time with the thought that we would get a strong letter sug- Electro -Sonic Laboratories, Inc. gesting that we were the essence of rudeness for not returning the photo- City 6, N.Y. Dept. H 35-54 Thirty -sixth Street Long Island graphs. That would have cleared up the problem quickly, and simply. But "Audiomaniac," as he signed himself, is a gentleman and no letter has been

*Authorized quotation No. çq. Please consult Tite Audio League Report, forthcoming. Vol. t, No. 6 -7 (March -April tgçç) for the complete technical and So, on the chance that he may see subjective report. Additional information in Vol. t, Nos. to & t z. this item, would he please step for- Mt. Vernon, N. Y. Subscription: 11 issues $q, from P. 0. Box 162, ward and identify himself. Pictures are 21/4 X 21/4 and show a fine array of equipment including a Klipschorn, television chassis with Garrard changer below, and a Scott 121 above. Also a neatly housed Concertone tape recorder - and a fine looking test bench around the corner and to the left of the television set. * fi**********

I2 HIGH FIDELITY MAGAZINE High FideJjt.Y °",is °r Gr omj That Econ,,ecaj Step at a glecZrokz, SPEAKER

Hear the difference Electro -Voice `Listeneering' makes in your enjoyment of high-fidelity music - before you spend a dime! Unique E -V Speaker Systems Selector lets you listen to the improvement as you dial from a single speaker to a multi- speaker system. You hear in advance how each new speaker component enhances the illusion of musical reality! Electro -Voice Building Block Plan lets you improve your basic system a step at a time, fitting your purchases to your budget. Here's just one example:

Model SP12B Coaxial Loud- speaker Only Net $33.00 Loudspeaker and Aristocrat En- REMEMBER, the Aristocrat cabinet is closure: pre -cut and fitted for each new Mahogany..... Total Net $102.00 speaker, each new crossover unit. Blonde Total Net 109.00 Walnut Total 112.80 Just bolt them in place in minutes. Net Or buy only the ready- to -assemble Aristocrat KD6 enclosure kit Net $39.00

Model SP12B Coaxial Loud- speaker PLUS Speaker Build- ing Block 1 Model T35B VHF Driver, Model AT37 Level START with the Electro -Voice Aristocrat corner folded-horn Control and Model X36 Cross- over Net $67.50 speaker enclosure (you'll get an extra octave of bass response) Components and Aristocrat En- and the E -V Model SP12B coaxial loudspeaker (frequency closure: response, 30 to 13,000 cps). Mahogany Total Net $136.50 Blonde Total Net 143.50 STEP UP your enjoyment by adding driver, crossover and level Walnut Total Net 147.30 control. Now you will hear silky highs, as you step up with Model T35B VHF driver, Model AT37 level control and Model X36 crossover. Prefer more mid -range response? Then step up with Model T10A HF driver with Model 8HD horn, Model SP12B Coaxial Loud- Model AT37 level control and Model X825 crossover. speaker PLUS Speaker Build- ing Block 3 Model T10A COMPLETE your integrated Electro -Voice reproducing system HF Driver with Model 8HD Horn, by adding all components listed to your basic coaxial speaker Model AT37 Level Control and Model X825 Crossover in the Aristocrat enclosure. Separate controls for the Brilliance Net $116.50 and Presence ranges compensate for room acoustics and indi- Components and Aristocrat En- vidual tastes. closure: Mahogany Total Net $185.50 Every step of the way, you'll be enjoying high fidelity with a Blonde Total Net 192.50 difference -the built-in difference that has made Electro- Walnut Total Net 196.30 Voice famous.

Model SP12B Coaxial Loud- speaker PLUS Additional Com- ponents in both Steps 2A and ELECTRO- VOICE, manufacturer of the most 2B. complete high -fidelity All Components Net $151.00 product range - Components and Aristocrat En- speakers, speaker enclosures, systems, closure: amplifiers, preamps, tuners, phono Mahogany Total Net $220.00 Blonde Total Net 227.00 cartridges. Do- It- Yourself enclosure kits gleciZroke Walnut Total Net 230.80 and microphones. Available everywhere. ELECTRO- VOICE, INC. BUCHANAN, MICHIGAN YOUR ELECTRO SEE -VOICE DEALER TODAY. CANADA: E -V of Canada Ltd., 1908 Avenue Road, Toronto, Ontario LOOK FOR THE E -V SYSTEMS SELECTOR. EXPORT: 13 East 40th Street, New York 16, U. S. A. Cables: ARLAB Even though our name is steeped in the tradition of NATIONAL has announced a new the high fidelity field, we speaker system measuring only 8 by would now like to introduce 14 by 9 in. Frequency response is said ourselves as the newest and to be essentially flat from 90 to 12,000 freshest face around. We cycles; available in several finishes; still hold tenaciously to our cost is $29.95. tradition, but a few new in- AMPEX has been creating quite a with con- gredients have been added. stir its stereophonic system sisting of a two -speed tape recorder which reproduces two -track stereo- Progressive styling for one phonic and records half- track, as well thing. Our styling depart- as playing back standard half- and full-track tapes. The system also in- ment was given full rein on cludes an AM -FM tuner, record these new models and what changer, two ro -watt amplifiers and has evolved is simply exhila- two speaker systems. Price is rating. A form that is freshly $1,470.00. Also announced are several alive, rich warm woods, fine basic tape recorders. The model Ai i2 finishing, extremely func - records and plays back half -track at tional-an incredibly hand- 33/4 and 71 ips. Price is $395.00. some line, indeed. The A r 2 r tape recorder is a stereophonic unit, the same as the one used in the big music system described first Engineering, too, was given in this item. Price of this model is the full treatment. Some old $495.00. hands in high fidelity cir- ELECTRO -VOICE is offering a special cuitry shut themselves in the on their model 857 equipment con- lab for months looking for sole. If you buy the preamplifier, amplifier, speaker enclosure, and loud- something new. One day speaker ( total cost $269.50) you'll they walked out of the lab get the $200 -value equipment console with some prototypes brim- for only $82.50 extra. The console ming over with new circuit looks pretty snazzy, by the way. ideas. We didn't feel that ROGERS of England has quite a we could keep them a secret series of amplifiers, all matching with for long, so we've used them a single preamplifier. The Oxford pre- in all of our new models. amplifier can be used with the Cam- bridge (r 5 watts) amplifier, the Ox- ford (25 watts) amplifier or the Eton, You will want to see and which is rated at 35 watts. Not room hear our new models when here for detailed specifications, but they start gracing the shelves they are all excellent. of our dealers. In the mean- METZNER has announced a Star- light transcription arm featuring time, we've reserved a bro- "double wrist action" head. Looks like you chure for giving full a very simple yet unusual arrangement, details on all of our new judging by the photograph. Price is tuners and amplifiers. Just under $25.00. drop us a note with your BOGEN has announced a whole cata- name and address and the logue! There are eight tuners, four word "brochure" to of which are basic units. Two tuners have built -in preamplifiers and two have both preamplifiers and amplifiers. There are also eight amplifiers ranging in power from ro to 7o watts. Add 'MrSARCGE1Ta' - RAYI I CO. to that a stereophonic tape playback unit and a series of transcription players and record players and you have a 4926 East 12th Street, Oakland 1, California Continued on page 16

14 HIGH FIDELITY MAGAZINE oiltalruiew

AM -FM The ideal second set. Choice of Mahogany, Pastel Green, Ivory.

AM -FM -SHORT WAVE 4 loudspeakers. In light Walnut cabinet only.

AM -FM -SHORT WAVE with Automatic Phonograph 4 loudspeakers. Choice of light or dark Walnut cabinet.

AM -FM -SHORT WAVE with Automatic Phonograph and Tape Recorder. 6 loudspeakers. Mahogany or AM -FM -SHORT WAVE with Automatic Phonograph light Walnut cabinet. A Symphony in elegant, modern design ... 5 loudspeakers .. natural Walnut finish. AM -FM ULTRA HIGH FIDELITY Music Instruments For The Home

%fie !,¡iQt . , , Here, from Europe's largest manufacturer of radios, are the most true -to -life, self -contained high fidelity units available today. With the magnificent Grundig Majestic, every sound from every instrument or AM -FM -SHORT WAVE with Automatic Phonograph voice is at the command of your fingertips -the low moans of an alto saxophone, and Tape Recorder. the rich,mellow a violin, tones of the soaring highs of the flute -all are 6 loudspeakers. Cabinet in reproduced with amazing brilliance and clarity. luxurious Pumice finish. Best of all, Grundig Majestic Hi -Fi is ready for concert hall performances immediately. No expensive, time -consuming installations, no complicated separate parts, but perfect life -like sound reception from a Continental- crafted furniture "Mystic Maestro" piece that will enhance your home with its timeless beauty. A Grundig Majestic Exclusive! Converts any room See, Hear the Incomparable Grundig- Majestic soon, into a concert hall by transmitting from $59.95 to $1,495, at Better Stores, Everywhere. middle and high frequencies throughout the room in equal values. Thë tones completely en- Write Chicago Office for Free Illustrated Brochure and Name of Nearest Dealer velop you, as perfectly true and clear as if the orchestra and con- MAJESTIC INTERNATIONAL CORPORATION ductor were right there with you. 743 N. La Salle St., Chicago 10, Illinois 79 Washington St., Brooklyn I, New York Truly, the ultimate fulfillment in 3D Stereophonic Sound! Subsidiary of WILCOX -GAY CORP.. Mfrs - of RECORDIO Magnetic Tape Recorders

DECEMBER z956 5 ON THE COUNTER even with moderate -priced speakers... Continued from page 14

full line to meet every requirement in all price ranges. SHERWOOD has announced a pair of matching cabinets. One houses the attain higher performance ratings Forester speaker system and the other serves as the equipment console. Each than any other speaker system! cabinet is 42 by 16 by 27 in. Finishes are either natural hand -rubbed walnut price of the KARLSON or dark mahogany; speaker system in cabinet is $239.00 TRANSDUCER KARLSON 8 KARLSON 12 KARLSON 15 and for the equipment cabinet, SPEAKER 8" Utah G81 12" Axiom 22 15" University 315 $ 149.50. BELL has announced the BT -76 tape PRESSURE 40 -12000 30 -15000 20 -15000 Covers complete range of sound recorder which features monaural re- FREQUENCY cps ±4db cps ±2db cps ±2db on records cording and playback as well as stereo- RESPONSE (high end limited by speaker performance only) today! phonic playback through staggered SPEAKER 20% above 30% above 33% above Provides maximum heads. The No. i head feeds into sock for given EFFICIENCY 40 cps 30 20 the recorder's self- contained power cps cps amplifier and speaker. amplifier and speaker; a cable is TRANSIENT -35db from -40db from -35db from Clean sound with- furnished for connection between 40 -1000 cps 30 -1000 cps 20 -1000 cps out blurring or RESPONSE 2 to the phono input hangover. No other the No. head (attenuation rate on after 10 miliseconds system meets these of a second power amplifier and interrupted steady performance ratings! Also announced was state signal) -45db from -50db from -45db from speaker system. 40 -1000 cps 30 -1000 cps 20 -1000 cps the 3 -DTG two -channel amplifier. By after 20 miliseconds a simple switch control, it is possible Attenuation rates above 1000 cps are in excess of these values. to use the two speaker systems as a Sound is uniform in stereophonic system or to use both for Minimum of 120° for el speakers regardless DISPERSION all parts of room. monaural reproduction. And finally: of tweeter design. Rids strident effect. a matching console cabinet is available HARMONIC Less than 10% Less than 5% Less than 5% Provides clean for the tape recorder. DISTORTION at 40 cps at 30 cps at 20 cps fundamental bass. ACOUSTIC RESEARCH has announced the AR -2 which is an 8 -ohm system having three times the effi- of the AR-i. Frequency re- These Karlson Ratings are the result of research ciency sponse is stated to be ± 5 db from on comparative performance of speaker systems. 42 to 14,000 cycles. Price is $96.00. They are not equalled by perform- GENERAL ELECTRIC has added to ances of any other enclosures tested its line of high -fidelity equipment a - nor do they represent the fullest high- frequency speaker ($17.95), a capabilities of Karlson 2 -way crossover network ($13.95), enclosures with still and a transistorized preamplifier finer speakers. ($21.95) . The crossover is for use with 8 -ohm speakers and has a nominal crossover frequency of 1,500 cycles. The transistorized preamplifier oper- millivolts and provides *new and basic enclosure ates from 8 either flat amplification for use with invention for improved microphones or .RIAA equalization for conversion of mechanical magnetic cartridges. Three input jacks vibrations into sound. match different input sensitivities. KARLSON CABINART now has a series of pre- TRANSDUCERS finished speaker kits, available in $18.60 to $174 net either Korina or mahogany hardwood Two modified corner horns AT YOUR DEALER OR veneers. 12 or 15 in. speakers. Then WRITE match there are a series of four Klipsch speaker systems: the KR4 -12, the KR4 -15, the KR3, and the Klipsch Rebel. Prices range from $25.95 to KARLSON ASSOCIATES INC. S72.00. Dept. HF, 1610 Neck Road. Brooklyn 29, N. Y. J 7.4s. 4s. 7

6 HIGH FIDELITY MAGAZINE SIR: Your editorial "How To Make Friends And Save Money" in the September issue of HIGH FIDELITY is one of the first acknowledgments by the industry press that there is much beyond watts output that determines the sales price of hi -fi components. You are to be congratulated. The realiza- tion that there are "hidden costs" which vary with the manufacturer, depending upon his manufacturing standards, and which can greatly affect a person's happiness with a product has been almost universally overlooked by writers in the {trade}... . This has made it possible for several manufacturers to concentrate on the appearance of hi -fi and still offer very little if any more actual DEDICATED to those discriminatin z perfection than obtainable from con- listeners who demand REproduction ventional mass production radio and of original nisi the KLIPSCHOR phonograph manufacturers. By cut- systen offers tfie ultimate in fidelit -. ting these "hidden costs," the lower KLIPSCHOR,N and priced product having all the super- SHORTHORN loudspeaker systems ficial appearance of true hi -fi mer- ae manufactured chandise but selling at less money only by their de- quickly earns a "best buy" rating... . signer, Paul 'W. of price which klipscb. Write far This degradation the OM latest literature. permits the kind of production care ® that differentiates true hi -fi from mass SNORTMORN produced merchandise, if continued, LOUDSPEAK SYSTEv will result in the forfeiting of this C ER HORN -? conventional producers at business to (DER.ATELY sized - moderately priced, tric a genuine loss to the public... . SHORTHORN system approaches tte KLIPSCHO The future of the hi -fi components ' system in fidelity of music REpredu :tan business lies in the difference in superior craftsmanship. The deep in- built perfection of product which should characterize hi -fi components can only be assured by manufacturers willing to shoulder many "hidden ex- penses" for which, to date, few have ever received any bouquets from the press. In the interests of the future of the hi -fi components business, your re- marks are among the first to be voiced that give value to some of those ex- penses that go to build a manufacturer's reputation but which he must pay for and which are bound to show up in the price of his product. Busi- Continued on page 28 A frank Altec Fidelity is statement of available at the high fidelity following stores: ALABAMA TANNER COMMUNICATIONS CO. 304 No. 26th Street Birmingham 3 MERPACO ELECTRONICS facts Mercantile Paper Division of Co. 138 -144 Commerce Street Montgomery 2 ARIZONA ELCO ELECTRICAL COMMUNICATIONS CO. 202 E. Fillmore The variety of claims, concepts and products offered to today's audiophile is Phoenix truly outstanding in both quantity and creditability. Many of the devices are a CALIFORNIA actually new. Many are merely representation of developments long since BAKERSFIELD AUDIO 6 ALARM DEVICES 2531 F Street (Westchester) discarded in commercial sound applications. Bakersfield THOS. TENNEY, MUSIC ON RECORDS Perhaps the most misused words in high fidelity today are "Professional" and 2984 College Avenue Berkeley 5 "Laboratory Standard." With few exceptions there are no professional ampli- CRAWFORD'S OF BEVERLY HILLS 456 North Rodeo Drive fiers available or practical for use in the home. The words "Laboratory Beverly Hills Standard" are meaningless without a definition of the laboratory and the GENE TAPIE HIGH FIDELITY MART 120 Broadway standards which they represent. A professional amplifier must have many Chico MEDICO ELECTRIC LABORATORIES costly facilities not needed in a high fidelity home system. A typical profes- 1111 E. Chevy Chase Dr. sional amplifier is the Altec 128A 30 watt Amplifier. Glendale S THE A. T. ANDERSON CO. 541 Elm Avenue Inglewood CALIFORNIA SOUND PRODUCTS, INC. 7264 Melrose Avenue Los Angeles 46 CRENSHAW HI -FI CENTER 107 Santa Barbara Plaza 128A Los Angeles 8 HENRY RADIO Professional 11240 West Olympic Blvd. Amplifier Los Angeles 64 RALKE COMPANY, INC. 829 South Flower Street Los Angeles 17 SANTA MONICA SOUND 12436 Santa Monica Blvd. West Los Angeles 25 CUSTOM AUDIO 2650 Avon Street Newport Beach DOW RADIO, INC. Its facilities include an expensive stepped gain control, complete tube testing 1759 E. Colorado Street Pasadena 4 facilities, an accurate plate current meter, circuit checking arrangements and HI -FI SHOP 3768 Orange a wide variety of impedances to fit its many professional applications. Its Riverside TOWER RECORD MART cost is $234; nearly twice that of a high fidelity amplifier of the same power. 16th and Broadway Sacramento Altec Lansing Corporation is the world's largest manufacturer of professional HOLLYWOOD HI -Fl SHOP 1839 "E" Street sound equipment. More than 60% of all motion picture theatres equipped for San Bernardino DAVID ARDEN ENTERPRISES stereophonic sound use Altec equipment. One third of the nation's large 4337 Fairmount and arenas are equipped with Altec Lansing public address systems. San Diego stadiums COMMUNICATIONS COMPANY More than 90% of the recording, motion picture and broadcast studios use 6so 6th Avenue San Diego 1 Altec microphones, consoles or loudspeakers. FRAZER 6 HANSEN LTD. A. B. Johnson 301 Clay Street San Francisco 11 HAL COX COMPANY 2598 Lombard Street San Francisco SAN FRANCISCO RADIO 6 SUPPLY CO. 1284 Market Street San Francisco 2 PACIFIC INSTALLATION CO. 1225 West San Carlos St. San Jose BOWER'S MUSIC 810 So. Gaffey Street San Pedro Altec Backstage LOWENSTEIN'S at Cinerama 1508 South Main Street Santa Ana D'ERRICO FIDELITY RADIO 3018 Wilshire Blvd. Santa Monica COLORADO LOU MORGAN MUSIC 326 Holly Street Denver 20 CONNECTICUT Altec Fidelity Is Highest Fidelity WATT & DECIBEL 8 Church Street Middletown RADIO SHACK CORP. OF CONNECTICUT 230 Crown Street New Haven 9356 Santa Monica Blvd., Beverly Hills, Calif. ALTE[ AUDIO WORKSHOP, INC. LANSING CORPORATION 1 South Main 161 Sixth Avenue, New York 13, N. Y. West Hartford

22 HIGH FIDELITY MAGAZINE The function of a loudspeaker enclosure is to load the loudspeaker cone in TEXAS (Continued) WRYE COMPANY LTD. such a manner as to assist its low frequency response and to take advantage 2410 W. Alabama of the sound power generated by the back -side of the speaker cone. Many of Houston 6 ANN'S SHOP, ELECTRONIC DEPT. the well engineered folded horn and tuned pipe enclosures achieve an excellent 107 S. Main Street Midland bass response, a bass response superior to that of a bass reflex enclosure. This WATSON AUDIO CO. 2401 Stadium Road excellent bass response, however, is achieved at the expense of the mid -range Port Arthur frequencies results in the ARTHUR GURWITZ HIGH FIDELITY SALES and often introduction of a pipe or "tubby" sound 1100 Broadway to the bass which is not inherent in the material to be reproduced. The best San Antonio HI -FI SHOP MUSIC SYSTEMS of these folded horn and tuned pipe enclosures provide good reproduction 3002 Broadway San Antonio up to 400 cycles, beyond that range the internal phasing of the horn or pipe SILVEY MUSIC COMPANY 1009 Donaldson Ave. creates serious interferences which result in extreme irregularities in frequency San Antonio response within the range which contains the basic pitches of the human voice SOUTHWEST RADIO & SOUND EQUIPMENT CO. 1518 N. St. Mary's Street and the majority of solo instruments. San Antonio 2 in the VIRGINIA These deficiencies mid -range are not readily discernible on full orches- CARVER FURNITURE COMPANY tration due to the mass of instruments with their hundreds of pitches and Blacksburg ELECTRONIC ENGINEERING CO., INC. harmonics. On voice and solo instruments, however, these mid -range problems 316 West Olney Road Norfolk 7 are easily noted by the thinness and lack of realism in the reproduction. CURTIS ELECTRONICS P. 0. Box 92 Hermitage Road If it were technically feasible to design a 400 cycle high frequency horn, small Waynesboro enough for use in the home, such a horn working in conjunction with a well WASHINGTON designed folded horn enclosure would provide a truly outstanding system. AMERICAN THEATRE SUPPLY CO., INC. 2300 1st Avenue at Bell Street However, at the present state of the art such a 400 cycle horn and driving Seattle 1 element would be approximately three feet in length, a size that is hardly WEST VIRGINIA feasible for use in the home. The folded horn could also be effective if a GALPERIN MUSIC COMPANY 17 Capitol Street mid -range speaker were used to cover the frequencies above 400 cycles and a Charleston high frequency tweeter for the upper end of the audible spectrum. But in WISCONSIN such a system we again encounter the insurmountable problem of phasing THE HI -FI CORNER State at Gorham multiple crossovers. With these reasons in mind it is easy to see how the use Madison TIP -TOP RADIO & TV of a bass reflex, which is free from interferences, will provide the smoothest 113 Main Street and most realistic reproduction. Menasha PHOTOART VISUAL SERVICE 840 N. Plankinton Avenue Milwaukee 3 EDWARD'S SOUND ENGINEERING 1117 Arthur Avenue Racine HAWAII HIGH FIDELITY CENTER 1311 Kinau Street Honolulu 14 CANADA Altec CANADIAN ALGOR LIMITED P. 0. Box 683 Bass Reflex London, Ontario Enclosure KYMA ELECTRONICS CO., LTD. 1005 Sherbrooke Street West Montreal, Quebec ENGINEERED SOUND SYSTEMS, LTD. 167 Kipling Avenue South Toronto 18, Ontario FRANCE BROCKLISS- SIMPLEX 6, Rue Guillaume -Tell Paris 17 ITALY WINDSOR ELECTRONIC CORP. Via P. da Cannobio,9 In our effort to achieve faithful reproduction it is our firm belief, and a belief Milano backed by years of measurement and listening tests on all types of systems JAPAN and enclosures, that an efficient two -way loudspeaker system using a bass SEKT b COMPANY Kenai Bldg, No, 1 Kanda Higashi- Fukudacho reflex enclosure provides the smoothest frequency response and most nearly Ch iyod a -Ku duplicates the original sound. Tokyo MEXICO Next time you visit your high fidelity dealer may we suggest that you closely EQUIPOS RADIO CINEMATOGRAFICOS. S.A. Mississippi, 59 compare the specifications of Altec tuners, preamplifiers and amplifiers with (Colonia Cuauhtemoc) all others; that you look closely at the workmanship, at the size and quality Mexico, D.F. of the components; that you ask the dealer about the theoretical ability of PHILIPPINES F. H. STEVENS & COMPANY, INC. the power tubes in whatever amplifiers interest you; and that you listen closely P. O. Box 1598 to an Altec speaker system reproducing full orchestra, small groups, solo Manila instruments and vocal music or the spoken voice. We believe you will see PUERTO RICO LISTER BELAVAL and hear the quality that has made Altec Lansing Corporation the leading P. O. Box 4027 manufacturer of both electronic and acoustic devices for the audio frequencies. San Juan SWITZERLAND TRACO TRADING COMPANY Jenatschstr. 1 Zurich Altec Fidelity Is Highest Fidelity VENEZUELA SONORAMA Avenida Leonardo da Vinci Edit. Century-Bellow Monte Caracas 9356 Santa Monica Blvd., Beverly Hills, Calif. ALTE[ LANSING CORPORATION 161 Sixth Avenue, New York 13, N. Y.

DECEMBER 1956 27 LETTERS Continued from page 21 7 ness is too competitive today for any manufacturer to charge more than his product is worth. Neither can he charge less than it costs to maintain the standards he has set for himself. A much lower price in today's highly competitive picture more than likely means "hidden sacrifices" for the buyer seeking something distinctly superior to mass produced conven-

tional phonographs and radios... . Robert Newcomb Newcomb Audio Products Co. Hollywood, Calif.

SIR: If wishing could make it so, the electrostatic loudspeaker would have ceased to be a factor to be considered III high fidelity after Mr. Hartley dis- posed of it so neatly in his letter to the editor in the September 1956 (you'd better watch out or you may buy a pig in a poke) issue of HIGH FIDELITY. It seems almost a shame to bring up the subject again. I really have no quarrel with the prophets, for they operate in an area in which every man is his own expert, although I A would like to inquire of Mr. Marsh what formula he used in arriving at his ecstatic judgment in his article entitled, "Walker's Little Wonder," in ...Head of its class the June issue. Nor do I wish to take issue with any of the purely subjective judgments that have been ex- There's one in every group that stands out...that is literally pressed. There have been instances, at the head of its class. Among moderate priced 3 -way sys- however, in which statements and im- tems, the SENIOR is the outstanding example of what superb plications have been made concern- audio engineering can achieve. ing objective performance and engi- Each component of the SENIOR has passed the most rigid neering design. I would like to chide tests and has earned its right to be part of this outstanding the authors gently about those in- is a thrilling sensation of sound which system. The result stances in which these have been or seems to surround you ... amazing in a system of this size. seem to be at variance with demon- Treat yourself to the full- bodied lows of the powerful fact. 12" woofer, the undistorted mid -range of the "reciprocating strable the flare" horn speaker and the brilliant highs of the super - It seems to me that one of chief tweeter, all kept in perfect balance by the Acoustic Baton reasons for the deviations from edi- network with its "Presence" and "Brilliance" controls. torial factualness lies in the tendency The SENIOR enclosure is a beautiful piece of furniture to treat electrostatic loudspeakers as if that will enhance any room. Rigid, completely braced con- all of them were alike. Differences be- struction and the finest acoustic principles of phase inver- tween moving -coil types and electro- sion, direct radiation and rear horn loading result in a statics have been emphasized, but little natural of music and speech. smooth, reproduction Power Capacity: 30 Watts has been said about the differences in Don't nuit ... ask to see and hear the sensational SENIOR Integrated Program the design and performance of various at your Hi -Fi center. A delightful experience is in store Dimensions: electrostatics. This seems quite na- for you! 30 "Hx21 I/2 "Wx153/4 "D Shipping Weight: 95 lbs. tural, since the authors have been in- Price: Mahogany $185.00 terested in pointing up the dissimi- UNIVERSITY LOUDSPEAKERS, Inc., 80 So. Kensico Ave., White Plains, N. Y. Blond 188.50 larities. But to say or imply that all electrostatic loudspeakers are more or less alike is like saying that giraffes LISTEN tifapas4 smra/s 6eß and horned toads are more or less alike because they both have tails. In

2 HIGH FIDELITY MAGAZINE tetween é push - or have fun ...save money etimpar The SENIOR speaker system is the outstanding example f what b`Nan any superb audio engineering can achieve ... it stands out at the head of its class. producing a thrilling sensation of sound that's amazing ever a In a system of this sine. It uses the powerful C'l2w woofer for full - bodied lows, the 411)8 "reciprocating flare" horn speaker for un- c d the distorted mid- range, the HF!mi Super-tweeter for brilliant highs Cr co tsZen and the N3 Acoustic Baton 3 -ay network to keep them In perfect s balance. Enclosure is a beautiful piece of furniture embracing the and horn e47 e, ngle- finest principles of phase inversion. direct radiation rear ó loading. Mahogany 8183 -0II. Blond 8188.30. .c 4' .1par- 4 .4' o e ti° ° any i J tee , ao c f pro - r bep- hat .tes )b- ,ower plates .itial break- , pe speakers." ._tion not a prob- .:signed electrostatic r at it really does not he DC field, which could aE precipitation, is entirely r . to the internal electrode -ure of the speaker. In other .lyds, a properly designed electrostatic attracts no more dust than would be attracted by the same structural materials in the absence of bias or signal voltages. It would be interesting to know, in view of his expressed concern over the hazards of breakdown of the bias voltage supply, whether Mr. Fried has refrained from "DO -IT- YOURSELF" KWIKITS - All you need is a free THE PSE STORY purchasing a modern television re- evening, a "KwiKit," a screw -driver and you can assem- PSE- Progressive Speaker Expansion Plan (a concept The KEN -12 ceiver, in some of which the DC volt- ble your own version of the famous SENIOR. first introduced by University) ages are ten times as high as the bias kit is the best of its kind on the market today ... a truly is the most revolutionary de- voltage in the JansZen or the Picker- fine piece of workmanship. velopment in speaker history. for simplified front frame design, the KEN -12 ing. Except a University speaker compo- is identical in acoustic design to the SENIOR speaker sys- nents, enclosures and networks Mr. Briggs in his letter to the been so uniquely designed tem. Finest grade 3/4" Birch used for all finishing sur- have editor in the same issue, as well as that it is possible to start an faces, 3/4" cabinet plywood used throughout. Kit con- excellent basic system at low Mr. Fried, expresses concern about the tains: all pre- machined and pre -shaped wood sections; cost, and add to it later -while durability of electrostatic loudspeakers. glue; hardware; plastic wood; sandpaper; easy -to- follow enjoying immediate listening It seems appropriate to point out that instructions. If you like to build your own and save satisfaction. at least one, the JansZen, carries a money then the KwiKit is made to order for you. PSE makes it possible to build MASTER (or -12 KwiKit $39.95 net. up to the any other two year warranty on the electrostatic KEN fine system) in successive, in- radiators. How many manufacturers THE EN -12 ENCLOSURE is the same enclosure used in expensive steps, using the KEN - 15 KwiKit and EN -15. of high -fidelity equipment display a the famous SENIOR speaker system without the speaker similar confidence in the durability components. This enclosure is perfect for those who For the complete, have speakers or who intend to build toward the fascinating story of of their product? Mr. Briggs is ap- either PSE please send parently concerned in particular about SENIOR in successive steps, via PSE. for FREE illus- $78.50 net. Unfinished $64.50 net. trated brochure. what he terms the "obvious fragility" Mahogany $75.00 net. Blond It is of the electrostatic diaphragms. University offers the largest selection of speakers and components to meet every size and budget requirement of course true that in order to obtain the extremely smooth frequency response that is desirable for realistic music reproduction the moving element of a loudspeaker should be extremely light. But this does not neces- woorERS TWEETEMS Oi PPAxuLS NETWORKS con%EALS WEATHERPROOF PLAINS. N.Y. sarily mean that they cannot be dur- UNIVERSITY LOUDSPEAKERS. INC., SO SOUTH KENSICO AVENUE, WHITE able. I think the inference to be drawn from Mr. Briggs's concern about LISTEN tefriper4 soímck áé Continued on next page 4E30

DECEMBER 1956 29 The magic woTdin speakers/ Cowin.

fragility is ti ELECTROSTATIC i)r metal is mi. in loudspeakers, ,orodact of t9years that current con have plastic dial moving -coil speake ofJansZen plastic diaphragms research of paper or metal. B, sarily so. To illustrat Briggs to bring any available moving -coil to a test. The only require this loudspeaker have a cad backed by aa aa,orecedeated 2 frequency response up to a YEAR KC. I will bring one JansZe. GUARANTEE* tor. This radiator in its finishes. of course, has its diaphragm e in a protective grid structure would prevent the sort of test tha. propose. So the radiator will ha , had its protective grid removed, ex posing the diaphragm. A golf ball will be dropped first on one and then the other of the moving elements of the two loudspeakers from successively greater heights until one or the other fractures. If this test is made, the results will be reported to the editors of HIGH FIDELITY. Of course, it probably will not be made, since it is ridiculous. Neither of the loudspeakers is made to function as a With the JansZen 1 -30 Electrostatic speaker you can sit in any part of the room receptor for a -one. I and still get nothing but pure, even, undistorted sound. Unlike paper -cone hole -in But co speakers. this revolutionary method of reproduction transforms electrical energy hope that my point is clear, namely directly into sound ... eliminates breakup and audible resonances ... that whether a material will endure gives 500- 30,000 cycle response with an unbelievable 120 degree dispersion! or disintegrate depends not only on. the material but also on how it is Exclusive electrostatic radiators are the key to JansZen's audio achievement. used. Each of the four radiators incorporates a virtually massless, stretched diaphragm, Mr. Fried is concerned about "arc - driven over its entire surface by an electrostatic field. The result is completely over" on severe pulses. Naturally, uncolored sound for the first time in speaker development. These radiators when a loudspeaker is driven had are unaffected by temperature and humidity changes so stable and ... enough, something's got to give. This dependable we guarantee them two full years. is true of electrostatics as well as moving -coil types. What has to be added in fairness, however, is that electrostatics *Radiators guaranteed 2 years; Mahogany, can be built so that the Balance of speaker guaranteed 1 Birch, Walnut power level required to inflict per- year. Based on a remarkable new and Utility is principle in the transmission finishes available manent damage very much higher of sound. on request. than that required to cause permanent damage to most moving -coil speakers that cover the same frequency range. Mr. Briggs states and Mr. Frico implies that electrostatics are more JunsZenE/ECMØ$MflC directional than moving -coil types. The statement and implication would Zaads,oeaker be valid if they had been qualified to say that some electrostatics are more

Send for complete literature on the JansZen 1 -30 Electrostatic directional than some moving -coil as well as the name of your nearest dealer! types. In both types, the directional characteristics can be made to corre- Product of NESHAMINY ELECTRONIC CORP. Neshaminy, Pa. Export Division: 25 Warren St., New York 7, N. Y. Cable: Simontrice, N. Y. Continued on page 34

30 HIGH FIDELITY MAGAZINE 9fEEfiooL DOES BETTER

appreciates. She can have it any where she wants it ... any way she wants it to look. Early American, transitional or advanced FOR as mañana. And you, proud sir, can enjoy civilized chairside tuning at viewing dis- CUSTOM tance, possible on the Fleetwood remote INSTALLATION control models. Something else you'll like, if you're a stickler for sound quality, is the way Fleetwoods are equipped with audio outputs to play through a hi fi system. See your Fleetwood dealer soon. *See Tested In The Home Report, October 1955 High Fidelity. 9fEíooL Manufactured by CONRAC, INC. Department A Glendora. California Conrac is the Canadian name for Fleetwood television.

Export Division: Frazar & Hansen, Ltd., 301 Clay Street, San Francisco 11, California, U.S.A. t Conrac, Inc., 1956 J

JERSEY SUN RADIO & ELECTRONICS CO., INC. COUNTERPOINT TOWN NORTH MUSIC CORP. Inwood Rd., rIE JABBERWOCK 650 Sixth Ave., Nctr bark 11 20971 Westgate 5328 W. Lovers Lane at 8(5(10 Shopping Dallas 9 Phone: ELmhurst 6477 '6 George Street, New Brunswick Phone: ORegon :i- (Westgate Center), Fairview Park 26 lone: CHarter 9 -1900 TERMINAL RADIO CORPORATION UTAH Phone: ED 1 -6448 ,USIC AGE, INC. 85 Cortlandt Street, New York 7 DAYNES MUSIC CO. 1 Phone: WOrth 4 -3311 LABS Route 44, Paramus R.S.T. 15 East 1st So., Salt Lake City lone: DIamond 3- 8200 -1 JERRY FINK CO. 14511 (:ranger Road, Maple Heights Phone: Elgin 9 -7633 Phone: A10ntrose 2 -3213 SEY HI FI INSTALLATION CO. 644 Clinton Avenue, South t5 W. Englewood Ae., Rochester 20 WASHINGTON est Englewood Phone: BRowning 3503 OREGON OLYMPIC ENGINEERING CO. lone: TE 6 -4200 INC. 2008 Westlake Avenue, Seattle 1 CONCERT -CRAFT, OTT'S RADIO, TV & HI FI Phone: Eliot 4650 J YORK P.O. 66. Brandywine Station, 360 S.E. Iiawthorne Blvd., Portland lOOKLYN HI -FI CENTER Schenectady 4 Phone: I'Ilmore 5341 WISCONSIN Phone: FR 4 -0720 6 Flatbush Ave., Brooklyn 18 THE HI -FI CENTER, INC. tone: BU 2 -5300 W. G. BROWN SOUND EQUIP. CORP. PENNSYLVANIA 4236 \West Capitol Drive, \liìmutkee 16 IFFALO AUDIO CENTER 319 East Onondaga St., Syracuse 2 Phone: 2 -8979 BAKER COMMUNICATIONS Phone: UPtown 1 -2113 1 Genesee Street, Buffalo 3 9 South 12th St., Allentown tone: MOhawk 1368 THE AUDIO EXCHANGE HI -FI HOUSE, INC. Phone : 11Emlock 3 -3326 2630 North Downer Avenue, EWMARK & LEWIS, INC. 367 Mamaroneck Avenue, White Plains AUDIO LABORATORIES, INC. Milwaukee 11 E HOUSE OF HI FI Phone: White Plains 8 -3380 808 Mohican Street, Bethlehem Phone: El)gewnod 2 -1700 Main Street, Phone: UNiversity 7 -3909 +mpstead, Long Island WESTLAB ELECTRONICS, INC. THE AUDIO SHACK 1208 Mil aukee Avenue, Janesville one: IVanhoe 1 -6890 2 175 Central :Ater ute. Tankers DANBY RADIO CORP. ' Phone: PLeasant 4 -7657 AIE AUDIO EXCHANGE, INC. Phone: SPencer 9.6400 19 South 21st Street, Philadelphia 3 Phone: Rittenhouse 6 -5686 1 -19 Hillside Ave., Jamaica 32 CANADA one: AXtell 7- 7577 -8 -9 OHIO TEN CATE ASSOCIATES PAYETTE RADIO LIMITED )USE OF HI -FI GEORGE F. EBEL, COMPANY 6128 Morton Street, Philadelphia 44 730 St. James Street, W., Montreal 3 8 -5448 í Plandome Road, Manhasset, 3017 Cleveland AN Phone: GErmantown Phone: UN 6 -6681 ng Island Canton 9 H. R. SAVARD RADIO LIMITED 7 -1376 Phone: GL 5 -1000 one: MA RHODE ISLAND 901 Bleury St.. Montreal -ROW ELECTRONICS, INC. AUDIO CRAFT CO. AUDIONICS COMPANY Phone: UNitersity 6 -9202 Cortlandt Street, New York 7 2915 Prospect Avenue, Cleveland 15 NEW ENGLAND'S HI FI CENTER TOWER PRODUCTIONS LIMITED one: DI_hy 9 -4730 Phone: Clferry 1 -5560 790 North Main Street, Providence 342 Gladstone Avenue, Ottawa 4 Phone: DExter 1 -4242 Phone: CEntral 6 -7219 -;CO SOUND CORP. PIONEER ELECTRONIC SUPPLY CO. i West 45th St. (3rd Floor), 2115 Prospect, Cleveland 15 ALPHA ARACON RADIO CO., LTD. w York 36 Phone: SU 1 -9410 TENNESSEE 29 Adelaide Street. West, Toronto 1 one: JUdson 2.1750 Phone: E \l 6 -1591 RICHARD J. SAUER BLUFF CITY DISTRIBUTING CO. 1VEY RADIO COMPANY, INC. CUSTOM ELECTRONICS, INC. 234 East Street, Memphis 2 THE HIGH FIDELITY SHOP I 43rd St., 1123 (tli ,Ave., 557 Mount Pleasant lid., Toronto 7 West 10011 South Main Street, Dayton 9 Phone: BRoadway 6 -4501 I I Udson 8 -6443 w York 36 Phone: ADams 3158 Phone: one: JUdson 2 -1500 CUSTOM CLASSICS TEXAS HAWAII ------O N A RD RADIO, INC. DIO MART" 13121 Euclid :Menue, MELODY SHOP TELCO LTD. Cortlandt Street, New York 7 Fast Cleteland 12 966 fine Street, Abilene 605 -607 South Queen Street, Honolulu one: CO 7 -0315 Phone: GL 1 -0256 Phone : 4 -48 -18 Phone: 50 -2964 pur Fleetwood® dealer or write: Conrac, Inc., Glendora, Cal. LETTERS IMPERIAL c KIe, Continued from page 30 spond to what seems to be optimum for the greatest percentage of rooms. onlY Obviously, no manufacturer can provide enough different models to meet exactly the requirements of every 1900 listening room. Of all of the material that has appeared on the subject of electrostatic loudspeakers, the statement that puzzled me most appeared in Mr. Fried's Licensed article, to the effect that "Some critics, by indeed, seem to feel that electrostatic tweeters do not match electrostatic Jensen woofers, let alone low frequency radiators of conventional design." Now I assume that what was intended to be said was that some critics think that electrostatic tweeters and electrostatic woofers are even more difficult to match than electrostatic tweeters and moving -coil woofers. I assume also that commercially available electrostatic woofers are referred to, since it would seem futile to comment on the performance of equipment that is not available in the market. So my question is, "Who is secretly manufacturing electrostatic woofers and market- ing them secretly, and under what conditions were the tests made that led some critics to feel that they do not match electrostatic tweeters? Also, BUILD A HELLER- MILLER who were the critics? Arthur A. Janszen IMPERIAL CABINET KIT! Neshaminy Electronic Corporation INSTALL THE JENSEN IMPERIAL SPEAKER SYSTEM Neshaminy, Pa. AND YOU WILL OWN THE FINEST REPRODUCER OBTAINABLE. MANY OUTSTANDING FEATURES To set up his devastating punch line properly, Mr. Janszen has had to assume Hardwood veneer exterior surfaces suitable for fine furniture finishes. that mentions of electrostatic woofers Finishing trim INCLUDED IN KIT Exceptional rigidity must refer to models commercially No exposed screw heads Tremendous cash savings available. They needn't. Quite com- The cabinet Kit consists of pre -cut and pre -drilled 34" lumber, screws, glue and easy ta- monly, "critics" are given opportunity follow step by step instructions for assembling the cabinet and installing the Jensen KT -31. to listen to pilot models of forthcoming IMPERIAL KIT. equipment. Thus sundry people in the industry have been privileged to hear Dimensions: 321/2' w, 54" h. 24" d. Cabinet Kit and assembled forms are the woofers secretly manufactured by Shipping weight approx. 150 lbs. Suitable LICENSED UNDER JENSEN PATENT No. for corner or side wall installation. 2,338,262. Mr. Peter Walker, Mr. Harold Leak, Pickering and Company - which demonstrated its version at the New York CABINET KIT also available unfinished in assembled form. $148 High Fidelity Show and, last but by satin fin- - ASSEMBLED AND FINISHED in blond, mahogany or ebony no means least, Mr. Arthur Janszen. ishes. $189 Mr. Fried's reference to the possibility Assembled and finished with Jensen KT -31 IMPERIAL SPEAKER of electrical breakdown in electrostatic KIT Installed $395 speakers referred, no doubt, to the fact that electrostatics do require a DC ORDER DIRECTLY power source, whereas the cone -type Jensen KT -31 IMPERIAL loudspeakers used in high -fidelity ap- FROM KIT includes P15 -LL Special Woofer. M- P/11-F l'nit As- plications are self- energizing. Obviously, sembly, A-61 and A-402 Cross- over networks, M -1131 Intra- the former will have more tendency range Equalizer plus all Color - coded connecting wires, bal- toward power breakdown than will the ance controls and assembling. latter. ED. HELLER accessories. Shipping weight - 43 lbs. $184.50 TM Reg. Jensen Mfg. Co. SIR: MILLER e0. Many compliments on your Bartók 4146 WESTERN AVE., WESTERN SPRINGS, ILL. Continued on page 36

HIGH FIDELITY MAGAZINE : THE BEST SEAT : IN THE CONCERT HALL

It may be a difficult notion to accept at first, but most seats in a concert hall provide the listener with a compromised performance. For one seat, the A high fidelity performance in your home is fashioned from a broadcast or recording created under ideal conditions. This violin is muffled; for another, a material is faultlessly received or amplified, then reproduced flute passage is lost. Even ex- with precise adjustment for the acoustics of the room and your cellent halls suffer from un- own hearing traits. It is characteristic of Harman -Kardon high wanted reverberations and fidelity that these significant corrections are effected by opera- reflections, and frequently you tion of a small group of very simple controls. must listen at a sound level sub- The two high fidelity instruments seated atop the cabinets stantially above or below that in our illustration are The Rondo AM -FM tuner, model T -120, at which you listen best. and The Melody amplifier, model A -120. Each is only 121/2" Were you free to shift from wide by 31/.1" high by 71/2" deep. A total of seven operating con- seat to seat in the concert hall, trols and two slide switches provide: magnificent Armstrong Frequency Control to insure accurate you would finally arrive at the FM with Automatic tuning automatically; sensitive AM with built -in whistle one, uniquely best for you -the filter; dynamic loudness contour control to provide precise seat in which you could hear the balance for your own hearing characteristics; separate bass music as the composer would and treble tone controls; record and FM rumble filters; wish you to. built -in record equalization; remote speaker selector switch; Although it isn't practical to and 20 watts of distortion -free, hum -free power output. play concert hall "musical The Rondo tuner and Melody amplifier each sell for $95.00. chairs ", you can now effect that The Recital, model TA -120 (silhouetted above), priced at one best seat in your own home $175.00, combines all the features of the Rondo and Melody with Harman -Kardon high fidel- in one compact, handsome unit only 14%" wide by 3%" high plug in loudspeaker and ity instruments. There, free of by 10- 15/16" deep. Simply a suitable player, and a high fidelity system of incomparable the acoustic limitations of the record performance and unique good looks is yours. concert hall, untroubled by audience noise and the accident of FREE: Beautiful, new, fully illustrated seating location, you and the mu- catalog. Describes complete Harman -Kai-- sic meet under ideal conditions. don line, includes guides on how and where to buy high fidelity. For your copy write Dept.H- 12,520 Main St., Westbury, N. Y.

harman kardon

DECEMBER x9 56 35 LETTERS BEST BUY IN HI-FI Continued from page 34

cover {HIGH FIDELITY, Oct. 19561. As for the artist, Robert Bereny: born in Hungary, 1887; a painter of the "Expressionism" school; lived in Ber- ITi¡IIIIIIIIIII lin, where he was associated with a group known as "The Eight," until 1928, when he returned to Hungary. The theme of his paintings was mainly nature, but he was quite well known as a commercial and "poster" artist. He was still living in 1936. This information furnished by Dr. Sandor Tarics, whose source was the Révai Kis Lexikona, Révai Publishing Co.,

Budapest (1936). . . . Verne E. Conder San Francisco, Calif.

New deluxe Equalizer Pre -amplifier Control Center designed for those who want the SIR: ultimate in high fidelity. Self powered with DC use with filaments for any high quality Hans Vollmer's Allgemeines Lexikon basic power amplifier. Now, extreme flexibility can be yours with 13 front panel controls. Check these exclusive features: 6 position separate turnover and roll -off record der Bildenden Künstler des XX Jahrh- compensators, calibrated bass and treble controls with true flat positions, presence underts (vol. 1, pp. 175 -6) gives a control, low frequency balance control for boosting the lower bass range, feedback few lines on Robert Bereny, plus a around each stage, and 8 inputs which include 2 phono channels and equalized tape number of other references. He was head input. The 212 together with the Grommes 260 basic amplifier make the finest in Budapest March combination obtainable. Frequency Response: ±0.1DB, 10 to 20,000 CPS. Distortion: born on 18, 1887 0.5% harmonic and 0.1% intermodulation at 10V. output. Finish: Charcoal Gray and (no death date given) , studied in Brass. For tabletop or cabinet installation. Size: 123/4" W x 4" H x 7" D. Shpg. Wt. 12 lbs. Budapest and Paris, was influenced by

Net 129.50 Cézanne, and was a member of a

group calling itself The Eight. . . . Alan M. Cohn BEST BUY Carbondale, Ill. IN HI -FI SIR: I should like to say that I feel Mr. Frankenstein did a superior job on GROMMES the fine Bartók discography {High Premier 260 Fidelity, Oct. 19561, not only in making such a thorough and discerning survey of the works, but also in calling attention to the too often neg- New 60 Watt Hi -Fi Basic Amplifier. Designed for the very finest Hi -Fi system. New advanced circuitry with stability built around an Ultra- Linear output stage gives per- lected compositions such as Blue - formance far superior to ordinary power amplifiers. Circuit features direct coupling; beard's Castle, The Wooden Prince, cathode coupled phase inverter; feedback cathode follower drivers and push pull 6550 and the Cantata Profana. tubes with fixed bias. Output transformer is special design tapped screen type. Power: 60 watts, with 120 watts peak. Distortion: 0.25% harmonic and 0.5% intermodulation In view of Mr. Gelatt's comments at 60 watts (all distortions under 0.1% at 20 watt level or less). Frequency Response: about the paucity of actual Bartók 5 to 50,000 CPS (Attenuated beyond 1,000,000 CPS). Power Response: ±.5DB. performances available on disks and 20 to 20,000 CPS. at 60 watts. Premier fidelity assured when combined with the Grommes 212. Size: 14" W x 81/4" H x 8" D. Shpg. Wt. 40 lbs. the importance of making available Net 169.50 every possible one whether or not it might be classed as high fidelity, I Ask your Hi -Fi Dealer g, 6112 was surprised that Mr. Frankenstein to demonstrate the DIV. OF PRECISION ELECTRONICS, INC. made no mention of the lo" disk Best Buy in Hi -Fi, the ( issued by Bartók Records) of Bartók Grammes Premier Line. Dept. H -12, 9101 King St., Franklin Park, Illinois And be sure you see playing a handful of his own works. the complete new line Send Free Hi -Fi Equipment Brochure Assuming that the record ( Bartók of Grommes High Fi- delity Aniplifiers, the Name 903) was still in the catalogue I 10PG, 15PG and the checked with the company to learn 20PG. If your Dealer Address the story. True, 903 had been cut out cannot help you, write - temporarily, but it is being prepared City Zone Stan for release as a 12" record which will

HIGH FIDELITY MAGAZINE contain the selections of the original 903 ( Bagatelle, No. 2, Burlesque No. 2, Rumanian Dance No. 1, Allegro Mullard Barbaro, and the Suite, Op. 14) plus Evening in the Country and the Bear Dance as well as four Scarlatti Sonatas, AUDIO TUBES Longo Nos. 50, 135, 293 and 286. As this set is designated Volume I, DESIGNED FOR future volumes are to be expected containing the Hungarian folk songs with Bartók as piano accompanist. HIGH FIDELITY It would seem to me that in re- leasing these records Peter Bartók is Many years of research and development have performing a service to the record been spent in producing a range of Audio Tubes collector as well as to his father. Pos- to meet the requirements of High Fidelity sibly if we Bartókians really got be- sound reproduction in all respects. This is why well as in hind these releases as others MULLARD Audio Tubes are accepted in Great made for music the fine Bartók catalogue we might Britain as a standard by which others are expect a definitive recording of - as judged, and why leading High Fidelity pointed out by Mr. Frankenstein - manufacturers in the United States also use the remaining unrecorded major work, MULLARD tubes in their equipment. the First Piano Concerto. Incidentally, the cover painting is superb (but why was it overprinted, being so perfect for framing ?). Edward Jablonski EL -34- Recognized as the finest hi power New York, N. Y. output pentode, up to 100 watts push - pull. Exceptionally linear, requires lovinput voltage. -A . . `. `. = = = AUTHORitatively Speaking Max de Schauensee, who reports this issue on "Opera Taped Where It Grew," himself grew (or at least began) in the * EL -37 EL -84 -9 -pin miniature AF power pen- same locale. He was born in Rome, where Specialized manufacture of Mullard his tode, combining high gain and line- father's father, Baron Leopold Meyer High Fidelity tubes, particularly the de Schauensee, was commander arity. Up to 18 watts in push -pull. of the EL -37 assures longer life and Papal Swiss Guards. Young Max studied increased balanced power output. singing at the Curtis Institute, Philadel- Equivalent to 6L6, 5881, KT66. phia, under Emilio de Gogorza, and made his operatic debut in the North American première of Mussorgsky's Khovanshchina on April 18, 1928, in Philadelphia. He continued singing in opera for several years. His repertoire included Aida (Ra- dames) , Rubinstein's The Demon, and Madama Butterfly, and he met some of the era's brightest stars - Eames, Mar- tinelli, Boni. His reviewing activities he began as assistant music critic on the Philadelphia Public Ledger; now he is *ECC83 /12AX7 EF -86 - High gain pentode *G234- Indirectly heated full - critic and music editor of the Evening *ECC82/12AU7 with low hum, noise, and wave rectifier with 5v, 1.9 Bulletin. *ECC81 /12AT7 microphonics. Especially de- amp heater, 250 nia output. Mullard quality double tri- signed for input stages of Equivalent Murray Schumach, whose Music Between to 5U4G /GA with- odes with low hum, noise and tape recorders and column appears this month for the third pream- out circuit changes with the microphonics. plifiers. Equivalent to the time, is a general assignment reporter on advantage oflower tube volt- the staff of The New York Times, where 2739 and the 5879. age drop due to unipotential since 1937 (with three years out for Navy cathode. duty) he has covered stories ranging from *Maximum levels specified and guaranteed routine crime - his own term to the - MULLAH) TUBES are available leading Korean War. His feature articles, mostly at audio distributors throughout the United States. For detailed technical for the Times Magazine, have dealt with data and application information, write to: such subjects as Gen. Matthew Ridgeway, Elia Kazan, the Mississippi River, and a Brooklyn juvenile gang. He wrote also INTERNATIONAL ELECTRONICS CORP. the first survey of Broadway show -albums on LP. Brooklyn -born, Schumach lives 81 Spring Street, New York 12, N. Y. in Manhattan, has been married since 1954 TRADE MARK MULLARD. LTD., LONDON (he wanted to travel first) , and is a Yankee rooter. MULLARD. TUBES DEVELOPED FOR HIGH FIDELITY

DECEMBER r956 37 every note a perfect qa

To recreate the living ton each orchestral instrumen high frequency overtones k be reproduced faithfully, accurately, and in their pro- proportions. To make a driv= unit with the degree of prec required for this performanc- and, at the same time, produ- this driver at moderate cost. scientists in the James B. Lar

Sound, Inc., laboratory found ' necessary to abandon convent- methods. They evolved a new principle of high frequency dri' construction -the ring radiator In the JBL Signature Model 075 rigid ring radiates sound energy into the annular throat of an exponentially tapered horn. The ring radiator, because it is fn of diaphragm resonances, produces smooth, clean, precise highs- without spurious peaks an dips -from its crossover point of 2500 c.o.s. up to and beyond the fin' of audibility. In transient response it is unsurpassed. Hold an 075 in your hand and weigh solid excellence. Flash your eyes ove bright, beautifully machined horn. Adi JBL Signature 075 to your speaker sys- and refresh your hearing with the

mountain-air clarity it brings to your h

bring each individual instrument into ,harp

THE 18L SIGNATURE MODEL 075

HIGF FREQUENCY UNIT

The C75 may be perfectly matched to the ott

JBL S gnature Speaker or Speakers in your system with the aid of the attenuator supplie with the JBL Signature N2500 Dividing Networ The Authorized JBL Signature Audio Specialist in your community will be pleased to have you listen to the 075 in his component demonstrat room. For his name, write to James B. Lansing Sound, hc., 2439 Fletcher Drive, Los Angeles 39, California.

"JBL" means James B. Lansing Sound. Inc. 1goolks Review

WHEN some future historian by visual examination of the scores (especially in Budapest during his evaluates the achievements of than by aural study, completely ignor- last years) as well as of his music the microgroove era, there is a good ing ( save for a catalogue listing) such ( especially the vast number of church chance he may minimize its technolog- a revelation of the last years as the works) ; and for the finest choice of ical "miracles" and its multiplication Weihnachtsbaum suite. For Sitwell, illustrations in any musical biography of versions of standard musical mas- on the other hand, the prime need for I know. terpieces, in favor of its gift of en- revising his original publication of LP- mining the Liszt lodes may be during life to countless compositions 1934 is the recent gradual change in seriously handicapped these days by a once known only through the reports the climate of opinion about Liszt - lack of virtuoso pianists able or will- of scholars and biographers - who a change which he realizes is likely ing to cope with the keyboard works, themselves often lacked firsthand to be markedly accelerated as re- but surely there is no such barrier to familiarity with the living, sounded cordings continue to expand listeners' discographic adventuring among the music. Today even the casual listener horizons, not only in Lisztian domains less well -known orchestral scores and can decide for himself, on the basis per se but in the "borrowings" or songs, or the almost entirely unknown of direct experience, the actual valid- developments from his work in that choral compositions. ity of printed descriptions of ecstati- of his colleagues and successors. Study the full catalogue for your- cally praised "neglected masterpieces" Sitwell disclaims any authority as self. It's an amazing document. It and contemptuously dismissed "minor a musician and explicitly states that also can be found, in somewhat dif- efforts." Most serious music listeners he has endeavored to write of Liszt ferent form, in Beckett's work, but are keenly aware of this metamor- "as one might write of Rubens or this awkwardly written and deadly phosis in the means and scope of Byron ... to treat of him as an artist dull book cannot be remotely com- musical experience: the resurrection and a man of action." Yet he is ob- pared with Sitwell's. Yet in a nega- of baroque and ancient composers viously an enthusiastic musical ama- tive way I'm able to point up once once known, if at all, by name teur, at least, and if his comments on again the high standards of the "Mas- only; the widespread circulation of the works are in no way technical, ter Musicians" series merely by citing modern works hitherto granted only they do reveal an infectious relish for the quite exceptional deficiencies of an occasional hearing before compara- what he has heard and what he is its latest, thinnest, and most ineffec- tively small and specialized audiences; avidly anxious to hear. Anyone who tual volume. and the steady growth of complete knows Sitwell's other writings will be disk editions of Haydn and Mozart. quite prepared for a polished, yet Romanticism's Plushier Side Yet there still remains the challenge luxuriant, style and a superb gift for of certain other repertories, notably depicting the flamboyant scenes and Sitwell's appetizing comments on those of the romantic composers, colorful "characters," among which many of Liszt's unfamiliar piano whose significance has not yet been Liszt soared rocketlike with the most works of course offer no guarantee fully explored. To some extent, dazzling and kaleidoscopic refulgence that we would actually enjoy all this Berlioz's claim has been met, but how of them all. music once we were given the op- completely the challenge has been No Sitwell admirer can be dissatis- portunity of making its acquaintance ignored where the works of Liszt, for fied here, for he makes the most of and subjecting it to the scrutiny of instance, are concerned. The fact is his rich opportunities in organizing repeated hearings. Yet the chances brought home to us particularly by and dramatizing the huge panorama of surely are good that we would find a couple of current biographies which titled personages, admiring and en- most of it at least interesting and some sharply remind us of the fantastic vious colleagues, and devout pupils of it highly rewarding. extent and variety of the fabulous clustered around the protean but al- That is true of the Weihnachtsbaum Abbé's creative output. ways heroic protagonist. And any suite certainly, and it is also true for And these two books - Walter reader will be absorbed by Sitwell's another of the great fantoches of mu- who Beckett's Liszt ( Farrar, Straus & obvious gusto, his eager explorations sic - Louis Moreau Gottschalk, Cudahy, $3.00 ) and a revised edition of both central and side issues, and appeared briefly on the outskirts of of Sacheverell Sitwell's Liszt (Philo- above all by his ability to make issues the Liszt circle in his early days and sophical Library, $7.5o) - themselves as well as personalities magically real undoubtedly learned something from illustrate, by vivid contrast, the old and vital. I am particularly grateful him in digital technique and much and new (or pre- and post- micro- to him for the new light he throws on more in that of overwhelming pre- groove) attitudes of biographers. For Liszt's religious convictions (which al- dominantly feminine audiences. The Dr. Beckett the revolution might ways had struck me before as anoma- badly needed new book about Gott- never have occurred: he writes about lous if not spurious); for his revela- schalk has not been written, but his Liszt's music as if he knew only seg- tion of the enormous gaps still to be ments of it and those apparently better filled in our knowledge of Liszt's life Continued on next page

DECEMBER i956 39 BOOKS IN REVIEW Continued from preceding page Where lig.r`and shade, repose, .where music dwells name is irresistibly brought to my Linv.tng--and pandering mind, both by the resemblance of . as loathe to die; his career to Liszt's and by the prec- -Williao Wordsworth edent for ecstatically palpitating wor- " hliside Kiny'3 College Chapel, Cambridge" ship set by his biographer, one Mary Alice Ives Seymour, writing under the pseudonym of "Octavia Hensel" with a pen dipped in heliotrope and honey. That swooning Victorian school- girl surely is spiritually embodied in Marcel Brion who, despite a change in sex and an entirely new aspiration toward intellectual pretensions, is probably the first to match, if not transcend, "Hensel" in utter prepos- terousness. For the best comment on Schumann and the Romantic Age ( translated by Geoffrey Sainsbury; Macmillan, $4.50 ) , I must rob Jacques Barzun of one of his miraculously discovered epigraphs, drawn from a letter by Pushkin to Bestuzhev in 1825: "All I read about Romanticism is wrong." Lest you think I am grossly unfair to M. Brion, let me quote a few sen- tences from his very first paragraph: "A great music, passionate and tender, was wafted through the romantic Ger- man forests at the beginning of the nineteenth century. Men were stirred by the unutterable joy of being and the intense ambition to justify that being by transforming it into pro- digious rolling waves of becoming. Never before had the world been so

young. . . . The song of the winds, the colours of the seasons, the heart - rendings of passion, and the bound- less urge to create played on every fibre, plucked it, made it suffer the most intolerable ecstasy and pain." Enough? If not, you must go to Made in CAMBRIDGE, ENGLAND the book itself where you'll find some The center of scientific research 37o pages, each with its equally worthy candidates for a Lush, Beauti- Those The For Who Will Have Nothing But Finest ful Prose Department. You won't, New Wide-band amplifier, superbly crafted in the however, learn much that is mean- grand tradition for sound reproduction. ingful about poor Schumann and his MAIN AMPLIFIER Type HF25 CONTROL UNIT Type HF25 /A music -a special pity in that Schu- music are Power output 35 watts. Output im- Control : Bass, Treble, Low Pass Fil- mann's own writings about pedances 4, 7, 15 and 60 fl.. Noise and out -of -print or difficult to obtain in hum 90 db from full output. Harmonic ter, Volume, Selector for tape, radio Distortion less than 0.1% at 15 watts, and microphone inputs and all stand- English translations, and the best- 0.3% at 35 watts. I.M. Distortion 0.4% ard recording characteristics. Low known biography in English, Robert at 25 watts, 0.5 at 30 watts, 0.72% at noise circuitry. Cathode follower out- Haven Schauffler's Florestan ( Holt, 35 watts. Damping Factor adjustable from 35 to infinity. Negative feed-back put to power amplifier allows remote 1945 ) is also, if far more tolerably, 25 db round amplifier. $139.50 control up to 20 feet. $59.50 romanticized. Joan Chissell's study in Harvey Radio and Liberty Music Shops New York Distributors the "Master Musicians" series, I have not For complete equipment and local dealer information write to: yet had an opportunity to read. It seems criminal that, so far at least, BRITISH RADIO ELECTRONICS, LTD. 1833 Jefferson Place N.W. Washington 6, D. C. Continued on page 42

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DECEMBER i956 4I BOOKS IN REVIEW Continued from page 40

this centennial year has produced no worthy tribute to a composer whose recorded repertory continues to grow in both scope and excellence. But Schumann too has been slighted by record makers as well as publishers.

Last of the Romanticists?

Whether we consider Debussy a forerunner of the modernists or (as I prefer) a belated romanticist, there can be no including him in any way among the forgotten or neglected composers. Practically all of his works in all forms have been recorded, and by sympathetic and skilled interpre- ters, aided - lately, anyway - by engineering techniques which can cope adequately or better with the special Only planned high fidelity difficulties their characteristic sonic textures present. And, if I dare proph- can give you true high fidelity! esy from a single example ( the Nocturnes by Monteux ) , I should predict that Debussy above all others, save possibly Delius, stands to profit Putting together a hi -fi system for your limitless. We're happy to help you most by the new medium of stereo home can be simple -and it probably choose what will best suit your home sound. will cost a lot less than you think! and your budget. You can start small Yet how much do even his most Here at MusiCraft we offer the kind and add as you wish. ardent LP collectors actually know of information and guidance that will Stop in at MusiCraft soon or write about the man himself? In the past, you get started right and avoid us for further information. Let us help help his own reticence and that of his mistakes. you plan the kind of high fidelity friends after his death concealed or As you may know, possible combi- system that will give you true high obscured many key facts, and while nations of components are practically fidelity. some of these are still far from clear ( the circumstances of his birth, in particular), a surprising amount of fresh and highly illuminating docu- Send now for FREE NEW mentary material has been unearthed HIGH FIDELITY CATALOG: by Victor Seroff in his Debussy: Here's a special high fidelity catalog that Musician of France (Putnam, $6.50). you'll find particularly useful, because we Perhaps so much of this material have included only equipment which we seems new to me simply because of at MusiCraft consider the best - from the my ignorance of earlier biographies, standpoint of compatibility and stable oper- but more likely Seroff's skill in or- ating efficiency - in every price range. ganizing and pointing up established Page after page pictures the newest high fi as well as novel data makes Debussy - 1luu(taji high fidelity catalog fidelity equipment with detailed informa- himself come alive for me for the characteristics and specifications. tion about first time outside the shimmering tonal fabric of his own music. Certainly I had never realized before ( as perhaps no one could realize from either the music itself or De- bussy's ironic pen in M. Croche, the Dilettante Hater, Lear, 1948 ) what a 48 East Oak Street Chicago 11, Illinois DElaware 7 -4150 wretchedly contrary and difficult life he led, and what tragic frustrations his last years held for him. Reading Lowest Prices Largest Component Selections Complete Custom Installation Service Seroff's magnificently objective, yet compassionate, book, I am for once Continued on page 48

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DECEMBER 1956 47 LARGE BOOKS IN REVIEW enough to reproduce Continued from page 42 the full Voice of the considerably shaken in my long -held belief that the best insights into mu- Concert Hall... sical genius always are to be found in a study of the works themselves rather than in ...yet the details of personal small history. In this instance ( as with enough to slip Sitwell's Liszt), I must admit that my ears for the music have been acutely into any setting! sensitized by a better knowledge of the man who created it. Seroff attempts no technical analyses of either Debussy's work or tonal philosophy ( for those one must turn to volumes like E. Robert Schmitz's The Piano Works of Claude Debussy. Duell Sloan, 195o and Léon Vallas' The Theories of Claude Debussy, Ox- ford, 1929 ), and without previous familiarity with the music, some readers may find this just another "life," however fascinating, of a singularly eccentric artist. Yet surely no one, even only partially grounded in the music, can read Seroff's account without what he has heard and what he now learns combining with re- ciprocal power to transform his whole Debussyan experience. An almost agonizingly moving story in itself, it is most significant for the permanently sharpened insights it adds to our aural sensibilities.

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48 HIGH FIDELITY MAGAZINE A GUEST EDITORIAL

The Mozart Year on Disks and Otherwise

by C. G. Burke

THE SHELL of Mozart was thrown into a common phonograph records, literally hundreds of them, permanent trench and forgotten. One -hundred and sixty -five repositories of the Mozart creation. years later it was to be feared that the discovery of his Looking at these, and hearing their bold variety, we dust might be effected by his turning in the grave, but that realize that they are the most significant result of the Bi- did not happen. 1956, devoted in homage to Mozart who centennial, and also that they and their predecessors shaped was born two hundred years before, was musically well be- the Bicentennial's course. The records issued before 1956 haved and the preponderance of homage was genuine. were an example that the year had perforce to follow. For in art the homage to a dead giant must be a homage They were brilliant gadflies stinging sober music associa- to his work. It is decent and proper - and with Mozart tions into action, and - further - into action of greater and Schubert almost incumbent upon us - to shed tears probity than the more powerful associations always had if the work was silenced too early. Private tears, not the found it convenient to practice in the past. official tears that come too easily and are intended to serve In a practical sense the Bicentennial began in 1948. The the weeper before the wept. The Mozart Bicentennial footings were sunk, the preparations made, when Columbia was notable among such occasions for the profusion of Records exploited electronics to give an unprecedented Mozart played, in public and in private, and the economy impetus to the course of music by means of the long - of public lament and oratory. The politician and the playing, narrow -groove, soft -skin disk. For right after "dignitary," capitalizing on the event, were no more than the beginning Mozart became the bread and butter of the gnats on the tapestry of music. Even those in Austria, smaller members of the suddenly pullulating family of naturally more voluble than elsewhere, did little notice- record companies, who, for the nonce wary of competition able harm. Conductors, players, and singers were the true in repertory, sought musical obscurities to record, in the celebrants, and they let Mozart speak for himself. hope that no one else would discover and record them. No doubt more performances of music by Mozart were In 1948 five -sixths of Mozart's music was in oblivion, but given in 1956 than in any other year, but however grati- as fast as it could be given phonographic representation fying locally and temporarily these may have been, their an avid public absorbed it. Many of those early LPs have cumulative vastness is a poor second in importance to the been withdrawn, but they left their trace on history and expansion of the Mozart repertory in use, a new diversity influenced the future course of the larger producers. amounting in effect to rehabilitation, almost to disinter- It is hard to remember now that before Period issued ment. 1956 revealed the wonderful realm of the piano it Bartien and Bastienne was no more than a silly title in a concertos and added seven or eight symphonies to the catalogue, that the voluptuous Concertone had to await four in currency. It saw performances of at least eleven exhumation by Westminster before most music lovers had operas, and proved that the six quartets dedicated to Haydn ever heard of it, that the irresistible exuberance of the were neither without precedents nor successors. It restored Teutsche and Kontretanze needed companies named Van- the best of the serenades and divertimentos, and a number guard and Esoteric to sponsor a fair sampling of them, of the sonatas, to an eminence unaccountably lost for a and that such masterpieces as Idomeneo and the Posthorn century and a half. It demonstrated that there are other Serenade were shadowy in the public consciousness until quintets besides the G minor and the marvel for clarinet. the Haydn Society recorded them. Concert Hall made all It gave voice to an astonishing miscellany of smaller works the quintets, Vox and Westminster all the trios. Diverti- silent for a hundred years. mentos, serenades, and above all piano concertos, gushed Europe had a flowering of Mozart Festivals of great and from all quarters. little magnitude; and the spectacle of Germans, Bohemians. It was not possible for the greater companies to remain Italians, Hollanders, Swedes, Russians, Frenchmen, Span- aloof. They devoted their large resources in musicians to iards, Belgians, Danes, and Englishmen all temporarily large pieces of the Mozart repertory, sometimes improving abjuring chauvinism to celebrate the universality of a vastly, sometimes a little and sometimes not at all, on the composer who never truly had a homeland is not without work of their humbler predecessors. But almost uniformly potent implications unconnected with music. However. they curbed vicious habits of their star performers, who the music is more tangible than any implications, and in an age when comparisons were not available often had in the tanglible flood we find not only the public per- cut, altered, and expanded scores at the instigation of performances everywhere, but new editions of many scores. sonal whims. That has become a rarity, along with the new editions of new and old books on Mozart. and most music lover who has never heard the Serenata Notturna. prominent of all a shining, endless affluence of long -playing It was the long -playing Continued on page 14.3

DECEMBER 1956 53 Opera Taped Where It Grew by Max de Schauensee

Summer is when opera stars can forgather to make recordings, and in a good many cases, Italy is where they forgather. Here we have a look at two such sessions - one company making La Bohème, the other the Barber of Seville.

NOTHING in the music world requires more patience del Padrone, and Walter Legge, artists' director of English than the recording of a complete opera; nothing can pro- Columbia, officials in the exceedingly complex EMI setup. duce more wear on fast -fraying nerves than an assembling At Milan's historic La Scala, where the recording was at close quarters of the greatly differing temperaments scheduled to take place, I was informed that the incisione such a venture inevitably involves. Further, the invariant would take place in five days. So, there was nothing goal introduces its own set of tensions, as I realized when left to do but fill in time with the very real delights I attended recording sessions of Angel's La Bohème, dur- of nearby Lake Como. ing August in Milan, and of London's Barber of Seville in On the stated day, brimming with enthusiasm, I again Florence during September. For the goal is always per- presented myself at La Scala, to be told that both Mr. fection, and nothing less. The conductor and those in- Legge and Mr. Lee were still enjoying Ferragosto, and that volved in the actual technical undertaking are hoping that Maria Meneghini Callas, Giuseppe Di Stefano, and con- their production will be hailed as the definitive version in ductor Antonino Votto could not be assembled before a dramatically competitive field. The setting of so high 8:3o p.m., four days from the present date. Striving for a goal for an extremely complex job naturally produces a variety of scene, I switched my allegiance from Como to do -or -die atmosphere on everyone's part. Verona, but, in the meantime, I did manage to get in I arrived in Milan from Lucerne in mid -August, armed touch with John Lee, an agreeable man who promised with letters of introduction to EMI officials from Dario to take me to the session on the scheduled night. Soria, president of Angel records. He had told me that his This time, events came off as planned. We reached La company's answer to seven already existing complete ver- Scala to find singers, orchestra players, chorus, comprimari, and technicians, all gesticulating wildly and talking shop sions of Puccinï s opera would probably be initiated dur- A of ing the second week in August. under the arcades of the venerable theater. sense expectancy was in the air. I arrived on schedule. I had completely forgotten that John Lee introduced me to Di Stefano. I had met Italy's great midsummer holiday, Ferragosto, dating back him on several occasions in New York, but his pleasant to pagan times, was upon us, quite capable of disrupting Sicilian face betrayed the fact that he didn't have the all effort in any branch of activity for an entire week. slightest idea who I was. After some polite exchanges In vain I tried to contact John Lee of the Italian Voce about his recent appearances in Verona, he asked me with an enigmatic smile if I had met Maria Callas. is London's pert Giulietta Simionato. An extroverted Rosina Pulling the sleeve of a slender girl, who had her back to us, he introduced me to the most talked -of singer of our day. I have to confess that I had searched this chattering crowd for a glimpse of the diva, whose face I knew well from stunning pictures on record covers and from newspaper snapshots. I must further confess that my search had proved fruitless, and that, as I now faced la Callas, I would never have known her. In fact, I had a distinct sense of shock. To one like myself, brought up on such imposing and monumental prima donnas as Emma Eames (a dear friend of mine) , the great Callas might have been a salesgirl in a bookshop or a university student. Slim almost to the point of spindliness, the celebrated soprano was dressed in a simple orange skirt surmounted by an equally simple black bodice. Her hair was drawn back; she wore horn -rimmed spectacles; and she sported fiat shoes such as ballet aspirants affect. She told me that she had never sung Mimi, except to record the two principal arias in an album of Puccini excerpts, and that she was looking forward to the new role. I allowed that I had never had the good fortune of hearing her in person, to which she quickly replied that much of Mimi's music must be whispered over the microphone, and that I might not thus get a full impression of her voice. As I chatted with her, I became so conscious of her disturbingly intelligent eyes that I forgot the flat slippers, the slicked -back hair, and the costume earings. Casual she might be in her appearance, in the indifference of her manner, but in what she had to say (she spoke in idiomatic American -English) there was nothing casual or slipshod. Here was a dominating mentality. I also noticed that when she briefly addressed a friend, her rapid Italian was just as effortless and idiomatic as her English; you would never have suspected that she hadn't been born in the land of Verdi and vino. I complimented her on this, but she didn't seem to notice. When I asked her if she also spoke Greek, her eyes widened - "But of course," she replied. Soon I found myself away from all this buzzing con- Intelligence is the salient distinction of Maria Callas' Mimi. fusion, surrounded by a vacuumlike silence, seated in a second floor proscenium box that overlooked the vast As the end of the section was reached, a bell sounded stage of La Scala. and a bright red light winked ominously at the conductor's Against a backdrop that might have served for a desk. The phone shrilled, adding to the tension, and a Cherubini or Spontini opera, the orchestra of the famous short conversation ensued. Miss Moffo whispered to me theater - about eighty in number - was arranged in eight that this was Legge, who was supervising things in a ascending tiers. The singers - Di Stefano, Rolando distant room. "His ear catches the slightest deviation; Panerai, and the basso Zaccaria - were placed practically anything that is not right," she said. in the footlights, facing one microphone. Mme. Callas "We will try an incisione," announced Votto. "Again was seated at one side, awaiting her entrance. I could now, miei signori-back to the beginning!" Callas, sitting see maestro Votto - austere, reserved, and precise - well back in her chair, her chest high, her shoulders perched on a high chair that towered out of the gloom squared, raised her eyes to heaven. of the orchestra pit. Within easy range of his ever -active They had proceeded no further than some sixty bars, hands was a telephone. Stripped of all its orchestra seats before the phone cut through the music. "What is wrong ?" for the summer, the dark void of the theater, vibrant asked Votto, annoyance in his voice. Di Stefano seized with musical history, seemed to issue a challenge to those this opportunity to indulge in several stretching exercises assembled on the stage. of his jaw; when finished, he winked at the violas. After Seated in the box with me was Anna Moffo, a young two more tries, patching this forward progress, bit by bit, Philadelphia soprano, whom I remembered from a success- the point of Schaunard's entrance was finally reached, ful appearance at one of Eugene Ormandy's Concerts for and Legge apparently approved. Youth. This tall, good -looking girl had been enthusi- By this time, Callas, shrewdly surmising that Mimi astically engaged by Legge for the role of Musetta. She would not enter Rodolfo's garret tonight, suddenly left the and I watched with fascinated attention the fateful theater. "I knew she wouldn't stay," whispered Miss Moffo moment when Votto tapped commandingly on his desk in my ear. and the orchestra sounded the opera's thrice -familiar An intervallo was granted, and the bystanders, including opening measures. The evening's action had begun. me, drifted out to smoke on the warm streets. Votto and Di Stefano and Panerai, warming to their task, properly the singers were back with Legge, listening to the results cursed the winter cold of Paris' Latin Quarter of a for- of their labors. gotten era. All seemed well. Panerai, a big, dark man, The balance of the evening was devoted to the ex- sang with great vitality, projecting his resonant voice into ceedingly tricky, give- and -take scene among the four the empty auditorium, gesturing forward with his hand. Bohemians. They acted their parts quite freely, though His enthusiasm for the text was unmistakable. Di Stefano, they were careful never to move far from the microphone. it seemed to me, was a little slower warming up. Only maestro Votto remained serious during this gay Unexpectedly, maestro Vottó s voice was heard -a scene. The evening ended in a monotonous pattern of long, drawn -out "Ah! " - as he looked with disapproval "takes" and playbacks. at the orchestra. A troublesome passage was played over On my way out, Di Stefano asked me if I would join three times, progress coming to a temporary halt. A rap him and his wife for a snack at the popular Biffi- Scala, on the wide open score: "We take it again -from the under the theater's arcades. I was glad to do so, and we very beginning." And they did. sat out in the warm night air.

DECEMBER r956 55 Di Stefano told me in the most voluble and colorful of the select anti -Verdi faction in a Verdian stronghold. Italian of his differences with the Metropolitan. "I was He advocated the music of Richard Wagner, and to sup- not happy there, last year. To sing well, I must be happy." port his position, he proceeded to name his three sons Then he enthusiastically touched upon his differences with Tristano, Siegfriedo, and Lohengrin." Our waiter ap- Maria Callas in Vienna, where he felt she had insisted on proached. "We will have more ravioli, Lohengrin," said taking applause not rightfully hers. "We have made peace Legge. now, so as to make this record," he said, but I doubt That evening, while a violent thunderstorm was beating we will sing in the theater together." His sudden smile down on Milan's dark streets, we gathered again under made this last sound a little unconvincing. the shelter of the arcades outside the Scala. I greeted Di Stefano is apt to intrude such American expressions Callas, this evening very smart in a tourquoise -blue sheath - as "I am a happy guy" into an Italian sentence. He is dress. She still looked casual, but far chicquer than on the immensely likable, and much pleased when his opinions preceding evening. meet with approval. Give him the little things he wants "I hear reports from New York that there are great and he is yours. His pretty dark -haired wife is American - expectations over my opening the Metropolitan season in born. October," she said quietly. "What are they expecting of At one point, when he spoke of a critic who had me? Just what is it they think I can do ?" doubted the correctness of his breathing, he zipped down "A good deal," I found myself murmuring. his scarlet sportshirt, revealing a sunburnt chest and a "It creates a rather uneasy feeling." Her eyes had a glitter of gold medals. Oblivious of the other customers, quizzical look. he proceeded to give me an extended technical demon- The session began at the point where Rodolfo finds stration. Later, he became unexpectedly pensive. "When himself alone - "Non son in Mena." An assistant to Votto tapped the conductor's desk to suggest Mimi's knock at the attic door, and the scene we had all been waiting for commenced. Di Stefano, in snappy white sport clothes, sang Rodolfo's narrative in the original key, during which we were all startled by a clap of thunder, a detonation that rolled right on the roof of La Scala. As the beautifully sung aria reached its conclusion, the orchestra, for the first time, broke into spontaneous applause. After a slight pause, the tenor repeated the aria, this time even more beautifully. Again applause; and everyone seemed in high spirits. Callas now began her Mi chiamano Mimi, phrasing with infinite care and attention to detail. She sang lightly, leaning forward. I had the impression of a mind con- stantly working with a probing awareness of the possibilities of characterization -a preoccupation with perfection. A wavering high A brought things to a halt, as Callas uncompromisingly demanded that Votto go back a few bars and repeat the phrase. The scene then proceeded with various retakes, the artists disappearing to hear the playbacks and to confer with the invisible Legge. during a playback. Giuseppe Di Stefano reads the score At the beginning of the love duet, Panerai, Zaccaria, we are out on that big stage, facing the public in one of and Spataforo ( Schaunard ) were placed far from the stage, those arias, we are so alone - so entirely alone. Nobody almost at the entrance of the auditorium, in order to can help us as we battle with that demanding monster - achieve the proper perspective of distance as Rodolfo's the public." friends call him from the courtyard below. Away from Di Stefano insisted on driving me to my hotel, though the orchestra, the singers had a few moments of difficulty it was now two o'clock in the morning. "I live at night," with intonation, but this was quickly overcome. Some he said, and I remembered that no one in Italy ever goes workmen in overalls watched these maneuvers with in- to bed. With immense pride he showed me his snow- white, terest. chromium- plated Cadillac, which he felt was the envy of After last night's disclosures, I couldn't help smiling as all Milan. Very probably it was. I watched Di Stefano encircling Callas' slim waist during Next day, I lunched with Walter Legge at the Biffi- the opening measures of the love duet, "O soave fanciulla!" Scala. I noticed that Legge, a man of much charm and This amorous pose was completed as la diva reached up wit, addressed our waiter as "Lohengrin." and held her Rodolfo's free hand... . I asked him about this. "That is quite a story," he At the close of the duet, Di Stefano and Callas turned replied. "Our man is one of three brothers, all of them sideways and took a step or two away from the mike for waiters in this restaurant. Their father came from Parma, purposes of distance. With no lowering of key, the Verdi's city. This man had the courage to be the leader tenor sailed up to the high C with the prima donna. Both

56 HIGH FIDELITY MAGAZINE voices rang out with superb effect, but Callas apparently In Milan nobody on the stage could hear what Votto was not satisfied with her contribution. At her request, and Legge were saying to each other over the phone. this demanding passage was repeated four times, until Here, Walker's voice, coming over the loudspeaker from

Di Stefano said frankly that he was "through for the a distant room, was audible to everybody. "Alberto. . evening." Alberto...." "Yes, Jimmy, what is wrong ?" (In English) . He and his wife hastened to their table at the Biffi- Erede's voice always sounds terribly, terribly tired. But Scala, but the indefatigable Callas, thriving on hard work, there was no languor about his reading of the ebullient persuaded Votto to go over some passages of Mi chiamano music, which kicked up its heels in sprightly capers Mimi which had failed to please her. I did not see her through the acoustically excellent Communale. again before I left. The first morning I went to the theater, I was amused to observe a swarm of parked motorcycles - Vespas and IN FLORENCE, where I arrived on the first of September Lambrettas - and a scattering of bicycles surrounding the in a spell of beautiful weather, I found London (Decca, big Decca van outside the stage door. Apparently, chorus, as it is known in Europe) recording a complete version orchestra, and stagehands had all arrived on these eruptive of Rossini's Barber of Seville at the Teatro Communale. vehicles that are such a strenuous part of modern Italian Letters from Roland Gelatt and Remy Farkas opened the life. way for my presence at these sessions. On the stage, Erede was already at work, rehearsing The entire technical crew and musical supervision with chorus and principals the scene preceding Count was British, so much so that you easily might have be- Almaviva's opening serenade. Alvino Misciano, a tenor lieved you were at a cricket match, complete with tea, unfamiliar to recording studios, was putting the finishing rather than at a recording of Rossini's sparkler in this touches on his dialogue with Fiorello (Arturo La Porta). loveliest of Italian cities. As a matter of fact, tea did figure prominently in the backstage areas of the Corn- munale. The Communale is not so large a theater as La Scala, and thus creates a greater sense of intimacy. It is as though walls have been drawn in and people become more aware of each other. James Walker, the musical supervisor, an Australian of terrierlike energy and tenacity, explained the musical and technical ground rules, so to speak, of a London operatic recording session. "Despite what the general record- buying public chooses to believe about splicing, patching, joining, and other possible tricks of the trade," said Walker, "we try as nearly as we are able to record an aria or a passage in a continuous 'take.' I realize that this is not always feasible; nevertheless I am ever aware that many wonderful records were achieved in the old days, before these technical innovations were known. I am, therefore, not apt to coddle the artist and make him feel that things can always be fixed, no matter what. For instance, there is Conductor Votto warms up the orchestra for II barbiere. a general belief that arias can be recorded in a lower key and then raised to the original." "That is not impossible," I said. "But what may not be Erede, who speaks excellent English, was now confident generally realized is that by such a procedure the quality that things had progressed to a point where a "take" might of the voice would be irreparably altered, and all tempos be attempted. As in Milan, there were bells, buzzers, and speeded up." the inevitable red light to indicate that "zero hour" was "Precisely," said Walker, and we walked toward the at hand. stage. All too soon, Walker's polite voice interrupted pro- Recording procedures here differed somewhat from those ceedings. "1 can hear pages being turned by the pro- at La Scala. The singers stood placed very high against fessors of the orchestra. Can they do it more quietly ?" the back wall of the theater, behind the orchestra ( smaller I became aware of a certain formality between con- here than in Milan ) . There was no strict adherence to ductor and stage forces. When Erede spoke to the men, the normal sequence of the score, such as the Angel -EMI he addressed them as "Signori." There was none of the forces favored. This policy was partly due to the im- "Listen, you guys," "Take it from here, Hank" casualness mediate availability of the artists. so prevalent in our country. At one session, arias would be the order of the day; "Mutual respect is very important," said Walker, when at another, only the recitatives would be gone through, I commented on this. "We try to observe the amenities until conductor Alberto Erede seemed satisfied. among ourselves, even Continued on page 142

DECEMBER 1956 57 by J. GORDON HOLT

This is where the Fi begins . . .

A Jewel in a Plastic Trough

Fairly important changes can go almost unnoticed if they are subtle and gradual enough - as have been the changes in high -fidelity equipment in the last few years. There is something in the nature of a New Look, at least in buyers' eyes. Hence this article, the first of a series which will discuss new standards by which home audio equipment can be judged.

IT WAS IN THE LATE 194os that high old audio products vanish, new ones appear. The high - fidelity enjoyed its first great surge of popularity. In this, fidelity shopper still must shop by ear ( literally ) , but certain technical developments played an important part. his ear must be (figuratively) attuned now to new re- Wide range magnetic phonograph pickups became avail- finements. able to the public. So did FM tuners and FM broadcasts. Shortly afterward, microgroove came on the scene. Com- Audio lexicons and high -fidelity glossaries define a phono- ponent installation houses sprang up; audio shows were graph pickup as a device which converts the groove held; newspaper and magazine articles were written. And, undulations on a record into electrical impulses. As a almost at the start, a few dedicated engineers and enthusi- neat definition, this probably covers the matter about as asts began agitating for the establishment of industry well as need be, but it gives no indication as to what may standards of fidelity in sound reproduction. make one pickup a better converter of undulations than Had such standards formally been set, it might have another, or a more lastingly reliable one. established a useful precedent. But, in view of subsequent The factors by which a phono pickup's quality may be improvements in equipment, it is perhaps fortunate that judged are its frequency -range, smoothness, distortion, they were not. Yesterday's standards could not possibly lateral compliance, vertical compliance, effective moving serve today. mass, vertical sensitivity, and stability. Other character- A friend of mine recalls an experience with one of the istics, which affect performance indirectly, are the com- earliest variable reluctance phono pickups, a sturdy device bined mass of the pickup arm and cartridge, ease of shaped rather like a sarcophagus. As he was detaching vertical and lateral arm motion, absence of spurious arm it from its tone arm, it shot between his fingers and hit resonances, and freedom from hum interference. The car- the floor with a hearty clunk. Worse still, in his hasty tridge's output impedance, output level, recommended load attempt to catch it, he lost his balance and stepped on resistance, ruggedness, and convenience also bear upon its it. When he raised his foot, the cartridge came too, its desirability. diamond fang imbedded in his rubber heel. He detached Frequency range and smoothness are so closely inter- it, replaced it in its Keystone clip and - apprehensively - related that neither has much significance without reference started a record. The cartridge played as well as ever. to the other. Both are often expressed together as "fre- That cartridge is not made any more, though its makers quency response," but even a response rating, by itself, are still very much in business. It has twice been super- cannot give the whole story. The smoothness and range seded by later models. Neither of its successors could be of a pickup cartridge will largely determine the "character" stepped on without damage. But, by the same token - of the reproduced sound . . . whether it will be bright, since in pickups there seems to be an inevitable inverse or subdued, or neither. A broad peak or dip of as little relationship between sturdiness and sonic accuracy - it as I decibel in a pickup's response can have an audible could not compete with them today as an instrument of effect on its sound, particularly if this peak or dip sound reproduction, although in its time it was accounted occurs within the so- called presence range, from I,000 the best there was. to 4,000 cycles. A sharp 2 -db peak between 3,000 and So - standards do exist, though they are not formally Io,000 cycles can add a definite "edge" to the sound, set forth. We know they exist because we see their effect: while a slow droop in the response starting at, say,

58 HIGH FIDELITY MAGAZINE 5,000 cycles and amounting to 3 db at io,000, can make ing at less than its optimum force as it will tracking too the entire high end emerge slightly subdued and distant. heavily. This is because if the stylus is not held firmly in So it is easy to see why a frequency response rating of the groove, it will rattle back and forth and ride destruc- 5 db from 30 to 15,000 cycles can include a wide range tively across the shoulders of loudly recorded grooves. In of pickups, each of which may sound detectably different general, the more compliant a cartridge is, the lighter may from the others. It is only when a pickup is rated within be its tracking pressure. There may be considerable vari- very small db limits that the rating begins to indicate ation between two cartridges of the same make, so experi- how the cartridge will actually sound, but since very few ment is always indicated. manufacturers will dare to guarantee that a whole run The compliance rating of a stylus is the measure of its of their pickups will be accurate to 1 db, the best test freedom of movement, either vertically or laterally. Lateral for a pickup's sound is a listening test, preferably in- compliance is the one which usually appears in published volving direct comparison between a disk and a com- specifications, and it is expressed as the distance ( in mil- mercial recorded tape of the same recording, the latter lionths of a centimeter) the stylus will be displaced by played on a recorder whose equalization exactly matches the application of one dyne* of force. An average high - the tape. A tape- and -disk pairing I have found useful quality cartridge will have a lateral compliance rating of for this is the RCA -Victor recording of Richard Strauss's up to 5 X 10-e cm /dyne, while a rating of 10 X fo' Also Sprach Zarathustra, the two versions being almost cm /dyne is considered extremely high. Generally speak- indistinguishable one from another when both are played ing, higher compliance than this requires special pro- on good equipment. visions to prevent the stylus from swinging loosely to one When making this comparison, use the recommended side or the other and staying there. A light brush running equalizer settings on the phono preamplifier, and if the from the arm into the record grooves, and the use of demonstration seems inconclusive, persuade the demon- a very lightweight arm, are two methods that have been strator to try several different preamplifiers. Also, make used to stabilize the motion of extremely compliant stylus certain that a pickup being sampled in this way is con- assemblies. nected as recommended by the manufacturer, for miscon- Vertical compliance, rarely mentioned in pickups' specifi- nection can make any pickup misbehave, in ways that are cations, is still not universally acknowledged to be impor- no fault of the cartridge itself. tant, although there is evidence suggesting that it affects Distortion ratings are rarely published in pickup spec- the rate of record wear. The fact that a record groove is cut ifications, and even when they are, they should be sub- with a triangular stylus causes the groove to narrow slightly ject to some interpretation. This is because some man- as its course changes from straight ahead (silence) to ufacturers rate distortion only at a certain frequency sharp right or sharp left, to produce loud high -frequency ( where performance may be significantly different from tones. The playback stylus, however, is ground to a that in other parts of the spectrum), others rate distor- hemispherical tip, so it has no choice but to ride up and tion as a weighted total harmonic content, and still others down in the groove as this deepens or shallows. This so- give unweighted distortion figures which include the noise called pinch effect ( which is most pronounced in inner components as well as spurious harmonics. As is the case record grooves) requires that the playback stylus have with frequency response, then, ordinarily the best way to some freedom of vertical motion, so it can move up and check distortion in a pickup is to listen to it. Still, if down without gouging the groove shoulders or leaving you are fortunate enough to have a dealer who is con- the groove momentarily. scientious, patient, and well equipped, he may be willing In lieu of a vertical compliance rating, then, the next to check your cartridge's performance on an oscilloscope best thing is a practical test. Try pressing gently upward as it reproduces the tone bands on a frequency test record. with the thumbnail on the stylus of a cartridge, to see If the cartridge's output is seen to deviate widely from how freely it moves, and how far. Its free travel should the ideal sine curve, or if it becomes lined with jagged be great enough to be visible, and it should not be much spikes, this indicates that the cartridge is "breaking up," as more difficult to push upward than it is to push from they say. Ask for another. side to side. In running a test like this, though, make sure the arm While its compliance will determine how easily a is properly adjusted for the cartridge, and is of a type stylus can move, a pickup's ability to track loudly re- that meets the cartridge manufacturer's approval. Cartridge corded grooves is also related to the moving mass of breakup on loudly recorded passages may be a sign that its its stylus. Tracking ease at low frequencies is almost stylus assembly is defective or poorly designed, but it entirely dependent upon lateral compliance alone, but at often indicates that the cartridge is being run at less high frequencies where the stylus is required to change than its proper tracking force. It is generally agreed direction extremely rapidly, its inertia becomes important. among pickup design engineers that the lower the force A light stylus will be able to follow high - frequency undula- at which a cartridge will track cleanly, the easier it is on tions more easily than will a more massive one, and it has records. This is not, however, to be construed as meaning the added advantage of moving the natural resonance of that records can be preserved simply by reducing the the stylus toward or above the top limit of the audible stylus pressure of any cartridge by counterbalancing the range. With an ultrasonic Continued on page 144 arm, and so forth. On the contrary, a cartridge of average compliance will do almost as much damage a A dyne, if you're curious, is the force required to give, within one second, to disk work- a gram of matter a velocity of one centimeter per second.

DECEMBER i956 59 Adventurers in Sound

He Who Lathes Best

by FRITZ A. KUTTNER

Lawrence J. Scully

NO ONE can be in the record business very long with- ten years younger, and when he begins to explain his out hearing the name Scully. I forget exactly when beloved machine, his face becomes positively boyish. Of I first heard it, but I do remember that I was impressed. medium height, blond, Scully looks in no way like the Not that it meant anything to me at the time. The man stereotype of the inventor or the bookish indoor ex- who mentioned it, an audio engineer, did so in such a way perimenter. His complexion suggests lots of fresh air, not that I could not tell whether a Scully was a man or a ma- midnight oil burned in the basement workshop, and the chine, but there was reverence in his voice. Reverence is panel on "What's My Line ?" wouldn't have a chance with rare among audio engineers. My curiosity was aroused. their customary first guess. The name cropped up again, from another quarter, in The first few minutes of conversation with Scully, how- a week or so ( it is odd how often this happens, is it ever, bring to light the quality of quiet efficiency which not? ). This time I learned that a Scully is a machine, distinguishes the man just as it does his product. There whereas the Scully is the man who makes them. My is nothing of the egotism, jumpiness, and erratic temper informant was a man who coveted a Scully. "I wish," he we are inclined to associate with the idea of a successful said, "I could afford one." modern "inventor." In fact, Lawrence Scully would prob- I was a little taken aback, for the speaker was someone ably object to being labeled an inventor; he likes to think I rather envied. When he wanted a piece of recording of himself rather as a good artisan and craftsman. equipment, he picked up the telephone and ordered it. This fits a family tradition of the Scullys, most of whom Apparently a Scully was a recording lathe. I asked him, in the last few generations have been artisans, mechanics, perhaps naively, why he didn't have one already. makers of things. One of Scully's brothers, to be sure, is "You don't know what you're talking about," he replied a surgeon, but the other Scullys forgive him his medical a little testily. "This thing costs $8,500." I knew enough degree, on the grounds that he does his work with his to know that other lathes could be had for between S1,000 hands and precision tools. and $2,000. I didn't know whether he would ever bring The Scullys, hailing originally from Ireland, now are himself to lay out an additional $6.500 for a Scully, but settled in Connecticut. John J. Scully, the father of Law- I did know I had to go and meet Scully, the man who rence Jeremiah, established the family's background in the could charge 425eí of the going price for recording recording field when he joined the industry in its infancy. lathes and still make people buy them. He sounded as if From 1904 to 1918 he worked for the Columbia Phono- he, and his machines, might be something rather special. graph Company in Bridgeport, where he contributed to the They are. development of the early dictaphone machine. These were What I saw when I got to the Scully establishment in the old days, when record manufacturers had to build their Bridgeport, Connecticut, was a dream of high -precision recording equipment in their own workshops. Later, Scully engineering, the Steinway or Rolls - Royce, so to speak, Senior worked for General Industries, making phonograph among disk -cutting lathes, and a man representing a motors which were delivered to the "furniture people," i.e. standard of perfectionist craftsmanship which has all but the makers of acoustical phonograph cabinets. In 192o he vanished from modern manufacturing. went into business by himself to make a real recording Larry -or, by his full name, Lawrence Jeremiah Scully machine, the first designed by a specialist for use by - took his B.A. at Fordham with the class of '29, so he record manufacturers. It took a full year to complete; it now must be in his upper forties. But he looks at least was driven by weights, just like old grandfather clocks.

62 HIGH FIDELITY MAGAZINE Its height was almost six feet, and the operator had to he does recall: there was not a penny left in the house stand on a platform to run it. This first acoustical cutting the day the lathe was installed at Victor. lathe was sold to Cameo Records. For a year or so previously, Lawrence had tried to The next four years produced no more than one piece break into the public address system field, and in fact a year. High -precision mechanics and mass production had built a complete installation - one only, and no more don't go together, from the Scully point of view. In 1924 - for a hospital. It is still in operation. But between Western Electric bought a Scully weight- driven lathe for 1934 and 1937 Victor bought a total of twenty lathes, the demonstration of their first electronic cutting system. and Larry turned his back on public and private sound The cutting head assembly, Scully recalls now, was a systems alike. closely guarded top-secret, which no outsider could ever The Victor bonanza ended suddenly in 1938. Scully set eyes upon; all recording companies, at that time, locked then tried his hand at making and selling beer coolers. As their cutting heads away overnight in the safe, together he doesn't care to elaborate on this episode, one may with the cash and the trade acceptances. assume it was not exactly a brilliant success. Soon after In 1925 things really began to get lively at John J. this venture, George Stewart and C. A. Rackey, engineers Scully's. The movie industry switched to sound and all for NBC, came shopping for recording machinery for their the motion picture outfits began to order recording lathes. broadcasting studios. Thirty-six lathes went to the NBC This boom lasted four years, but ended abruptly when some miscalculations in Wall Street plunged the nation in- to the Great Depression. In the same year Larry Scully graduated from college and joined his father in business, or rather in idleness, for there was a complete dearth of orders. A $28,000 bank balance saved up from the era of prosperity carried them somehow over the distance, but things were pretty difficult for both the family and the company. At one time, in 1933, they pondered for weeks whether or not to sell five beautiful completely machined aluminum castings at scrap value - $5 or $6 apiece. Lawrence's memory of these years is still painful, but he believes that working or creating under such duress matures the character. "It sharpens the senses and makes the brain inventive." When it is pointed out that his point of view has been PHOTOS BY PAUL RADER Art in metal: a Scully variable -pitch recording lathe. shared by many of the great poets and philosophers, Scully looks pleased but not sur- radio stations during the next nine years, interrupted only prised. The self -sufficient artisan finds it quite natural by the war, which stopped all recording lathe production that wise men should have held similar ideas on the nature and put father and son to work on aircraft subcontracts. of endurance and on the salutary effects of hardship on The one exception was a recording lathe they built in 1943 the creative mind. for the Navy's Underwater Research Laboratories in New Finally, in 1934, came the break that ended the years London. of struggle; an order was placed by RCA Victor. The With the coming of peace also came more pros- Scullys rushed to the bank and applied for a $700 loan, perity. From 1945 on, orders for lathes poured in: twenty- happily waving the order form. They were turned down; two new machines were built in 1945; the Detroit Sym- they had never built up a credit background. How they phony Orchestra and all the Westinghouse radio stations finally managed to finance and fill this vitally important took two pieces each; General Motors bought one, too. order, Larry doesn't remember, but they did. One thing Then followed Columbia, Decca, Capitol Records - and

DECEMBER 1956 63 Western Electric sent a most welcome communication to Until quite recently, recording lathes cut a fixed number the effect that they would like to buy twenty -five machines. of lines (grooves) per inch of diameter on every disk: Foreign companies began to join the throng, and now 96 lines was most frequent for 78s, and for LPs it Scully lathes are running in England, France, Germany, varied between zoo and 28o lines. Once the number of Japan; record makers in Italy, Mexico, Chile, Australia, lines for a given recording had been selected, it had to be New Zealand, the Philipines, and even in Soviet Russia maintained consistently from beginning to end. A certain are happy with their Bridgeport -made machines. "feed screw" was mounted into the lathe assembly, which This highlights a peculiar problem. Scully gets few moved the recording head steadily forward at the pitch replacement orders, because Scullys simply don't wear out. selected. ( "Pitch" is the distance the screw would advance Rarely is there heard of a Scully built twelve or sixteen in one revolution.) For soft music and little bass on the years ago which the owner is willing to sell for $2,500 tape, the grooves were more widely spaced than desirable, or $3,000. When he bought it in the early Forties he with the result that the cut was uneconomical. With high had paid somewhere around $2,500. This is why I call volume and strong low frequencies, the fixed pitch was too the machine the Steinway or Rolls -Royce of recording narrow to accommodate the passage in full, and the engi- lathes, and for the same reason I would rather buy a neer had to reduce volume and bass in order to prevent Scully for an investment than Mutual Funds. You can't the stylus from overcutting the grooves. This meant serious lose on these lathes, and they are considerably more fun loss of quality and fidelity which could be compensated in to play with than stocks and bonds. part only by expensive playback equalization controls. For Particularly is this true when you recall that the $2,500 years the Scullys toiled on the problem, and by 1950 they price tag of the past has become the $8,50o of the had solved it: pitch variation at any given moment from 7o present. This phenomenon began to develop in 1948, to 400 lines, or from 105 to 600, or even from 140 to soon after the advent of the microgroove record, when 800 lines per inch. Instead of several interchangeable feed father and son sat down to develop a most exciting in- screws with fixed pitches, a highly complex and smooth - novation which probably has helped as much as any other working mechanism was devised and introduced into the single factor to make long- playing records the high -fidelity machine, and today the engineer may set the advancing bargain they are. "Variable pitch" is the magic term. If speed of the cutting head differently from moment to you will bear with me, I will explain it. moment. He can cut a violin solo played in softest pianissimo at 600 or even 800 lines per inch, three times narrower than one could a few years ago; ten seconds later, when the whole orchestra's tremendous outburst with blaring trombones and tubas would have destroyed any master disk made by the earlier method, the engineer ENCORES turns a knob and widens the groove distance to 7o or too lines per inch - and a smooth cut will engrave all ROSSINI'S Otello had awakened the germs of my the vigor and grandeur which had to be throttled away musical instinct; but the effect Don Gioranni until recently. Inclusion of this device raised the price had on me was very different in its nature and results. I think the two impressions might he of the Scully lathe to $7,300. To record makers, it was said to differ in the same way as those produced worth it. on the mind of a painter called from the study All through 1950 the family team worked on the new of the Venet ian masters to the contemplation of the work.. of Raphael, of Leonardo da Vinci, variable pitch lathe to have it ready for the Audio Fair or of Michelangelo. in the Fall. While work was progressing on the final Rossini taught me the purely sensuous rapture assembly, Scully Senior died, without an opportunity to music gives: he charmed and enchanted my ear. Mozart. however. did more; to this enjoyment, see his achievement in actual operation. already so utterly perfect from a musical and Since then Lawrence Scully has been on his own as sensuous point of view, he added the deep and a businessman and constructor of miracle machines. The penetrating influence of the most absolute purity united to the most consummate beauty of ex- last five years have shown clearly his aptitude in both pression. I sat in one long rapture from the he- fields. Pondering on the consequences of the introduction ginning of the opera to its close. of variable pitch, he realized the existence of a problem The pathetic accents of the trio at the death of the Commendatory, and of Donna Anna's almost impossible of solution by even the most musically lamentation over her father's corpse. Zerlina's erudite of recording engineers. If the variable pitch feature fascinating numbers, and the consummate ele- was to work at full efficiency, the operator of the machine gance of the trio of the Masks and of that which opens the second act, under Zerlina's window had to develop a fantastic timing accuracy: every low - the whole opera, in fact (for in such an im- bass note, every slight increase in volume had to be an- mortal work every page deserves mention). gave ticipated by about two seconds - the time it takes the me a sense of blissful delight such as can only he conferred by those supremely beautiful works turntable to complete one revolution. If the pitch were which command the admiration of all time, and not widened by the lathe operator sufficiently ahead of serve to mark the highest possible level of time, the stylus might still overcut the previous groove and aesthetic culture. destroy an otherwise perfect master disk. The knowledge - Charles Gounod: Autobiographical of the musical score and of the performance essential for Reminiscences (London, 1896). efficient operation of the Continued on page 147

64 HIGH FIDELITY MAGAZINE for tjc ft=3*1au'5 eiJrí5trtta5 tocktnç

DECEMBER is traditionally the season of good cheer is made by Walco and sold in 88e spray -top cans for - the time when jolly frost -bitten shoppers jam easy application. Walco also makes a chemically treated Main Street or Fifth Avenue, running up charge accounts, Electro -Wipe cloth which removes dust as well as static. plodding through the slush of the first snowfall, clinking This sells for about one dollar and comes in a small coins into the collection boxes of numerous bright red storage bag which prevents it from drying out between street- corner Santas, and exchanging good -natured elbow applications. jabs with their fellow men. Another type of static eliminator, the atomically acti- For the indecisive shopper, though, December can be vated polonium strip, is used in the Dis- Charger and Static - a time of turmoil and stress, heralding the nemesis of a master devices. The $4.50 Mercury Dis- Charger is a tiny giftless Christmas unless The Idea strikes in time to ( i í/z grams weight ) capsule which clips to the end of catch The Store still open. Many an indecisive spouse a pickup and kills a disk's static charge as it scans the has voiced the opinion that there is nothing quite so passing grooves. The Nuclear Products' Staticmaster record maddening as trying to choose gifts for the Man Who brush, priced at S14.95, contains a large strip of polonium Has Everything. But what she often means by the apella- foil at the base of a soft brush which scoops the dust tion MWHE is that the Man is not impressed with her from the grooves as the shower of alpha particles loosens choice of neckties, he buys his own shirts and socks, he it. The Ortho -Sonic record brush ( S4.95 ) lacks the polon- expects more for Christmas than a couple of handker- ium strip of the Staticmaster, but it has the compensating chiefs, and the only things he really seems to want would advantage of being a perpetual cleaner. It is a wide cost three weeks of his salary and he'd have to pick (4 -in.) soft brush on a mounting stand and extender arm them out himself anyway. She would perhaps love to which swings over the turntable. When the disk is playing, buy him something for the family hi -fi system, but it the brush spans the playing area with its bristles directed seems so complete that this, too, appears to be the System against the groove direction, scooping dust out of the That Has Everything. grooves with each revolution. But is it? Even the most invulnerable -looking fortress A very handy little dust remover for use on record may have a chink somewhere in its ramparts, and the changers is the Kleeneedle brush ( 98e ) . This is a small average carefully chosen set of hi -fi components is no firm- bristled brush mounted atop a vertical spring and exception to this. It may have all the necessities but that attached to the changer base between the pickup arm doesn't mean it has all the possible accessories. rest and the turntable. Each time the changer goes through For instance, the typical careful record collector is fully a cycle, the stylus is automatically moved across the brush, aware of the dangers of groove pollution to record and any accumulation of dust from the last record play there- stylus life, and the lady of his house undoubtedly wages by being completely removed. unceasing war with broom and mop against the ancient Experts agree that the best protection a disk can get enemy of dust and grime. But for really effective pro- while in storage is afforded by a plastic sleeve between it tection of records, the attack should be three -directional: and its envelope. These are made in varying thicknesses eliminating static from the disk, removing the dust that ( and hence effectiveness ) by Walco, Westminster Records, is thus released, and then protecting the record from and several other companies. Prices vary from 88e to further contamination while it rests on the shelves. $2.00 per dozen for the 12 -inch size. A highly effective anti -static fluid called Stati -Clean Do what we will, however, to keep our disks dust -free,

Gibson Girl Tape splicer; Staticmaster record brush. Turntable leveling kit, with indicator, by Cabinart.

DECEMBER i956 65 spliced free -hand, but it is much more easily spliced on a jig designed for that purpose. Very effective splicers are manufactured by Robins Industries in several models, ranging from the $3.50 Gibson Girl Semi -Pro (for the splice with the Gibson Girl shape) to the professional model Gibson Girls with automatic cutting and trimming facilities, for $4.78 and $6.25. The more expensive of these includes a splicing tape dispenser for added con- For the recordist: head demagnetizer by Audio Devices; venience. For equally precise but less automatic splices, bulk tape eraser by Amplifier Corporation of America. Tech Labs produces the Edit -Tall splicer ( named after CBS editor -in -chief Joel Tall) for $6.5o. Also, along with there always comes the time when even the most per- any splicing equipment, it is a thoughtful gesture to include manent of permanent styli wear out. Knowing just when a roll or two of splicing tape, a special variety of plastic this day has arrived can be difficult, though, unless there adhesive tape specially prepared to give non -sticky splices. is a microscope handy. Pocket -sized medium -powered hand Reels of splicing tape cost from 292 to one dollar, depend- microscopes are available at from $2.00 to $1o, and most ing on length and width. Half -inch width is standard for of these are quite adequate for spotting wear on a standard - use on most tape splicers. groove stylus. For microgroove styli, higher -powered ( and Another device which is almost essential to the owner higher-priced) microscopes are available from General of a high -quality tape recorder is a head demagnetizer. A Science Service Company. Their $25 model MS -1 offers magnetized recording or playback head can increase hiss 125 -times magnification, and has a threaded barrel that level and spoil valued recordings by erasing their high will accept standard higher -powered lenses. And for frequencies, so for this reason it is advisable to demag- that matter, who would resent finding a nice new diamond netize heads periodically. Audio Devices sells an excel- under his Christmas tree? lent head demagnetizer for $7.20, and Ampex makes one Also important to record and stylus life is correct stylus specifically for use on Ampex recorders or others having force. A pickup which is riding too heavily or too lightly similarly exposed heads. Also extremely useful to the will damage both the disk and the stylus (to say nothing quality- conscious recordist is a bulk eraser, which can re-

of the sound ) , and the only way to set the force accu- move all traces of signal from a recorded tape in a jiffy. rately is by means of a stylus gauge. Accurate gauges are Amplifier Corporation of America markets for $14.40 a made by Weathers Industries ($2.00), Garrard Industries hand -held bulk eraser which can also be used for demag- ($2.45) , Pickering and Company (150), and the Audak netizing heads on many recorders.

Company ($4.70) . A more costly but highly precise dial - In the Convenience -and -Flexibility department, there reading gauge is made by the Scherr Company, and sells are several other gadgets which most home recordists will for $9.85. appreciate. Among these are the Flahan tape threader The gadget -lover would certainly enjoy receiving a neat (790), spare microphone plugs (to match those already little kit of phono checking instruments, packaged by in use with the recorder) , and flexible goose -neck ex- Walco under the name of the Balanced Sound Kit. At a tension microphone rods for the hobbyist who dabbles budget- priced 882, it includes a spring scale and a small with live recording ventures. Goose-neck extenders cost spirit level for testing turntable leveling. Cabinart also between one and three dollars, and greatly increase the sells a turntable leveling kit ( $2.10) , which includes a versatility of a microphone by allowing it to be set at tiny circular spirit level that can be screwed to the motor practically any angle. board, and a set of adjustable rubber feet for leveling the Apart from the phono or tape specialties, there are entire player assembly. certain small items that every hi -fi hobbyist tends to run The Hi -Fi Slumber Switch ( $7.95) could hardly be con- out of before he knows it, and Christmas is the ideal time sidered a necessity for the Compleat Hi -Fi System, but for loving friends and family to replenish his stock. Such it would certainly be a boon to the adolescent oversoothed objects include RETMA (RCA) phono plugs, plastic - by the dulcet strains of mood music or to the tired business- covered shielded phono cable (a 25 -ft. length should last man lulled by Purcell into forgetting his tax problems. for a while) , spare tips for the soldering iron, and solder. Slumber Switch connects to the shutoff switch on any Many hobbyists are Continued on page 141 changer which turns itself off after the completion of the last record in a stack, and provides AC outlet sockets for the power amplifier and one other accessory. The idea is, of course, that you can load a stack of records, go to bed, and let the whole system shut itself off after you're asleep. The age of hedonistic -fi has arrived. If there is a tape recordist in the family, there are numerous things that he may not have but should certainly be provided with. A few new reels of recording tape (of the kind he regularly uses) will always come in handy, as will a couple of boxed empty 7 -in. reels. Tape can be Audax Stylus- Balance checks your pickup's tracking force.

66 HIGH FIDELITY MAGAZINE by r Roland Gelatt

' ,' x-o

GERALDINE FARRAR, who began LEOPOLD STOKOWSKI made it much prefers a paint "with milk in it" singing at the Metropolitan Opera known a few weeks ago that he would or a plain water paint. Audiophiles while Sembrich and Nordica and like to talk with me on the subject might bear this in mind when repaint- Melba still reigned, well summed up of hall acoustics. I had never being time comes around, and let the the case for Maria Callas when she fore been favored by a summons interior decorator be damned. wrote a friend of mine: "I feel AT to the Stokowski presence and set As for future recording plans (Sto- LONG LAST, we have a stellar and out in anticipation of a relaxed and kowski recently joined the Capitol real prima donna: it were high time!" fruitful tête -à -tête. This was not to roster) he would vouchsafe nothing, This goes to the heart of the matter. be. I found the conductor's Fifth except to say that his new sound re- However you may rate Mme. Callas Avenue apartment in a state of busy flector would be of great help at re- as a singer, there can be no disputing disarray, apparently in preparation for cording sessions. The people at Capi- that as prima donnas go she is as his departure for Houston, where tol are likewise mum about the im- assoluta as anyone could ask. Stokowski is now permanent conduc- pending Stokowski program, though At the Metropolitan she did not tor of that city's orchestra. Every room they promise it will be "fairly spec- immediately bulldoze her way to suc- in his spacious flat seemed to be a cen- tacular." cess. Norma, in which she made her ter of important activity. Mr. Stokow- debut, was impressive but not vol- ski escorted me to the living room and WALTER GIESEKING was in the canic in impact. During the first two tried his best to focus on our colloquy, midst of a busy recording program acts, indeed, Callas cut a decidedly but the noises to the right and left of when he fell ill in London in the pale figure, both as a singer and as him proved too fascinating to resist. latter part of October. Here is how an actress. Toward the end, her voice Every few minutes he would spring Walter Legge, EMI's recording direc- strengthened and focused, and she from his seat, mumble apologies, tor, described it in a letter written to came imperiously to grips with the and disappear through various sets the Dario Sorias at that time: "Giese - role. The last act, where Norma con- of doors to investigate the bustle king arrived two days after me and fronts Pollione with a full charge of around us. started a wonderful batch of record- fury, was magnificent. The beginning During uninterrupted oases in ouF ings; he seemed to be physically better of this scene, as Norma slowly ad- conversation I learned that Stokowski than I have ever known him and cer- vances toward Pollione while declaim- was about to install in Houston's tainly playing better than he has done ing in menacing chest tones "In nzia Music Hall a sound reflector with for twenty -five years. In six and a mano alfin to sei," vibrates in the which he had been experimenting for half days we have completed three memory. At such moments Callas some time. The job of a sound reflec- double -sided records of Beethoven so- showed us how electrifying the lyric tor, he explained, is to gather sound natas, brought the Schubert recording theater can be. waves from a hundred or more different up to two double -sided records, and In Norma there were only mo- sources and to diffuse them throughout broken the back of his Encore record. ments; in Tosca this singer's dramatic the auditorium so that each listener Suddenly yesterday afternoon he was communication was charged with high will hear the orchestra in proper bal- taken ill and was operated on last voltage from her first suspicious en- night. It appears that the gall bladder trance to her final distracted leap from overflowed into the pancreas and he the Castel Sant' Angelo. I never ex- will be on the danger list for at least pect to see a more comely Tosca than five days. . ." Two days later Giese - this, nor one with more intensity and king died, aged sixty. conviction. For once, Sardou's stagy The Beethoven sonatas to which melodrama had genuine pathos. Cal- Legge referred were to be part of a las touchingly projected the frightened complete edition of the thirty -two. At bewilderment of Floria Tosca when, earlier sessions Gieseking had taped in the second act, her whole secure Nos. i to 7, 17, 18, 3o, and 31. The life comes tumbling down like a final sessions yielded several more to house of cards; and the end of this make a total of twelve sides. All of these will be issued in due course on the act, as she gropes tentatively for the Stokowski rehearsing the Houstonians. knife and then stabs Scarpia in a Angel label. Other unreleased Gie- seizure of vindictive hatred, carried ance. Designing sound reflectors has seking material includes thirty -two a note of great urgency. She sang been for Stokowski fairly much a mat- Lyric Pieces by Grieg, seventeen Men - variably in the first two acts, divinely ter of trial and error; the Houston delssohn Songs Without Words, and in the third. The Callas voice seem- reflector is the fourteenth he has built. the Mozart C minor Piano Concerto, ingly warms up slowly, but when it Among other things, he learned dur- K. 491, with the Philharmonia Orches- reaches peak condition it speaks with ing the course of its construction that tra conducted by Von Karajan. rare distinction. lead paint reflects too many highs; he Continued on page 7r

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70 HIGH FIDELITY MAGAZINE Six years ago I spent an afternoon encore the VPO performed An der piece of music and then letting the with Gieseking in his Wiesbaden schönen, blauen Donau in as caressing composer fend for himself. Instead, home in quest of material for a book and vivacious a style as I ever expect its policy is to do everything possible on which I was then working. At the to hear. The orchestra will be touring to establish a composer's reputation so end of our meeting I knew exactly North America until mid- December. that he can make his own way in the how Sam Goldwyn felt when, after a It is well worth the price of admission market place of music. The latest long interview with Bernard Shaw, he ( and even a baby sitter) . move in this direction is an arrange- complained that "I wanted to talk At the conclusion of their first New ment with Epic Records, which will about art and he only wanted to talk York concert, the Vienna players made publish a series of LPs devoted to about money." The pianist at that their way to the Rainbow Room, sixty - music by Fromm -sponsored composers. point in his career seemed concerned five floors high in the RCA Building, The foundation will help to foot the primarily with restoring his fortune, for a welcoming party given by mem- bill. A first release of two records, which he said the Russians had con- bers of the New York Philharmonic - due in January, will put works by fiscated when they occupied Berlin. Symphony. This was partly by way Leon Kirchner, Wilhelm Killmayer, There was a certain businesslike of return for a similar affair in Grin - and Lou Harrison into circulation. cynicism in his attitude, and it zing, a suburb of Vienna celebrated occasionally manifested itself in his for its wine taverns, to which the AMONG THE REVIEWS received postwar playing, which could be New York men had been invited dur- for this issue was one by Alfred slapdash and superficial. But when he ing their European tour last year. The Frankenstein of two suites by Roussel, set his heart to it, Gieseking played members of the two Philharmonics Le Festin de l'araignée and Le Mar- with unique delicacy and refinement. managed to keep the small talk going chand de sable qui passe, in perform- We may never hear the like of his despite linguistic difficulties, and there ances by the Radiodiffusion Française Debussy and Ravel again. was much exchange of views on the Orchestra under René Leibowitz, issued joys and fatigues of a long orchestral on the London International label. safari. The Vienna instrumentalists This same music played by the same FOR BRUCKNER'S music I have seemed properly impressed by the performers had been published pre- never, despite diligent effort, been of York's lights twinkling viously by Esoteric Records, a small able to generate real enthusiasm. sight New far below but less enchanted with the New York firm. The Esoteric LP has Respect, yes. The nobility and splen- schwach American beer which was been one of my particular favorites, dor of his themes affect me just as the being served at that dizzy altitude. and I was surprised to learn that so Brucknerites say they should, and I good a record had been remade. Or am not insensible to the massive beau- PAUL FROMM is a well -to -do emigré had it? I phoned Esoteric's Jerry New- ties of his orchestration, but I cannot from who for years man to find out. He drew a blank derive much reward from following Germany several but has investing the profits of his called back a few hours later, having prolonged Brucknerian discourse. been Chicago wine - import business in the meanwhile acquired a copy of the Once, when I confessed as much to careers of young American composers. London LP. The "new" recording, he a Central European acquaintance, I discovered, was identical to Esoteric's was advised to withhold final judg- even unto the matrix number. ment until I had heard a Bruckner The circumstances of this mix -up symphony played in Austria by an are illustrative of today's complex in- Austrian orchestra. Under these cir- ternational relations in the record in- cumstances, I was assured, the ineffable dustry. Esoteric had leased its masters compulsion of Bruckner's music would to Vogue Productions for manufacture suddenly be revealed to me. and distribution in France. Vogue had I have yet to hear Bruckner in Aus- subsequently leased part of its cata- tria, but I have now heard an Austrian logue to London International for dis- orchestra the Vienna Philharmonic, - tribution outside of France. The no less play Bruckner in Carnegie - Roussel- Leibowitz disk was included Hall, and I must report that it's still in the latter transaction error, and no go. This listener's responses to the by London unwittingly exported it to this Seventh Symphony simmered far be- country for sale in competition with low boiling point. The Vienna Phil- Esoteric's original. harmonic Orchestra itself, however, Incidentally, A.F. highly recom- lived up gloriously to all the good mends both music and performance. things that have been said about it. So do I. So does The mellow solidity of its cellos and Jerry Newman- but will glowing brilliance of its violins IMPACT PHOTO, INC. he hopes people buy the record- VP() trumpeter- manager iVohisch tow- ing on the Esoteric label. sounded especially radiant, and the ers over Schuricht and Mitropoulos. entire orchestra played with fine precision and warm innigkeit. Seventy - The Fromm Foundation spends in the CORRECTION please six- year -old Carl Schuricht, who con- neighborhood of $50,000 a year help- In the Christmas shopping story on ducted, exemplified the Kapellmeister ing to push composers over the hump page 65, we tied Walco to Electro- tradition at its best; his beat was firm, of public indifference. Most of the Wipe. Electro -Wipe is a product of the instrumental choirs were held in money goes in the form of recurring the Duotone Co., who also manufac- sensitive balance, and the interpreta- cash grants. The Fromm Foundation ture a number of other worthwhile tions were sober and logical. As an does not believe in commissioning a record accessories.

DECEMBER 1956 7 I ANGEL RECORDS "thea4i.c/x(14140/fm,d"

"more than a gift ... a compliment" "perfect gifts, with covers from Paris" Elisabeth Schwarzkopf Lehar: The Merry Widow in Songs You Love Champagne Operetta. Starring Schwarzkopf, CHRISTMAS 16 songs including 'Drink to me only with Loose, Gedda, Kunz. Philharmonia. thine eyes', 'Plaisir d'amour', 'Songs my Album 3501 B/L SUGGESTIONS mother taught me', 'Ich liebe dich', '0 du liebs Angeli'. Pianist, Gerald Moore. Johann Strauss: Die Fledermaus Beethoven: Ninth Symphony Angel 35383 Another dazzler. Schwarzkopf, Streich, (and Eighth) Krebs, Gedda, Kunz, Christ. Conductor, Kar- Conductor, Karajan. Soloists, Schwarzkopf, Schwarzkopf-Gieseking: ajan. Philharmonia. "The Viennese operetta Höffgen, Häfliger, Edelmann ... "The finest 16 Mozart Songs never had it so good." Album 3539 B/L Ninth to appear on records since the advent Two incomparable artists in a rare and lovely of LP and modern recording," Canby, Audio, souvenir of the Mozart Year. Angel 35270 Khatchaturian Conducts His Own Music June '56. Golden cover. Album 3544 B 'Gayne' and 'Masquerade' Ballet Suites. Bril- Gieseking Plays Schumann liant hi -fi recordings of two popular works Klemperer conducts Beethoven "Eroica" Schumann Piano Concerto (with Karajan including (of course) the 'Sabre Dance'. Philharmonia. "Magnificent new version ... and Philharmonia) and Kinderscenen. Music Philharmonia, London. Angel 35277 one listens with renewed wonderment," Lon- for Träumerei! Angel 35321 don Sunday Times. "People are beginning Champagne for Orchestra of to talk Klemperer as the leading Beetho- Iturbi in 'Moonlight' and Mozart Conductor, Karajan. Philharmonia. For par- ven conductor of our time," Desmond Shawe- Johann and Beethoven's 'Moonlight' and two favorite ties all year round. Music of Taylor, London New Statesman and Nation. Josef Strauss including 'Delirium Waltz' and Angel 35328 Mozart Sonatas: A major, K.331 (with the Rondo alla Turca) and F major, K.332. "He 'Blue Danube'. Angel 35342 Vivaldi: The Four Seasons retains the great touch," Billboard, Oct. '56. The most enchanting musical weather report. Angel 35378 Practical Cats Conductor, Giulini. Philharmonia. Cat -and -music -lovers delight. Poems from T. Angel 35216 Dennis Brain in 4 Mozart Horn Concerti S. Eliot's 'Old Possum's Book of Practical Cats' recited by Robert Donat. Music by The only young man with the right to blow Rawsthorne. Angel 30002 his own horn. Everybody loves the record. "they have the feel and sound of silk" Everybody buys it . . . Philharmonia and Karajan. Angel 35092 Handel's Messiah "For mood and merriment" In the great British Christmas tradition. Gieseking Plays Ravel Obernkirchen Children's Choir: Magnificently performed under Sir Malcolm Sargent. Huddersfield Choral Society. Complete piano solo works. "The ivory keys Christmas Songs Angel Blue Label 65021 Album 3510 C acquire a thousand colors," N. Y. Herald Tribune. Handsome, Paris -printed booklet, St. Paul's Cathedral Choir Angel 35381 Handel's Solomon with essay by Gieseking "on playing Ravel ". In this 1st recording Sir Thomas Beecham Album 3541 (5 sides) With Love front Paris restores 'Solomon' to áll its glory. Royal Edith Piaf, Charles Trenet, Gilbert Bécaud, Philharmonic. Towering choruses. Melting, Annie Cordy, Les Compagnons de la Chan- romantic airs. Album 3546 B "hearing it on Angel is twice the son. 12 songs. Angel Blue Label 65028 pleasure" Souvenir of Italy "the record that is already The Scots Guards on Parade The Voice and Guitar of Ugo Calise. gift- wrapped" The Hielan' Laddies are Isere again ... rous- Angel Blue Label 65027 ing music and skirling pipes on Angel's 2nd Stanley Holloway: Callas Sings Lucia Iby request) Scots Guards record. His Famous Adventures Great Scenes from 'Lucia di Lammermoor'. Angel 35337 with Old Sam and The Ramsbottoms. Come- You have never heard the Mad Scene until dian star of 'My Fair Lady' in a hilarious you have heard La Divina sing it. Also star- Soviet Army Chorus and Band revival. Angel Blue Label 65019 ring Di Stefano, Gobbi. Angel 35382 The famous singing soldiers travelled from Moscow to London where they made this Callas Sings Norma thrilling recording. 13 sensational numbers, Highlights from the great La Scala record- from 'The Volga Boat Song' to (yes, in Eng- ing. La Superba in one of her greatest roles. lish) 'It's a long way to Tipperary'. "She sings the Casta Diva like a goddess of Angel 35411 the moon descended." Angel 35379 The Carabinieri Band of Rome Callas Portrays Puccini Heroines Historic, colorful Band in thrilling music. The fabulous Callas in 11 arias from 6 operas Marches of Parade Ground and Opera including 'Butterfly', 'Bohème', `Turandot'. House, including 'Aida'. Opens with Italian Conductor, Serafin. Philharmonia. National Anthem, closes with 'Stars and Angel 35195 Stripes'. 35371

72 HIGH FIDELITY MAGAZINE RECORDS

lìcrords in Derlei P

Reviewed by PAUL AFFELDER NATHAN BRODER C. G. BURKE JOHN M. CONLY RAY ERICSON ALFRED FRANKENSTEIN ROLAND GELATI JOAN GRIFFITHS

JAMES HINTON, JR. JOHN F. INDCOX HOWARD LAFAY ROBERT C. MARSH

MURRAY SCHUMACH JOHN S. WILSON

Classical Music 73 Dialing Your Disks I06 Building Your Record Library 78 The Music Between 109 Recitals and Miscellany Io1 Folk Music IIO Spoken Word io6 Best of Jazz II2

Elizaveta Gilels, violin; Nicolai Kharkov - Whether the unusually pinched sound of sky, flute; same orchestra, Kiril Kondra- the oboes here is due to the recording, CLASSICAL shin, cond. (in the Brandenburg). otherwise excellent, I cannot tell. N.B. COLOSSEUM CRLP 25o. 12 -in. $3.98. Richter plays the D minor Concerto spir- BACH: Sonata for Two Violins and itedly and cleanly, and he conveys some Piano, in C, BWV 1037 BABADJANIAN: Trio in F -sharp of the depth of feeling in the slow move- tMozart: Concerto for Violin and Or- minor -See Mendelssohn: Trio No. ment. It is on the whole a commendable chestra, in D, K. 218. 2. performance, even though the conductor David Oistrakh, Igor Oistrakh, violins; sticks grimly to one dynamic level through- Vladimir Yampolsky, piano; Phil- BACH: Chromatic Fantasy and Fugue, out each movement and even though Rich- National harmonic Orchestra, Kiril Kondrashin, BWV 903; Italian Concerto, BWV ter's treatment of the appoggiaturas is, to cond. 971: Prelude, Fugue, and Allegro, put it gently, naïve. He simply plays them COLOSSEUM CRLP 246. r2 -in. $3.98. BWV 998; Prelude and Fugue in A at their printed value. How much easier minor, BWV 894 life would be for musicologists and editors This is a first recording of the Bach, an and if Agi Jambor, piano. performers baroque ornamentation attractive work that may not be by him were really so uncomplicated! But the CAPITOL P 8348. 12 -in. $3.98. (in some sources it is attributed to Gold- good qualities of the performance are berg - he of the celebrated variations) . Miss ,lambor's performance of the Chro- negated by the recording, which is dis- It is nicely played by the three performers. matic Fantasy and Fugue has considerably torted and tinny, here as well as in the Oistrakh senior is the soloist in the con- more color and musicianship than were Brandenburg. N. B. certo. There is no question that he is displayed in her recent disk of Bach works a first -class fiddler. Whether he is a first - under the same label. While the present BACH: Concerto for Two Pianos and class musician too is not so certain. In work does not have the passion and power the cantabile portions of the Mozart String Orchestra, in C, BWV so6x - under her fingers that it does under Lan - tMozart: Concerto for Two Pianos and throughout the slow movement in fact - dowská s, and while Miss Jambor indulges Orchestra, in E -flat, K. 365 he indulges in a kind of overexpressiveness in some effects that can be obtained only that seems quite out of place. In some on a piano and consequently are likely Clara Haskil, Geza Anda, pianos; Philhar- phrases every tone, regardless of its im- to have had no part in Bach's thinking, monia Orchestra, Alceo Galliera, cond. portance, gets its own tiny crescendo and her playing is beautifully controlled and ANGEL 35380. 12 -in. $4.98. diminuendo. Now this sort of thing may at the same time conveys something of be very effective in Wieniawski, but it Both the pianists and the orchestra sound the imaginative sweep of the Fantasy. suits Mozart about as well as a shiny black tense and mechanical in the first move- This is as good a performance on the silk topper would have suited his powdered ment of the Bach. They are less so in piano as is available on records. The other hair. The orchestra is a bit muddy in the other two movements, but inhibitions pieces on the disk are played neatly and spots. As for the recording, there is a remain. In some portions of the opening fleetly and objectively. Fine recording. slight wavering on one or two long -held Allegro, Miss Haskil's right hand is almost N. B. tones in the Bach and a faint background inaudible when it should be uppermost. hum, but the sound of the solo strings This is no match for the Elsner- Reinhardt BACH: Concerto for Piano and Orches- is very well reproduced. N. B. tra, in D minor, BWV 1052; Branden- performance (employing harpsichords) on Vox. In the Mozart all hands burg Concerto No. 5, in D relax. They seem more at home here and turn in a BEETHOVEN: Fantasia for Piano, Sviatoslav Richter, piano; National Phil- pleasing job, though I think there is more Chorus, and Orchestra in C minor, harmonic Orchestra, Kurt Sanderling, cond. grace and charm in the version by Badura- Op. 8o -See Bruckner: Symphony (in the D minor). Emil Gilels, piano; Skoda and Gianoli on a Westminster disk. No. 9.

DECEMBER 1956 73 RECORDS

third movement is "Blue - the Color of Reproduced at low or moderate volume. Raphael Hillyer, violist, on Mercury - Sapphires, Deep Water, Skies, Loyalty, and this gives sweet and smooth voice to the and that has been deleted from the cata- Melancholy," while the triumphant, fugal orchestra, and a piano continuously clean logue. Therefore, this new complete edi- finale is "Green - the Color of Emeralds, and real. Played loud, it gives startling tion of the three quartets is especially Hope, Youth, Joy, Spring, and Victory." thunder to the piano, which remains clean welcome. Not only does it offer these Pieces of music whose literary commen- and real, and a rolling power of mellow works in their first really modern record- taries are as good as this are often not envelopment to the orchestra. In its loud ing - bright, natural, and admirably bal- very good music, but Bliss's symphony is phase it is sonically the most satisfying anced - but Victor Aller and the three even better than its titles. The Introduc- record of this concerto. The performance members of the Hollywood String Quartet tion and Allegro is a short, brilliant work is not greatly different from another by prove once again their excellence as inter- by which Sir Arthur's reputation will the same musicians recorded years ago, pretative artists. P.A. neither stand nor fall. A.F. but the power and clarity of the new one produce naturally a mightier effect, parti- BRAHMS: Sonata for Violin and Piano, BLOMDAHL: Chamber Concerto No. 3, in D minor, Op. 108 +Donovan: Soundings +Schumann: Sonata for Violin and Pi- ano, No. r, in A minor, Op. 105 f Verrall: Prelude and Allegro Balsam, M -G -M Chamber Ensemble, Carlos Surin- Szymon Goldberg, violin; Artur ach, cond. piano. DECCA DL 9721. I2 -in. $3.98. M -G -M E3371. 12 -in. $3.98. the most frequently recorded Of the three works on this disk, the one Undoubtedly of all violin sonatas, the Brahms here re- with the most individual profile is the a performance that is smooth as silk, Donovan, which is scored for solo trumpet ceives beautifully proportioned, and always in and bassoon and a very large battery in- These same characteristics carry cluding practically every percussion in- good taste. over to the less familiar, but highly melo- strument used in the symphony orchestra. dic, romantic Schumann, which finds Gold - The title, Soundings. and the unusual in- approach more impassioned. P.A. strumentation, would lead one to expect berg's "a study in sonorities," as the catchphrase BRAHMS: Symphony No. 4, in E has it, and, to be sure, the composition minor, O. 98 does explore effects of timbre in very EILEEN DARBY subtle and fascinating ways; over and Rudolf Serkin: "contagious gusto." Philharmonia Orchestra, Herbert von Kara- above that, however, it builds up to a jan, cond. monumentality of expression considerably cularly since Mr. Serkin, always brilliant, ANGEL 35298. r2 -in. $4.98. transcending mere considerations of color. hits out with contagious gusto. He is able Standard symphonies coming late are out Karl -Birger Blomdahl's Chamber Con- to sustain interest during passages of pure pianistic rhetoric by implying something of luck unless some kind of revelation or certo is a powerful, somewhat Hindemith - new light comes with them. This is one ian affair for wind instruments, piano, and grand just around the corner; and by of the finer versions of the Brahms Fourth, percussion. John Verrall's Prelude and adding enough emphasis when the corner solidly masculine in style, orchestrally rich Allegro is a pleasant, tangy, neobaroque is turned, he not only fulfills his promise and sonically of high order, particularly piece for string orchestra. Recordings of but imparts an impression that no one when the full band is playing. But it offers all three works are excellent. A. F. else has found so much in the concerto. The orchestra displays its uniquely warm no revelation not anticipated by another homogeneity and is almost awesomely im- edition. If this is one of the best, it is BOCCHERINI: Trio in G minor, Op. 9, pressive in several pianos, but the leader- nevertheless not so compelling as the No. 5; Trio in G, Op. 38, No. 2; ship has failed to convince at least one Walter version for Columbia is to those Quartet in A, Op. 39, No. 8; La hearer that an ultimate eloquence was who like heat, and it has neither the sonic 44, No. Tiranna, Op. 4 sought. While the beautiful proficiency is finesse of the Boult for Westminster nor Carmirelli Quartet. being admired, the feeling insinuates itself the remarkable eloquence of the De Sabata LONDON LL 1454. 12-in $3.98. that for this performance an orderly pro- for Decca. It is here because the most duction was more esteemed than a signi- versatile of the really gifted conductors The predominance of Haydn and Mozart ficant. There is no contention here that must have the Brahms symphonies in An- in the chamber music of the last quarter it is bad: it is not; but it is a pity to gel's catalogue; and although conductor and of the eighteenth century is so absolute hear mastery approached and then shied company have behaved well to each other, that it has resulted in the neglect of works from for lack of a little added effort, as they are late. C.G.B. by lesser masters of the time that are never- in the short breath given to the second theless capable of giving much pleasure. theme of the scherzo. It seems that all BRAHMS: Trio for Piano, Violin, and The present disk is therefore especially wel- conductors except A. Toscanini have a Horn, in E -fiat, Op. 40 come. Boccherini was by no means the groveling respect for this music that pre- tHaydn: Trio for Piano, Violin, and nonentity he is sometimes accused of be- vents their scrutinizing it closely. C.G.B. Cello, No. 3o, in D ing. He was a skillful craftsman, often had Emil Gilels, piano; Leonid Kogan, violin; ideas, not lack trenchant and did depth BRAHMS: Quartets (3) for Piano and Yakov Shapiro, horn; Mstislav Rostropo- of feeling. Of the four works on the Strings, Opp. 25, 26, and 6o vich, cello. present disk, only the G major Trio seems WESTMINSTER 1818í. 12 -in. $3.98. more or less routine. I was particularly Victor Aller, piano; Felix Slatkin, violin; struck by the emotional profundity of the Alvin Dinkin, viola; Eleanor Aller, cello. The purpose is to flourish Russian vir- elaborate introduction of the G minor CAPITOL PCR 8346. Three 12 -in. S11.94. tuosos à la mode d'aujourd'hui, and la Trio, the playful handling of the wiggly mode emerges with great credit. Still, Blending piano with strings is not an easy little theme of the first movement of La Westminster has a better record of the job, but Brahms managed to accomplish Tiranna (a two -movement string quartet), Haydn, and Westminster and a couple wonders in his three quartets for piano, and the expressive chromaticism of the of others have better versions of the violin, viola, and cello, here presented corn - slow movement of the A major Quartet. Brahms better in the essential deep, plete in one album. The first and third - All four works are played smoothly and that strengthen and smooth the represent the composer in an essentially dark oils with precision. N. B. bass in recordings. The bass substance of serious vein; the middle quartet is more high, is spare enough serene in mood. Musically and structurally, this disk, clean on BRAHMS: Concerto Piano Or- to inflict a vague unease after a time of for and the Third in C minor, Op. 6o, is the best. 2, in B -flat, 83 friskiness of the chestra, No. Op. But all three make for wonderful listening. it, and neither the curt nor long yearning of the Rudolf Serkin, piano; Philadelphia Orches- Up till now, only the Second Quartet, Haydn the Brahms, in consummate expertise of tra, Eugene Ormandy, cond. Op. 26, has had a satisfactory disk inter- COLUMBIA ML 5117. r2 -in. $3.98. pretation - that by the Albeneri Trio with Continued on page So 76 HIGH FIDELITY MAGAZINE Since that first star -filled Christmas night, For Roger Wagner has a unique under- man has celebrated this great event with standing of how choral voices record. By OY music created by the oldest instrument cf precisely balancing his voices -as a conduc- all, his own voice. tor does instruments -he has again created TO And now the famed Roger Wagner the intense, dramatic sound that distin- TAL Chorale -the finest choral group of our time guishes his albums from all others. Equally - sings of Christmas in what may well be important, these performances have been WOP LDi captured by Capitol engineers who know THE one of the most remarkable albums of this every of the human voice. ROGER. WAGNER CHORALE or any other holiday season. It's called "Joy variable to the World!" The result is "Full Dimensional Sound," Album 8353 In it, you hear the most beautiful carols a startling realism reproduced with the 2,000 years of singing have produced. You highest fidelity known to the recorder's art.. hear more: all the mirth and merriment, all You'll find "Joy to the World!" a joy to the exultation and awe the human voice own or give -and pretty as Christmas under can convey. your tree.

Incomparable High Fidelity in Full Dimensional Sound

DECEMBER r956 77 RECORDS

building your record library number thirty -four

PAUL AFFELDER SELECTS A SHELF OF RECORDINGS BY PABLO CASALS

IN THIS ERA of modern miracles, we can be particularly brain and soul also go into the music making, there is grateful to the mysterious force which has granted in everything he plays a certain unmistakable individuality longevity to several of the world's most distinguished men of expression. But self is never put before the intentions of music. Sibelius is ninety -one, Toscanini will be ninety of the composer. What comes from Casals' bow and in March, Vaughan Williams is eighty-four, Monteux is fingers is pure tone and pure musicianship. Perhaps at eighty -one, and Bruno Walter is eighty. "Coming of age" eighty he may not be quite as note -perfect in technical on December 29 is one of the greatest all -round musicians execution; yet, in listening to the recordings he made and humanitarians of our time -Pablo Casals. during recent years, one has difficulty in believing that But ours has been not only an age of miracles; it also these sounds are made by a man in his late seventies. The has been an era of vast injustice, of tyranny, of loss of secret, of course, is constant practice - practice when he freedom for both nations and individuals. Some artists was a struggling young musician, practice in the midst of have collaborated with the oppressors. Still others have international concert tours, practice during the hardships remained - or have tried to remain - aloof from sima- and dangers of war, and practice still today. tions in which they felt they had no need to intervene. Casals is almost as well known as a conductor, especially Not so Casals. The leading irreconcilable among to those who attended the concerts he gave with his own musicians, he has taken a bold, absolutely inflexible stand orchestra in Barcelona and to those who have journeyed against those who would suppress liberty. Others among to the recent summer festivals at Prades and Perpignan. his colleagues joined forces with the opposition to Musso- The same towering standards that govern his cello playing lini, Hitler, and Franco. As time wore on, however, espe- control his interpretations as a conductor. He organized cially after the last war, many of these men either returned and built his own orchestra in Barcelona where others to the scenes of their former triumphs within the affected had failed to establish a permanent organization. And once countries to perform once again, or associated themselves he had what he wanted in the way of performing quality with artists whose political history was tainted. and financial support (he paid the musicians out of his Again, not Casals. After risking not only his reputation own pocket in the early days), he showed again his feeling but life and limb as well, he left his native Catalonia and respect for his fellow citizens by instituting low- priced and Spain with the determination never to return until concerts for the working men who could not ordinarily his country should again become free. So consistent has he afford the luxury of symphony concerts. been in his personal revolt against what he regards as the A fact not generally known, however, is that Casals is injustice of the present Spanish regime that he has re- also a pianist of no mean ability. In the earlier days of fused to play or even to appear in other countries which the century he toured as accompanist to his wife, the he feels are not doing enough to help his people regain American lieder singer Susan Metcalf. their freedom. Because of this adamant attitude, the world And composition itself, the creation of new music has of music has lost much. At the same time, however, in been of prime interest and importance to Casals since his working untiringly to aid the oppressed and the under- student days. For a time he envisioned himself not as a privileged everywhere, Casals has become the living, dy- cellist but as a composer. Re- creating other people's music namic symbol of the struggle for a free world. has occupied him most of his life, yet he has found time In a magazine of this sort we are concerned chiefly to write several works of his own. These include an with Pablo Casals the musician. And what a musician he oratorio, La Crêche (his favorite) ; La Visión de Fray is! We usually consider an artist remarkably versatile if Martin, for chorus, solo organ, and orchestra; a Miserere; he is able to master two different phases of music. But several motets and songs, and works for string quartet, Casals has won well- deserved laurels in no less than five violin and piano, and, quite naturally, for cello solo and different musical fields. for cello and piano. First and foremost, of course, is his world pre- eminence Finally, we come to the fifth facet of Casals' remarkable as a cellist - surely one of the greatest in the entire history career, his accomplishments as a teacher. Casals has ever of music. Never the flashy virtuoso, he has always been been ready and willing to teach, either directly or by im- much more deeply interested in revealing the brain and plication. Throughout his life he has had many pupils soul of the compositions he interprets. Since his own who, imbued with the spirit of the master, have spread

78 HIGH FIDELITY MAGAZINE RECORDS

the gospel of his refined technique and style to countless Concertos and the Orchestral Suites Nos. i and 2 by Bach, other pupils, either through direct instruction or by means but, so far as recordings go, he is at his best in the role of books and methods. of accompanying conductor for Dame Myra Hess in Every summer, thousands of eager music lovers and Mozart's Piano Concerto No. 9 in E -flat, K.271 ( Columbia musicians from all over the world flock to the Casals ML 4568) , and for Mieczyslaw Horszowski in the same festivals in Southern France. And this spring, Casals is composer's Piano Concerto No. 27 in B -flat, K.595 presenting a two week festival in San Juan, Puerto Rico, (Columbia ML 4570), both with the Perpignan Festival where his mother was born. Orchestra. The recording companies have been moderately kind to He is most generously and felicitously represented on Casals and his art over the years. In the pre -electrical days disks today as a participant in chamber music performances. he was under contract to Columbia. Then, for the greatest The cream of these, and one of the most glorious of all part of his recording career, he made disks for His Master's Casals recordings, is the album containing the five Bee- Voice and, through it, for RCA Victor. Those years thoven Sonatas for Cello and Piano and the two sets of brought forth some exquisite and unforgettable recorded variations on themes from The Magic Flute, all with the performances, most notably the six unaccompanied suites impeccable Rudolf Serkin at the piano (Columbia SL 201, of Bach, the interpretation of which is among Casals' three 12 -in.) . Other noteworthy recorded chamber music most deeply moving artistic achievements. There were interpretations in which Casals collaborates include the also the magnificent trio records with Alfred Cortot and three Bach Sonatas for Cello and Piano ( Columbia ML Jacques Thibaud, plus several fine concerto disks. What 4349 /50) ; the Beethoven Trio No. 4 in B -flat, Op. I I has happened to all of these? A few, such as the Second (Columbia ML 4571 ) , and Trio No. 7 in B -flat ( "Arch- and Third Bach Suites, were transferred to microgroove. duke" ) , Op. 97 ( Columbia ML 4574 ) , both with Alexan- But RCA Victor, in its commercial blindness, is looking der Schneider and Eugene Istomin; the Brahms Trio No. at the present only and has eliminated all but two of the I in B, Op. 8, with Isaac Stern and Myra Hess (Columbia disks: the Dvorak Concerto and a record of cello encores. ML 4719), and Sextet No. 1 in B -flat, Op. 18, with Stern, Shameful treatment, indeed, for work of such artistic Schneider, Milton Katims, Milton Thomas, and Madeline significance, and deplorable the prospect of a musical Foley ( Columbia ML 4713) , and the Schubert Trio No. I future deprived of Casals' unique insights and illumina- in B -flat, Op. 99, with Schneider and Istotnin ( Columbia tions. Could not a few albums of lesser music be sacrificed ML 4715 ), and Trio No. 2 in E -flat, Op. loo, with so that some of the best Casals recordings might be restored Schneider and Horszowski (Columbia ML 4716). to the active catalogue? RCA will hasten to answer, no On his birthday, our congratulations - and our deep doubt, that new "hi -fi" albums sell better than Casals. respect - to Pablo Casals. Very true. But a company of Victor's age and stature has a certain artistic responsibility to the public. While ob- Octogenarian of the month - many -faceted Pablo Casals. viously it would be quite impossible to retain in the cata- PAUL MOOR logue every record by every artist, surely there are a few, among whom Casals is a conspicuous example, who deserve more consideration than they have received. For the last half dozen years, Casals has been back with Columbia, which for several seasons has recorded his performances at the Prades and Perpignan festivals. Because of the acoustical conditions of the buildings in which he has played, some of these records have a sound quality that is not ideal. Shining through them all, however, is the inimitable artistry of Casals. Customarily, "Building Your Record Library" is a "ten best' series, but in this instance it seems advisable simply to point out those recordings which best illustrate the different phases of Casals' art. As soloist with orchestra, Casals may be heard to best advantage in the aging but still beautiful recording of the Dvorak Concerto in B minor, Op. 104, with George Szell conducting the Czech Philharmonic Orchestra (RCA

Victor LCT 1026 ) . There is also the Schumann Concerto in A minor, Op. 129, with the Prades Festival Orchestra, coupled with a fine selection of encore pieces ( Columbia

ML 4926 ) , and the same composer's Fün f Stücke in Volk - ston, Op. 102 ( Columbia ML 4718) , which has a performance of the Schumann Trio No. 1 in D minor, Op. 63, Casals participating, on the other side. Casals has conducted recordings of the six Brandenburg

DECEMBER 1956 79 playing, ought to give any discomfort with the vocal portions of the service. when other records do not. C. G. B. Some of the sections are fragmentary. Some have a dancelike or even martial BRUCKNER: Symphony No. 9, in D character, which lends credence to the an- minor notator's suggestion that people like Mme. de Sévigné attended the services less out of Symphony Orchestra of the Bavarian Ra- a sense of piety than of pleasure in the dio, Eugen Jochum, cond. music. The most elaborate movement is tBeethoven: Fantasia for Piano, Chorus, the imposing Offertory, but even in the shorter sections the twenty-one -year -old and Orchestra in C minor, Op. 8o composer demonstrates his mastery of Andor Foldes, piano; RIAS Chamber counterpoint and his command of a rich Choir, Berlin Motet Choir, Berlin Phil- harmonic vocabulary. The registration in- harmonic Orchestra, Fritz Lehmann, cond. dicated by Couperin calls for the use of DECCA DX 139. Two 12 -in. $7.96. Szell conducts Dvorak's Slavonic Dances. some rather wheezy stops on the otherwise excellent Swedish organ employed here. The Ninth is Anton Bruckner's last and ance from Mme. ( ?) Chailley -Richez. A Some listeners may prefer the sound of the unfinished symphony, yet, like Schubert s strange disk fellow to the Mass. P.A. Parisian organ on which Gaston Litaize Unfinished, its three move- two -movement recorded the same work for the same comments have a about certain completeness COPLAND: Twelve Poems of Emily pany (DTL 93039). The notes on the As the Bruckner sym- them. with other Dickinson sleeve of the present disk are in French. phonies, this one was subjected to a con- N.B. siderable amount of editing, cutting, and Martha Lipton, mezzo -soprano; Aaron Cop- reorchestration by others than the com- land, piano. DONOVAN: Soundings - See Blom - poser; but it has been restored in recent tWeisgall: The Stronger kahl: Chamber Concerto. years to its original form, and it is in that form that it is recorded here. Adelaide Bishop, soprano; Columbia Cham- DVORAK: Slavonic Dances, Opp. 46 Alfredo cond. Jochum directs a warm, broad, lyrical, ber Orchestra, Antonini, and 72 COLUMBIA ML 5106. 12 -in. $3.98. often moving interpretation of the first tSmetana: Quartet No. r, in E minor and third movements, yet manages to put Copland's Dickinson songs are expertly ( "From My Life ") (trans. Szell) plenty of spirit into the Scherzo, which is made, highly singable, urbane, and easy to never allowed to become heavy. The re- Cleveland Orchestra, George Szell, cond. listen to; but, for me at least, they lack the cording runs to three sides, whereas, with- EPIC SC 6015. Two r2 -in. $7.96. one thing important songs should have: out rushing -and, I think, without cut- the sense that the composer has illumined Once again we are given a fine new re- ting, though a score was not at hand - his text, found new meanings in it, and cording of the complete Slavonic Dances, Jascha Horenstein managed to get the it into dimensions not visible on one that matches admirably its three com- symphony, also the original version, onto thrown the poet's page. petitors - conducted by Talich (Urania) , two sides of a thoroughly up -to -date Vox Hugo Weisgall's The Stronger, on the Rodzinski (Westminster), and Kubelik disk. Individual comparisons are in order; other side, is a chamber opera for one (London) . Szell starts out as if he is in I like both, but if pressed would lean a hurry and can't be bothered by little slightly toward the more expansive voice and orchestra. The jacket notes give just details; but this soon changes, and we sound that Deutsche Grammophon has us the Dickinson texts set by Copland but find him adding some delightful refine- provided for Decca. not a word about Richard Hart's libretto not a sum- ments of style and phrasing. Somehow, Unfortunately, the sound in the accom- for Weisgall - even paragraph marizing the story. One word in a thou- nothing will make me give up my favorite panying Beethoven Choral Fantasia is just is to the ear, but the the Talich but it and the Rodzinski as poor as the Bruckner is good. The over- sand intelligible - - total -on make no sense whatsoever. take a full four sides, and Kubelik has a all volume level is low; in addition, the goings very mediocre Romeo and Juliet (Tchai- piano has been recorded fairly close -to, The style suggests Gian -Carlo Menotti trying to write in the manner of Alban kovsky's) on the last side of his set. This while the orchestra and chorus ha" "e been Epic album, then, may turn out to be relegated to the background. Berg. A.F. the best buy, because its fourth side con- As to the music, it comprises an intro- CORELLI: Concerti Grossi, Op. 6: No. tains a new recording of Szell's imagina- duction for piano alone, followed by a 4, in D; No. 7, in D; No. 8, in G tive and eminently just orchestral real- set of variations for piano and orchestra, minor; No. 9, in F; No. ro, in C ization of Smetana's From My Life Quartet. with a short but impressive choral finale. P. A. In some respects, it can be considered as I Musici. a preliminary study for the finale of the EPIC LC 3264. r2 -in. $3.98. FALLA: El amor brujo Ninth Symphony. Altogether, a most in- tOrchestral Favorites teresting work, one all too seldom heard. From the standpoint of performance, this Since it also receives a clear, discerning is one of the best representations of these Orchestre de la Suisse Romande, Ernest interpretation, it is a pity that it could lovely works on records. The Musici play Ansermet, cond.; Marina de Gabarain, not have been better reproduced. P.A. with all the necessary qualities - sensitive- mezzo soprano (in El amor brujo) . ness and precision, power and tenderness, LONDON LL 1404. 12 -in. $3.98. intensity and tranquillity. The "revision" CHAILLEY: Missa Solemnis of the scores, by B. Bettinelli, seems rev- To the commonplace that the best Spanish music is written by Frenchmen, Manuel de La Psalette Notre -Dame, Jacques Chailley, erent and in good taste, although the "re- is Much cond. viser" could not resist the temptation of Falla an unchallenged exception. adding imitative figures in the Allemande of El amor brujo is based on forms and tFranck: Prélude, Chorale, and Fugue of No. so. The only element that prevents devices of folk music, just as the story this disk from being completely satisfactory derives from Spanish gypsies. The manner C. Chailley -Richez, piano. in which Falla builds upon these sources a LONDON TW 91145. 12 -in. $4.98. is one aspect of the recording: the true sound of the violins is partly concealed by rich and varied symphonic work of ex- Jacques Chailley's a cappella setting of the the thin, shimmering veil of slightly exag- tended dimensions (which has been suc- Mass, composed in 1947 and first per- gerated highs. N.B. cessful both in the concert hall and as a formed at the Besançon Festival in 1955, ballet), demonstrates the high level of is a devout and serious work, one which COUPERIN: Messe des Paroisses skills that lies behind so much deceptive simplicity. combines old ecclesiastical modes with Stig Rasjö, organ. Ansermet's flair for the composer was modern harmonies. It follows the text LONDON TWV 9111o. 12 -in. $4.98. admirably, but without rising to any great shown a few years ago in his splendid ver- emotional or inspirational heights. This Mass "for use in parish churches dur- sion of The Three Cornered Hat. He can, The wonderful Franck work receives a ing solemn festivals" consists of a series of without loss of force or vitality, create hard -toned, matter -of -fact, rigid perform- short organ pieces that were interspersed Continued on page 84

8o HIGH FIDELITY MAGAZINE VERDI "'v "' "® LA TRAVIATA

HARRY

BEIAFONTE _ EAU PSO

Christmas Hymns and Carols ROBERT SHAW CHORALE getting friendly etl with music

ARTHUR FIEDLER EDDIE FISHER BOSTON POPS ORCO A DEBBIE REYNOLDS in Bundle ' f Joy

Eddie Fisher says:

"WHEN YOU GIVE

RCA VICTOR ALBUMS,

THE WORLD'S GREATEST ARTISTS

SAY `MERRY CHRISTMAS'

FOR YOU."

each 45 Ef' 1.49 ,.ad, 12" Long Play 3.98

There's no better way to say "Merry Christmas" than with music. And when you give one of these exciting RCA Victor albums, you give the EXTRA thrill of great performances by the world's greatest artists - the EXTRA joy of the world's truest sound. So visit your favorite record dealer today. If he doesn't have the exact RCA Victor album you want, ask to see his PMS Catalog. This lists everything in RCA Victor's vast library of records and tapes. All you do is make your selections and your dealer does the rest. The albums are delivered anywhere in the U. S. A. - postage paid - AT NO EXTRA CHARGE!

Remember, whichever RCA Victor album you choose to give, it's the nicest way to say, "Merry Christmas."

Don't miss Eddie's new movie, "Bundle of Joy," coming to your city SOON ... and tone in The Eddie Fisher Show, Wednesdays and Fridays, on NBC -TV. RCAVICTOR

Hear these New Orthophonie High Fidelity recordings best on Nationally Advertised Prices an RCA Victor New Orthophonie High Fidelity "Victrola..0

DECEMBER 1956 8 3 RECORDS

ing backed by philosophical commitment. WESTMINSTER XWN 18254. 12 -in. $3.98. Accompaniments: good. Sound: intimate and clear. Good notes, but no texts - buy The concerto is in the chamber -jazz style your own Verlaine. J. H., JR. of the 192os, with wah -wah mutes on the trumpets and other dated devices, but it is none the less a charming entertainment FLOTOW: Martha: excerpts - See piece. The Eight Poems by Li -Po, dedicated Weber: Der Freischütz: excerpts. to Anna May Wong ( remember? ) , success- fully elude the trap which that subtle FRANK: Prélude, Chorale, and Fugue author almost invariably springs on - See Chailley: Missa Solemnis. Western composers. There is nothing easier than to take a Chinese poem, cause GERSHWIN: Rhapsody in Blue; Con- it to be intoned in a declamatory style certo for Piano and Orchestra, in F with long breaks between the vocal phrases wherein the flute and harp make with Jesus Maria Sanroma, piano; Boston Pops pentatonic effects, and give one's self the Orchestra, Arthur Fiedler, cond. illusion of having composed a song. Lam- RCA CAMDEN CAL 304. 52-in. $1.98. bert, however, really composes songs to these texts. The vocal line is music, not Sanroma's uncut recording of the Rhap- disguised recitation, and the whole is ex- sody dates from 5938. For some time it quisitely sensitive. So are the performance was considered the definitive performance, and the recording. A.F. and even now it offers pretty stiff competition to a number of recordings, of later vintage, currently available. It has MENDELSSOHN: Concertos for Piano Schmidt -Isserstedt surprises with Haydn. tremendous drive, a fine rhythmic pulse, and Orchestra: No. 1, in G minor, Op. and is impeccably played; add to this ex- 25; No. 2, in D minor, Op. 40 the most subtle and delicately spun orches- cellent support by Fiedler, who was more Peter Katin, piano; London Symphony Or- tral textures within a wide range of tonal considerate then of a soloist's problems. chestra, Anthony Collins, cond. colors. The lightness and refinement are The Concerto in F, originally recorded, I LONDON LL 1453. r2 -In. $3.98. thus exceptional, particularly when the im- believe, in 1941, is almost as successful. pression remains that the music is being The record is a good buy at its low price, I found this a very pleasant record. The conveyed in full blood. His soloist, De even though RCA's engineers have not music is not world shaking in its import, Gabarain, knows the Spanish style and has managed to make the old sound very but it is enjoyable and satisfying to hear, the timbre and the impassioned gypsy agreeable; the orchestral tone is often and the artists appear to be overjoyed to quality needed to capture the smoldering unpleasantly explosive, and the piano be bringing it to you. The LSO plays so heat of the music. sounds brittle and thin. J. F. I. well as to make one forget that it is gen- The orchestral collection is equally well erally the weakest of the London orchestras. done and offers the Spanish Dance from GOUNOD: Petite Symphonie, in B -flat I attribute the improvement in large part Falla's La Breve, Vida Chabrier's Habaiiera, Eine kleine to Mr. Collins, whose customary verve is Mussorgsky's - See Schubert: Trauer- Gopak, and two pieces of musik. obviously infectious. The pianist is simi- Debussy, Clair de lune and Marche écos- larly delighted with the proceedings and raise. Ansermet's skill is such that Clair does very well with an instrument that de lune is transformed from a shopworn HAYDN: Symphony No. 94, in G has a somewhat dull tone and might, in marshmallow to an interesting musical ex- ( "Surprise ") less congenial circumstances, prove a dis- perience - and that is skill indeed! The tMozart: Serenade No. 13, in G ( "Eine appointment. Finally, the recording engi- recording is fairly resonant and soft in kleine Nachtmusik"), K. 525 neers make a resonant hall behave, so that focus but without loss of detail. Recom- Northwest German Radio Orchestra the sound is good and well placed in mended. R.C.M. (Hamburg) , Hans Schmidt -Isserstedt, cond. space. R.C.M. CAPITOL P 58022. 12 -in. $3.98. FAURE: Songs MENDELSSOHN: Trio No. 2, in C This Surprise has the most substantial Spleen, Op. 5t, No. 3 (II pleure dans mon minor, Op. 66 sound in twenty recorded editions, an ad- coeur). Mélodies de Verlaine, Op. 58: 1-Babadjanian: Trio in F -sharp minor vantage which places it near the top of the Mandoline, No. 1; Green, No. 3; C'est pile in total desirability, since the perform- David Oistrakh, violin; Sviatoslav Knushe- l'extase, No. 5. Prison, Op. 83, No. 1. ance - barring a slow Minuet whose chaf- vitsky, cello; Lev Oborin, piano (in the ing restraint we can feel is lively, Mendelssohn) ; Arno Babadjanian, piano tRavel : Histoires naturelles under - accomplished, and engaging. The fine dis- ( in his own work) . Gerard Souzay, baritone; Jacqueline Bon - criminations of the Beecham exposition COLOSSEUM CRLP 247. I2 -in. $3.98. neau, piano. (Columbia ML are not here, but 4453) For "Authentic Hi -Fi" this is somewhat LONDON LD 9203. Io -in. 52.98. then this solid clarity of sound cannot be lacking, since the quality is not appreciably heard that older record although the The matter of fresh interest here is all on better than 78s of eight or nine years ago, older sonics are pretty good. Good repro- on the Fauré side of the disk, for the little and even the Oistrakh violin is unap- duction prevails also in a competent Eine Ravel cycle, done with a casual assurance, pealing when it is reproduced with a rough k N unmarked by any particular distinction has been about for some time, coupled with and, unfortunately, filterproof cast -iron top. and unmarred by any severe fault. In sum mistreated Falla songs on LS 536. At any 'Tis a pity, too, for the Mendelssohn is an excellent record, in spite of the absence rate, Gérard Souzay's readings of Fauré's a fine example of chamber music in the of any novelty. C.G.B. exquisitely shaped settings of Verlaine are early romantic vein, and the performance more notable for their high polish than is warm and sympathetic - good enough, for depth of penetration. Mr. Souzay's HAYDN: Trio for Piano, Violin, and indeed, to compensate for many faults in delivery is easy and always cultivated, and Cello, No. 3o, in D- See Brahms: the recording. The Babadjanian reminds sometimes this is all that is needed, or Trio for Piano, Violin, and Horn, one of Brahms crossed with Borodin until almost all. His C'est l'extase, if no ulti- in E -flat, Op. 40. one reaches the final movement, when a mate, flows purely, and so does the languid Khachaturian saber dance takes over. The second section of his Green; his Mandoline LAMBERT: Concerto for Solo Piano performance seems pretty good, with some is rippling with surface charm. But in and Nine Players; Eight Poems by very spectacular fiddling from Oistrakh; Prison, which can and ought to be a bit- Li -Po the recording here, apart from some wob- terly dismaying song, he is still content to bly piano tone, is better than in the be suave, or else simply lacks strength of Gordon Watson, piano; Alexander Young, Mendelssohn. R.C.M. purpose to slip the point home. All told, tenor. Argo Chamber Ensemble, Charles this is skilled singing, as distinct from sing- Groves, cond. Continued on page 86

84 HIGH FIDELITY MAGAZINE L'ITALIA (works by Mascagni, Paganini, Tchaikovsky, Tose /li & others) Hollywood Bowl Music's Symphony Orchestra, Carmen Dragon, cond. 8351 JOY TO THE WORLD! (traditional Christmas carols) Roger Wagner Chorale 8353

MILSTEIN MINIATURES (works by Vivaldi, Brahms, Stravinsky, Rimsky -Korsakov & others) SnoRT, Nathan Milstein, violin 8339

CONCERT PIANO ENCORES (works by Chopin, Strauss, Debussy, Schubert, Liszt, Rachmaninoff & SnORT others) Leonard Pennario, piano 8338 FROM THE ROMANTIC ERA (transcriptions of works by Mozart, Schumann, Beethoven, Chopin, Debussy, Grieg) Laurindo Almeida, guitar 8341

ON WINGS OF SONG (works by Schubert, STORIES Brahms, Bach- Gounod, Malotte & others) Dorothy Warenskjold, soprano 8333

GYPSY! (works by Brahms, Dvorak, Sarasate & others) Hollywood Bowl Symphony Orchestra, Carmen Dragon, cond. 8342

CELLO COLOURS (works by Fauré, Ravel, Saint -Saëns, Mendelssohn, Dvorak & others) André Navarra, cello 18023

FOLK SONGS OF THE OLD WORLD Roger Wanner Chorale 8345

A SPANISH GUITAR RECITAL (works by Albeniz, Torroba, Tarrega, Granados & others) Maria Luisa Anido, guitar 18014

- Nlccolo Barbieri and his book," from ITALIAN ACTORS OF THE RENAISSANCE, copyright 1930, Coward -McCann, Inc. FIESTA! (works by Bizet, Delibes, Granados, Massenet & others) Hollywood Bowl Symphony Orchestra, Carmen Dragon, cond. 8335 Some of the world's greatest music takes no longer in the telling VIOLIN ENCORES (works by Bartok, than a popular song. Unlike a catchy new tune, however, this MODERN Falla, Prokofiev & others) music ages like fine wine and is as caressing to the ear today as Pedro d'Andurain, violin 18010 it was long, long ago. GUITAR MUSIC OF LATIN AMERICA (works by Villa- Lobos, Barroso, Almeida & others) We are speaking of music's shorter classics that take only 3, Laurindo Almeida, guitar 8321 5, 8 minutes to tell. Some feature the piano or violin or guitar. FOLK SONGS OF THE FRONTIER Others were written fór full orchestra. A few will show you Roger Wagner Chorale 8332 the incredible range of the human voice. But they all have the jewel -like brilliance and completeness of a De Maupassant tale.

Among the newest additions to the Capitol library are a remarkably varied group of albums featuring such short selections. These are listed here to help you choose a Christmas "gift of music" for yourself, or for a valued friend. A more welcome or more appreciated gift would be hard to find.

DECEMBER i956 85 RECORDS

RECORDS

oped a new energy and assertiveness, and tranquil realism just about as high as we she is playing, obviously restrains her own to have acquired an understanding that have found in records. They are Schu- virtuosity to permit breadth to the mel- even the best is poor when not in its mann's Spring Symphony, a trio of sonatas low old box resounding to her fingers. proper place. In this Schubert, and more played by José Iturbi, and the Mozart She will not curtail the development of in this Mozart, the new forcefulness has Quartet No. 17. If this continues, com- the emergent bass, like a buttered harp, been used not to suppress or to overwhelm ments on sonics will become superfluous. because no doubt she fears lèse -majesté; their hushed ecstasies, but to complement C.G.B. and urgency when it is required is sup- and redistribute them, without any corrup- plied for the right hand by a treble like tive effect on the refinement of their corn - MOZART: Serenade No. 13, in G a feathered harpsichord. The style cer- munion. ( "Eine kleine Nachtmusik "), K. 525 tainly fits the instrument - which may The new strength and decision may of - See Haydn: Symphony No. 94. enforce it on anyone - nicely. C. G. B. course derive a good measure of their prominence from a more telling sound MOZART: Sonatas for Piano: No. 4, MOZART: Sonatas for Piano: No. 5, in than any bestowed on the Quartetto Itali- in E -fiat, K. 282; No. ix, in A ( "Alla G, K. 283; No. 6, in D, K. 284; No. ano before - in the Mozart equal to the Turca"), K. 33r 7, in C, K. 3o9 very best reproduction hitherto obtainable Variations on "Unser dummer Pöbel," Reine Gianoli, piano. of a string quartet. It seems true and it K. 455 WESTMINSTER 18220. 12 -in. $3.98. brings no discomfort. Definite in articula- Kathryn Déguire, on the "Siena Piano- tion, it is free of the dryness that so often forte." There are other good versions of all three, record. Miss Gianoli is accompanies a clean bite, and yet there is ESOTERIC ESP 3004. 12 -in. $5.95. but not on one no intrusive reverberation. recording all the Mozart sonatas, and her By improbable chance, three records Usually a pianist if he can help it will second disk confirms the promise of the taken in succession from the Angel batch not play second fiddle to anything, but first. The beautifully poised piano sound represented three categories of recording - here Miss Déguire, enthralled by the seduc- and the arrangement of the sonatas in con - orchestra, piano, quartet - on a level of tive voice of the remarkable instrument Continued on page 90

RCA Victor's Mozart Memorial Distinctions and Disappointments THE bicentennial year has certainly seen of the Vienna Philharmonic Orchestra. no dearth of genuflections to Mozart, Much careful thought evidently went particularly in the recording field . The latest into the choice of the pictures. There are of these is a three -record album entitled about a dozen full -page illustrations, mostly Homage to Mozart, for which Mr. Kolodin of portions of Austrian cathedrals and pal- has chosen from the Victor catalogue a aces that were well known to Mozart. group of "notable" performances recorded These are unhackneyed and beautifully rein pre -LP days. The earliest dates from produced. There are also many smaller 1907, the most recent from 1948. They illustrations, better known but varied and range in scope from a song to a complete interesting. concerto. The first disk is devoted to arias In view of the effort and expense that and other vocal pieces, the second to in- went into the production of this album, strumental and orchestral works, and the there are some surprising lapses. The one third to complete performances of the G portrait of Mozart that was chosen, a full - minor Piano Quartet and the D minor page affair, is a fake, as is the smaller Piano Concerto. The records are encased family -group silhouette on page 21. While in a handsome album with annotations and the notes indicate that the horn concerto beautifully printed pictorial illustrations. is performed complete and the label lists The list of performers is a dazzling one, John McCormack contributes a treasure. all three movements, only the first is indeed, and some of the performances are played. In the two -column general intro- performances on these two sides, but it equally dazzling. Here is the incredible duction there are several curious statements. seems a poor tribute to Mozart to break "Il mio tesoro" of John McCormack, surely In a context designed to show how widely up sonatas and concertos and present only one of the greatest vocal recordings ever traveled Mozart was, we learn that "Handel movements from them. Even if made. Here, too, are treasurable renditions individual made one great remove from Germany to such a procedure were to be condoned, by Selma Kurz ( "Deh vieni, non tardar,' England," which neatly ignores a little surely something more suitable could have sung here in German), by Destinn ( "Ach, matter of a three -year stay in Italy. It is been found than Thibaud's erratic per- ich f ühl's ") , Vanni- Marcoux ( the Serenade misleading to leave unqualified the state- formance of the first movement of the from Don Giovanni) , Boni ( "In uomini" ment: "it was a recognition of extra- E -flat Violin Concerto work that may from Così fan tutte), Pinza CO Isis and -a ordinary abilities for a reputation to pre- be only partly by Mozart. And the quality Osiris," sung in Italian), Lotte Lehmann cede a twenty- one -year -old composer as of Edwin Fischer's performance of the Con - - (An Chloë), and Ursula van Diemen (the his did to Mannheim or to Paris." Mozart tradance in D, K. Clemens Krauss's Laudate Dominum from the Vespers in C, 534, was remembered in these places, by those Overture to The Marriage of Figaro, and K. 339; the instrumental introduction is who did remember him, chiefly as a one- Aubrey Brain's Horn Concerto No. 3 (first not included). Less impressive, indeed time child prodigy. And that he left be- movement only) is not such as to transcend hardly in a class with these, it seems to me, hind, in Paris or Milan, "some seeds of the distorted sounds of the old recordings. are the other vocal selections: the Battis- influence" would be difficult to substantiate. Also on this disk are the D minor Fantasia tini -Corsi "Ld ci darem la mano," in the Finally, this reader was startled to learn for piano, K. 397, played by Landowska; 6/8 section of which Corsi can barely be that "to a cultured Briton, Mozart is 'Moh- the second movement of the Violin Sonata heard; the Frieda Hempel Queen of the zar'; . . . to a German, 'Mohzart ." in B -flat, K. 378, by Yehudi and Yaltah Night aria, sung in Italian and shorn of What does all this add up to? In the Menuhin; and the first and last movements the accompanied recitative; the Schipa reviewer's opinion, an excellent idea im- of the A major Piano Sonata, K. 331, by perfectly executed and grossly overpriced. "Dalla sua pace," in which the tenor avoids Backhaus. NATHAN BRODER the low notes; Erna Berger's incomplete A sharp upturn takes place on the third Et incarnatus est, from the C minor Mass; Here are two masterpieces performed disk. MOZART: "Homage to Mozart" and Dorothy Maynor's Alleluia, lacking in complete and in a manner worthy of them. brilliance and assurance. The piano quartet is played by Artur Records selected and commentary written The descent along an inclined plane of Schnabel and members of the Pro Arte by Irving Kolodin; album designed by Al- quality continues in the second disk. This Quartet, and the piano concerto by Bruno fred Frankfurter and Eleanor C. Munro. reviewer has no quarrel with most of the Walter doubling as soloist and as conductor RCA VICTOR LM 613o. Three r2 -in. $50.

88 HIGH FIDELITY MAGAZINE IRIM DR INC SONGS

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DECEMBER 1956

DECEMBER 1956 93 RECORDS

RECORDS

tTorroba: Preludio in E; Sonatina in be clearly seen in the beguiling sonatina, music the composers' procedures, to any- A; Nocturno in A minor; Burgalesa which has a classical cast while remaining one familiar with the style, are stereotyped. in F -sharp with the modern Spanish guitar idiom. Every move is as predictable as in the fist The romantic aura is not lost, yet the ideas fight between the marshal and the var- Julian Bream, guitar. are fresh. Like its predecessor, the disk mint in a television Western. It is in- WESTMINSTER XWN 18137. r2 -in. $3.98. is faultlessly engineered to the last squeak teresting to observe how seldom this hap- Julian Bream's second guitar record is and twang. R. E. pens in Vivaldi, despite the profuseness even more enchanting than his first, since of his output. Certainly it does not hap- all the material is wholly congenial to his VIVALDI: Concertos: for Oboe and pen in any of these four works. If the deliberately paced, fastidiously colored Strings, in D minor, Op. 8, No. 9; composer sets off on a chain of sequences, style of performance. The Villa -Lobos pre- for Two Violins and Strings, in B-flat, something is bound to occur - melodically, ludes are extremely simple in content, P. 391; for Two Violins, Two Cellos, rhythmically, or harmonically - before saved from banality by the composer's sure and Strings, in D, P. r88; for Bassoon monotony has a chance to set in. Even in handling of exotic colors and textures. and Strings, in E minor, P. 137 the bassoon concerto, which has its share noodling, an expressive cantilena will Played in Mr. Bream's poetic, dreamily Pierre Pierlot, oboe; Philippe Lamacque, of in before the noodles grow too long. slow manner, they become both compelling Francs Oguse, violins; Claude Brion, Pierre break B -flat Concerto is unusually capricious; and haunting. Degenne, cellos; Paul Hongne, bassoon; The major Concerto healthy and vigorous. The sixty- five -year -old Spanish composer Ensemble Instrumental Sinfonia, Jean the D fine oboe concerto is the only one of Federico Moreno Torroba extended the Witold, cond. The the four, as far as I know, that is available range of the guitar, in a way, by composing LONDON TWV 91052. r2 -in. $4.98. for it works that had more line and form elsewhere on LP. Warm and full -bodied than the usual repertoire pieces. This can In some late baroque (as well as other) performances, with sound to match. N.B.

The Fat Knight and His Fellows Flourish in Angel's Falstaff tempo is right to a hair -splitting de- AS WAS to be expected, Herbert von Vanni- Marcoux tradition. At times, the the Karajan's account of Giuseppe Verdi's voice sounds pretty wooden, especially in gree. that Rolando Panerai's Falstaff is one of surpassing refinement. the higher, sustained passages, but Gobbi It seems a pity so closely both This opera, fondly called a "connoisseur's never fails to conjure up the vision of the fine voice resembles Gobbi's contrast would opera," above all others needs a conduc- fat knight; he is ever before you. The in weight and color. Vocal to up the long and tor who is keenly perceptive, touched to the baritone has padded his voice and diction have served point Ford and Falstaff. quick by every possibility of nuance. In here, just as he would his costume in a amusing scene between the demand- Angel's new release we have just that. stage performance. In passing, it should Panerai sings well, especially sogno? O realta ?," but I still cast The present recording brings the num- be stated that he cannot altogether make ing "E which was my vote for Frank Guarrera (Toscanini's ber of available complete Falstaffs to four. you forget Taddei's Falstaff, far more beau- choice) in this particular role. A choice actually boils down to two, for equally effective and vocally Now for the ladies. Elisabeth Schwarz - this latest entry encounters only one serious tiful, but both these men -of- the -theater Vic- kopf, despite her occasionally German - rival the historic Toscanini album, is- surpass Giuseppe Valdengo's (RCA - by a wide sounding consonants, is a gay, extremely sued by RCA Victor. tor) pedestrian performance it is, Gobbi gives us a few musicianly Alice Ford. She is not so There exists litle doubt that Angel's new margin. As deft touches that none of the others has Italian as either Herva Nelli (RCA) or recording of Verdi's last opera is much vouchsafed thus far. Notice the somber Rosanna Carteri (Certa), but her singing the best from a technical standpoint. Its carries a high polish that sets her apart. sensitive clarity serves Von Kara - extremely Anna Moffo brings us an obviously young for this conductor thrives under jan well, Nannetta, very lovely in the episode of where delicacy and meticulous conditions Windsor Park with its Watteau -like atmos- are brought into finely care for detail phere, but sometimes guilty of excessive relief. As a case in point, effects etched coyness that leads to a tendency to slur. are the most successful thus far in distance Fedora Barbieri provides a big- voiced achieved. Dame Quickly in the Cloe Elmo manner, minutes than does Employing eight more just as effective as her admirable predeces- of this mercurial Toscanini in his traversal sor's, which is saying a great deal; while emerges and miraculous score, Von Karajan Nan Merriman, who was the Mistress Meg the Maestro by as a formidable rival to of the Toscanini set, seems more assured phrases reason of his careful shaping of and more relaxed here in the same role. and flickering and his awareness of balance It is difficult to imagine a finer Falstaff does details of orchestration, though he than this one. From the opening bombastic earth- not quite convey all the bluster and measures, descriptive of its mountainous of the Italian iness evoked by the baton hero, to the wonderful final fugue, the octogenarian. performance radiates a sense of beauty and Von Karajan also takes the brief episodes form. After considering all possible angles, arias, "Dal labbro of the lovers and their I find it undoubtedly the best of those . " "Sul fil it canto estasiato vola .. and available though I am glad I own the more - d'un soffio etesio," more lyrically, Toscanini, too. MAX DE SCHAUENSEE flexibly than does Toscanini. It is fortunate that he has in Anna Moffo and VERDI: Falstaff Luigi Alva two young singers whose breath unending. The Elisabeth Schwarzkopf (s), Alice Ford; supply seems apparently Tito Gobbi: a Falstaff "ever before you." tenor aria is taken more slowly than I Anna Moffo (s) , Nannetta; Nan Merriman can ever remember having heard it, so (ms ) , Meg Page; Fedora Barbieri (c) , Mondo Dame Quickly; Tito Gobbi (b) , Falstaff; that I actually became apprehensive for clouds he evokes - "Mondo ladro. the set's Fenton. Needless fears! Young rubaldo. Reo mondo!" - during his Rolando Panerai (b) , Ford; Luigi Alva Signor Alva is the best Fenton within re- gloomy ruminations after his dunking in (t) , Fenton; Tomaso Spataro (t) , Dr. cent memory, and his beautifully fash- the Thames, or his biting staccati during Caius; Renato Ercolani (t) , Bardolph; ioned aria becomes a really cherishable the famous Honor Monologue. The cele- Nicola Zaccaria ( bs) , Pistola. Philhar- experience. brated and tiny arietta, "Quando ero paggio monia Orchestra and Chorus, Herbert von In Tito Gobbi, Von Karajan possesses del Duca di Norfolk," becomes a little gem Karajan, cond. C /L. Three 12 -in. $15.98. a singing actor in the Maurel, Scotti, as performed by Gobbi and the conductor; ANGEL 3552

HIGH FIDELITY MAGAZINE 98 RE(ìORDS

WEBER: Der Freischütz: excerpts BWV 532, and Toccata, Adagio, and Fugue Flute, and Bassoon and Oliver Shaw's in C, BWV 564, on Boston B 700. This merry Little Suite, appears on Unicorn 5024. Victoria. Victoria. Victoria! (chorus) ; Hier is particularly unhappy, since the record- The playing (by the Berkshire Woodwind (Kaspar); Nein, im ird'schen Jammerthal ing not only marks the player's debut but Ensemble and assistant soloists) is routine trag ich. . . . Durch die Wälder länger also presents the first recording of Max on the Beethoven, pleasant on the Shaw, (Max) ; Wie nahte mir die Schlummer. .. . Reger's extraordinarily interesting Varia - but the record has a genuine historical in- winden dir Leise, leise (Agathe); Wir tions and Fugue on an Original Theme, terest. Other transcriptions, offering tuneful den Jungfraukranz (Bridesmaid, chorus) ; Op. 73. Even more unfortunate is M -G -M's music well played by the Hamburg Philhar- wohl auf Erden (chorus) . Was gleich offering (E 3365) of the Bach Concerto monic State Orchestra led by Giovanni di Traute Richter (s), Agathe; Sonja Schöner for Organ and Orchestra in D minor, Bella, are the Corelli Suite for Strings (arr. (s) , Bridesmaid; Sebastian Hauser (t) , BWV 1052, and in D major, BWV 5054, Arbós) and a Rossini arrangement entitled Max; Gerhard Frei (bs) , Kasper. Chorus with Richard Ellsasser at the organ and Sonata for Strings (Telefunken LGM 65035) . and Orchestra of the Berlin Städtische the Philharmonia Orchestra of Hamburg Telefunken does less well in its TM 68027 Oper, Walter Lutze, cond. under Hans -Jurgen Walther. There seems with a pair of transcriptions (by one no reason why Bach's harpsichord concertos Waldenmaier) of Liszt's Hungarian Rhap- tFlotow: Martha: excerpts should be played on an organ in the first sodies: No. r (No. 54 for piano) and Mädchen, brav und treu, herbei (chorus); place, and here the organ either drowns No. 4 (No. 2 for piano). Neither the Or- Letzte Rose, wie magst du ( Martha; out the strings or drags behind them. pianist, Marie-Jeanne Kreitz, nor the de la Radiodiffusion Lionel) ; Schlafe wohl! (quartet) ; Ach, so Not that "arrangements" do not have chestre Symphonique very fromm! (Lionel) ; Lasst mich euch fragen their own occasional validity. A case in Belge under Franz André, makes (Plunkett); Ma; der Himmel euch verge- point is the Beethoven Quintet for Oboe, much of these. More is the sonic sabotage ben (Act III finale) . Three Horns, and Bassoon, a reconstructed painful fragment, which, with the Trio for Plano, wreaked by Russian engineers on Colos- Traute Richter (s), Martha; Annelies Westen (ms) , Nancy; Herold Kraus (t) , Lionel; Gerhard Frei (bs) , Plunkett. Chorus and Orchestra of the Berlin Städtische Oper, Hugo Diez, cond. TELEFUNKEN TM 68028. lo -in. $2.98. Should anyone wonder how the Telefun- ken engineers have managed such a formidable "selection" from both Der Freischütz and Martha on a ten -inch single, the answer is: They haven't, really. For, with one side to an opera, the numbers tabulated are in most cases chopped to one -strophe titbits with orchestral joinings. As far as they go, the performances are solidly competent, and - for examples, in Traute Richter's Agathe and in the chorus work - sometimes more than that. The recording is clean and sharp; no texts, fairish notes. For the prospective Web- SENSATIONAL HIGH- FIDELITY erfite, there are more worthwhile Freischütz singles; but so far there is no Martha - in -small except this. J. H. JR. in priceless First Edition Recordings!

WEISGALL: The Stronger -See Cop- Now you can enjoy fine music at its Critics have praised the recordings land: Twelve Poems of Emily Dick- high -fidelity best ... brilliantly played highly: inson. ... flawlessly recorded ... and inter- "Splendid sound." preted as the composer intended. -Cleveland Plain Dealer This is a rare opportunity to possess n ... a service to music unequalled." exclusive FIRST EDITION RECORDS - -Christian Science Monitor first recordings of newly commissioned rr ... the reproduction is a model of More Briefly Noted works by outstanding composers, played clarity. " -St. Louis Globe -Democrat superbly by the renowned "... recording and performances, excellent. " -Pittsburgh Post -Gazette THE King of Instruments currently seems LOUISVILLE ORCHESTRA to be more than holding its own in the Robert Whitney, Conductor First Edition Recordings are engineered Bach repertoire on records. Among the by Columbia Masterworks technicians better offerings is Epic's second volume Can you imagine the thrill of owning and are available only from the Louis- (LC 3261) of organ works, which pre- original recordings of the works of ville Orchestra. They cannot be bought sents Va- iations on "Sei gegrüsset, Jesu Bach or Mozart -done in hi -fi? First at stores. Each edition is limited. Don't gütig," BWV 768; the Prelude and Fugue Edition Records give you a like oppor- delay . . . use the coupon below to in C, BWV 531; and the Passacaglia in tunity today -for these are the original secure complete information. C minor, BWV 582. Anton Heiller's recordings of the works of living mas- playing, while not very imaginative, is ters. This priceless collection of new, steady and skillful, and the recording is exciting music represents the finest SEND TODAY FOR FULL INFORMATION excellent. Angel's release (35368) of the expression of our age in music. Toccata and Fugue in D minor, BWV 565, with a number Fan- In to together of the addition their musical brilliance LOUISVILLE P1IILH.4X11O.VIC SOCIETY tasias and Preludes, is interesting mainly and technical perfection, First Edition Dept. U, 830 S. 4th St., LOUISVILLE 3, KY. as a souvenir of the Edouard Records give you playing of the satisfaction of Please send me free. complete information about Commette; the instrument on which he establishing yourself as a patron of Louisville Orchestra First Edition Recorde. plays does justice neither to Bach nor to today's finest music. The Louisville the organist. The young Phillip Steinhaus Philharmonic Society is a non -profit Name also is at a disadvantage, in this case by organization . . . income from record Address a serious blurring by echoes, in his per- sales is used in the commissioning of

formance of the Prelude and Fugue in D, still further works. City - State

DECEMBER r956 99 RECORDS

seum CRLP 231, which couples the Dvorak Française in a beautiful performance ex- heard on a Capital record, pleasantly played Cello Concerto with Mstislav Rostropovich, cellently recorded. This fresh and vigorous by Hans von Benda with the Berlin Cham- and Tchaikovsky's Variations on a Rococo composition emerges as a work of real ber Orchestra, but less well recorded than Theme, for Cello and Orchestra, with majesty. the Leinsdorf version for Westminster or Sviatoslav Knushevitsky - exquisite play- A minor masterpiece still lacking better Karl Böhm's for Epic. ing; wretched recording. The same trouble than acceptable representation is Pergo- On the other hand, there are excellent disqualifies CRLP 225: David Oistrakh lesi's Stabat Mater. Vox PL 996o offers recordings of unimportant music: Proko- in striking performances of Mendelssohn's an adequate version of his lovely work fiev's dull cantata The Ugly Duckling, Op. Violin Concerto and Bruch's Concerto for with Friederike Sailer and Hanne Minch 18, the mildly pleasant children's piece Violin and Orchestra, No. t, in G minor. and the Mainz Chamber Orchestra, but on Summer Day, Suite, Op. 65a, and the Fine music and fine performances do, the whole an earlier Vanguard release is Overture on Hebrew Themes -a fine however, come to their reward on occasion. to be preferred and the field is still open musical irony in its original version, but London has retrieved for us, (on DTL for a truly fitting re- creation. Pergolesi heavy- footed in an orchestral arrangement. 93004/5), the withdrawn Westminster (if the composer vas Pergolesi, and not Françoise Ogéas and the Orchestre du version of Honegger's Le Roi David, pre- Ricciotti, or someone else) also is repre- Théâtre des Champs -Elysees under André sented under the composer's own direction, sented on Telefunken TM 68048 with Jouve combine their talents in this, London with soloists (Janine Micheau, Janine Col- the brilliant Concertino for Strings, in DTL 93084. Prokofiev's dramatic and lard, and Pierre Mollet), chorus, and the G. This disk offers, too, Mozart's Sym- richly conceived Romeo and Juliet music, Orchestre National de la Radiodiffusion phony No. 32, in G, K. 318, formerly from the sound track of the film is, however, poorly recorded on Colosseum CRLP 10209/10. Another not -entirely -satisfying recording is Anton Reicha's Quintets for Wind Instruments: No. 2, in E -flat, Op. 88; No. 2 and No. 9, in D, Op. 91, No. 3. This is the first LP (Oiseau -Lyre OL 50019) devoted to Beethoven's contemporary; and while nothing is memorable, everything is competent - including the players (flutist Jean- Pierre Rampal and his usual colleagues). A medley of Schubert (Rosa - munde: Ballets No. r and 2; Entr'actes No. FASCINATING! UNUSUAL! INCREDIBLE! I and 3, D. 707; Symphony No. 5, in B -flat, D. 485) also falls in this class. Hans Schmidt- Isserstedt leading the North- west German Radio Orchestra (Hamburg) SURPRISING! EXCITING ! INSTRUCTIVE! presents a satisfactory interpretation; but the deep bass removes timbre and character from the higher instruments, and Capitol P 18021 must bow to other versions of BRASS! PERCUSSION! KEYBOARD! this music. Capitol has, however, issued another disk (p 8347) , beautifully played and CHRISTMAS! GIFTS! EXTRAORDINARY! stunningly recorded, but again of totally uninteresting music - this time Ferdi- nand Grofé's Mississippi Suite and Grand Canyon Suite, trivial material developed VOX! ULTRA! HIGH! FIDELITY! along highly conventional lines, expertly conveyed by Felix Slatkin and the Holly- wood Bowl Symphony Orchestra. Tedious music is also given an excellent recording on London International TW 91120 of Jean Absil's Concerto for Piano and Or- chestra and Homage à Lekeu. The over - side offers Joseph Jongen's Troisième Why so many exclamation points? Because every exclamation points to another fine recording on Suite d'orchestre -a p:ece "dans le style ancien," which seems to mean a collection they are absolutely unique. Because the people on your gift list will love Vox records. Because of derivative exercises. A younger brother, them madly. Because they're by VOX who put the exclamation point in sound! Léon Jongen, also is represented on a London disk (Tw 91121) in Malaisie, ex- Each in a De Luxe album with comprehensive booklet by the noted authority, R. D. Darrell ceedingly commonplace musical impressions of the East Indies. This record pre- ON PERCUSSION -DL 180. A fabulous variety of percussion instruments from SPOTLIGHT sents on its other side Paul Gilson's La a 3 -foot gong to a tiny set of tuned cymbals called crotales. Narration by Al "Jazzbo" Collins .. . and featuring Arnold Goldberg, chief percussionist of the New York City Ballet Orchestra, and Kenny Mer, composed earlier than Debussy's opus Clarke, noted jazz drummer. and demonstrating the difference between talent and genius. Again, the recording SPOTLIGHT ON BRASS -DL 300. Demonstrations of 27 brass instruments, ancient and and performance (Orchestre National de modern. Recorded in Symphony Hall, Boston, with famed instrumentalists Roger Voisin, Joseph Orosz, Belgique, Léon Jongen, cond.) are very Harold Meek. good. Far otherwise is the recording in . and the newest Vox spotlight Colosseum's release (CRLP 10223) of SPOTLIGHT ON KEYBOARD -DL 362. Includes the remarkable Belle Skinner collection Emil Gilels' playing of the Kabalevsky of ancient instruments ... o pre -historic Zanza ... the world's oldest piano ... sounds never before Third Piano Concerto and Lev Oborin's recorded. At the keyboards: Bruce Simonds, Claire Coci, Martin Hoherman, Harold Thompson. rendition of Rachmaninoff's Concerto No. 2. Sonically this record could be vintage The "Spotlight" series is produced by Ward Botsford. 1925; Mr. Gilels' playing deserves better, as probably does the Kabalevsky concerto, new to records. The same complaint, of for sound reasons New York 19, N. Y. inferior recording, can be made about one of the new disks in the Louisville subscription series (Lou -56 -5) . At least one would

I00 HIGH FIDELITY MAGAZINE RECORDS

like to hear a better version of the Sere- The Dawning of the Day; The Spanish credit for the disk's attractiveness and nata Concertante, by the Chilean composer Lady; Sweet Babe, a Golden Cradle Holds avoidance of aural monotony goes to Mr. Juan Orrego -Salas -a brilliant and ex- Thee; The Next Market Day: My Singing McWilliams, whose sturdy voice and genial hilarating work, though conservative in Bird; Believe Me, If All Those Endearing style are heard in half the choral numbers its harmonic idiom. The Concerto for P:a io Young Charms; Eileen Og; Let Alt. and in two solos. Only a couple of songs and Orchestra by Robert Muczynski has Maguire Sit Down; The Bard of Armagh; are sung in Gaelic, including Brahms's little importance, but the work which Eileen Aroon; Kitty of Coleraine; The Lullaby. R.E. completes this disk, Harold Shapero's Palatine's Daughter; Oh, Come to the Credo, serene and luminous, leaves one Hedgerows; Hail, Glorious Saint Patrick. WITOLD MALCUZYNSKI: Encores doubly regretting the deficiencies of the Brahms Lullaby. engineering. Debussy: La cathédrale engloutie. Rach- Little Gaelic Singers of County Derry, maninoff: Prelude in G -sharp minor, Op. And - to note briefly but buoyantly - 32, No. 12; Prelude in G, Op. 32, No. 5. Westminster has issued or re- issued James McCafferty, cond. Michael McWil- - -a Mazurka in A minor, Op. 68, number of single disks for followers of Sir liams, baritone. Chopin: Adrian Boult, who conducts the Philhar- DECCA DL 9876. 12 -in. 53.98. No. 2; Valse in E minor, Op. post.; Valse monic Promenade Orchestra in Brahms's in C -sharp minor, Op. 64, No. 2. Pro - Nazareth House, an orphanage for girls in kofiev: March from The Love for Three Symphony No. 1 and Symphony No. 3, Derry, is Oranges. Etude in B -flat both available earlier only in the album Ireland, the source of this latest Szymanowski: European children's choir to come to the minor, Op. 4, No. 3. Paderewski: Craco- of complete orchestral music; Liszt's Tod - sienne Humoresques de tentanz, with Edith Farnadi; and William attention of Americans - through this fantastique, from Walton's Belshazzar's Feast, with Dennis record and through the group's current Concert, Op. 14, No. 6. Scriabin: Etude in Noble, baritone (XWN 18104, XWN tour of this country. (Orphanages and C -sharp minor, Op. 42, No. 5; Etude in children's choirs inseparable D -sharp minor, Op. 8, No. 12. 18194, XWN 18242, XWN 18253, re- often seem - spectively) the Obernkirchen group and the Little Witold Malcuzynski, piano. Singers of Paris each support one.) The ANGEL 35348. 12 -in. S4.98. Little Gaelic Singers include twenty -six girls and two boys who make very attrac- In view of his recordings of major works, RECITALS AND tive sounds under the relaxed but dis- it may be unkind to call this the best of criminating direction of Mr. McCafferty. Mr. Malcuzynski's releases, but that it is. MISCELLANY The array of delightful Irish folk songs This Polish pianist tends to overpersonalize and ballads on this disk - it includes some his interpretations, and in larger forms this beauties like The Bard of Armagh is IRMA KOLASSI: Song Recital - tendency has been decidedly unfortu.late. well within the technical grasp of the In the small -format works - they are not Ravel: Cinq Mélodies populaires grecques; youngsters so that the performances are necessarily small in content - one can Chansons madécasses. A. Scarlatti: Tog - comfortable and expert. A good deal of better enjoy Mr. Malcuzynski's splendid lietemi la rua ancor, from Il Pompeo; Se Florindo è fedele, from La donna ancora è fedele. Falconieri: Vezzosette e care pupillette. Pergolesi: Stizzoso, mio stizzoso, from La Serva Padrona; Se tu m'ami. Music for Marching Musketeers Handel: Ah, mio cor, from Alcina. Paisi- the other day playing a wooden arrange- ello: Chi vuol la Zingarella, from I Zin- ment of . . . the Nutcracker Suite! The gari in Fiera. Caccini: Amarilli, mia bella. greatest purely musical interest resides in Irma Kolassi, mezzo -soprano; Jacqueline the works by Couperin and LaLande, but Bonneau, piano; Geoffrey Gilbert, flute; the other pieces, with their rousing fan- William Pleeth, cello; André Collard, pi- fares, make a brave show. If Louis actually ano (in the Chansons madécasses). danced the passepied and the final air of LONDON LL 1425. 12 -in. S3.98. the LaLande excerpts, as is indicated in their titles, he must have been a sprightly This seems to be a mixture of old and new old boy. And one wonders whether the recordings. Ravel's Greek songs formerly noble pieces by LaLande had the same shared a ten -inch disk with some other relation to the quality of the King's food Greek and French songs, and five of the as the treacle poured out by Muzak has to Italian songs ( Vezzosette e care pupillette; the food it accompanies in our restaurants. Se Florindo è fedele; Ah, mio cor; Chi The Lully Alarch of the Turenne Regiment, vuol la Zingarella; Amarilli, mia bella) by the way, is based on a tune that Bizet were formerly in a program of lieder and employed two centuries later in his old Italian airs. The Greek mezzo- soprano's L'Arlésienne music. luscious voice and superior musical in- The performances are lively and pol- telligence give distinction to anything she ished special word of commendation sings, but she does not seem to have the -a is due the excellent trumpeter, Roger Del - temperament to deep involvement Louis XIV project motte - and the recorded sound is sump- in music. I find her most successful in A DELIGHTFUL collection of instru- tuous. NATHAN BRODER Ravel's fine settings of Greek songs, which mental music, most of it written for she sings in Greek and for which she has various occasions at which Louis XIV was COLLEGIUM MUSICUM DE PARIS: been deservedly praised already. The present, has found its way into the little - Symphonies et fanfares pour les Chansons madécasses lack the kind of publicized London International list. It Soupers du Roy earthiness they should and did get from is not all dinner music, despite the general Mouret. Suite de Symphonies, No. z; Cou- Madeleine Grey, but in other respects Miss title given it here: some of it is military perin: La Steinkerque; Lully: Marche des Kolassi's performances of these are as good music, some of it dances, and the Couperin Mousquetaires du Roy; Marche des Mous- as any on microgroove. The ever-lovely is a trio sonata. Two of the pieces the - quetaires gris; Fanfares pour le Carrousel Italian songs and arias, on the other hand, Philidor and the Lully March of the King's de Monseigneur de Marche demand a volatility in the vocal line that Musketeers- are for timpani alone. The 1686; du Régiment de Turenne; LaLande: Sym- they do not get here. Miss Bonneau re- rest (including La Steinkerque, which is phonies pour les Soupers du Roy; Philidor: mains one of the best accompanists to be orchestrated by the conductor) are for a Marche heard on records. R.E. typical orchestra of the time. à quatre timbales pour le Carrousel de Monseigneur de 1685. All of this is elegant stuff; and the LITTLE GAELIC SINGERS OF COUN- marches, particularly, are recommended to Collegium Musicum de Paris, Roland TY DERRY: Irish Folk Songs and that university director whose band paraded Douatte, dir. Ballads around between halves of a football game LONDON TWV 91092. 12 -in. $4.98.

DECEMBER 1956 IoI RECORDS

tone and technique and even his fondness George Maran's recording of Vaughan for much rubato, which gets out of hand Williams' early but extraordinary song FABULOUS in longer works. The Szymanowski, cycle, On Wenlock Edge, appears on the Paderewski, and Scriabin items are novel- heels of Alexander Young's for West- SUCCESSOR TO ties of a sort - all worthy works deserving minster. Mr. Maran's sweet voice is of more than "encore" status. Mr. Mal - slightly thinner. drier, and breathier than FABULOUS cuzynski infuses them with personal Mr. Young's, but it moves more smoothly; warmth as well as power. Oddly enough, his style is more personal, less forthright. he views the Debussy prelude with an The ensembles supporting the singers are impersonal eye, which results in a first - equally accomplished, with Westminster rate version, beautifully tinted and deep - furnishing better balance all around. The "SOUNDPROOF" toned. R.E. buyer cannot go wrong with either performance. However, on the other side of the London disk are thrice -familiar lieder, GEORGE MARAN: Song recital sensitively sung to be sure, but not so well Vaughan Williams: On Wenlock Edge. as to add to our knowledge of them. West- Schubert: Ständchen. Beethoven: Ich liebe minster wisely filled its disk with more Dich. Brahms: illinnelied. Tchaikovsky: Vaughan Williams songs. R.E. None but the Lonely Heart. Grieg: I Love Thee. Massenet: Elégie. Schumann: BOSTON POPS: Waltzes by the Strauss Widmung. Family George Maran, tenor; London String Quar- Johann Strauss II: Where the Citrons tet; Ivor Newton, piano. Bloom; One Thousand and One Nights; LONDON LL 1406. 12 -in. 53.98. Roses from the South. Josef Strauss: Secret

And Now We Know What Ike Likes IS NOW, technically, too late to cifically music of Brahms and Beethoven. ITmake a recorded historical document of From Walter Reed there were requests for a United States President performing the music by Johann Strauss, Gershwin, a Missouri Waltz. But RCA Victor has Mendelssohn symphony, and the whole of managed to make a bit of parallel, if not La Traviata. The theme song from High precisely equivalent, history. Noon, celebrated Western movie, was The Eisenhower interest in music was chosen because, as related in the recent not publicly appreciated until, last year, the (authorized) volume by newsman Robert President had his heart attack. Confined J. Donovan, the Chief Executive went to Denver's Fitzsimmons Army Hospital, he around whistling it for months. (Even- needed diversion. On a plea relayed from tually, according to Mr. Rogers, subordi- Mrs. Eisenhower, WGMS, Washington's nates lodged a respectful protest and won FM good music station, to which he had a reprieve.) been a regular listener, came to the rescue So much for historical developments. with magnetic tapes of some of its re- This isn't an "authorized" record, for the cordings. This year, when the President President did not give its contents his was sent to Washington's Walter Reed advance approval. It isn't even an original Hospital by ileitis, WGMS again proffered one, since Victor pulled all the contents its aid. A direct line carried music, spe- from its files. But the quality of both P cially compiled, soothing and commercial - selections and performance represents a respectable, even impressive, level of taste; When duo -piano wizards Ferrante free, to the Eisenhower bedroom. & Teicher created Soundproof! At this juncture M. Robert Rogers, one- the project may have been politically use- (WP 6014), they little dreamed time O. S. S. agent, WGMS president, and ful (Mr. Rogers, in advance, did not rule what they let loose. "Dee Jay" currently executive director of an organiza- out this pre -election possibility) ; and it (America's disc jockey magazine) Arts certainly cannot have harmed the causes gave it the highest score ever re- tion known as the Committee of the corded by their reviewing board, and Sciences for Eisenhower, conceived an of international relations, private enter- the only record ever voted unan- idea. He consulted with Litman Danziger, prise, or good music. imously by all their panel! "Time" proprietor of a Washington record store, JAMES G. DEANE magazine gave it feature editorial attention! And the public has and with a key White House personality, pressed our pressing capacity with one Sherman Adams, regular National unprecedented demand. Which in- Symphony-goer. Mr. Danziger, on long THE PRESIDENT'S FAVORITE MU- dicates what you can expect from distance, broached the matter to his friend SIC Adventure In Carols (WP 6021); the inimitable, irrepressible and ir- George R. Marek, of RCA Victor. And resistible Ferrante -Teicher treat- in three record -setting weeks Arthur Bach -Stokowski: Sheep May Safely Graze ment of familiar Christmas airs. Fiedler of Boston was journeying south- (Stokowski & orch.). Beethoven: Coriolan This is one you'll want to give ward to complete the sequence with proper Overture ( BSO, Munch ) . Verdi: La Tra- everyone -and keep for yourself, too! Ask your dealer. ceremony. viata, Act II; Di Provenza il Mar (Warren, Mr. Rogers' brainstorm? It was to put Monteux, Rome orch.) . J. Strauss, Jr.: some of Mr. Eisenhower's favorite music The Bat: Overture (Reiner & orch.). on a record, and this was what Mr. Marek Gershwin: Porgy and Bess (symphonic did and what Mr. Fiedler handed to the synthesis) ( Fiedler, Boston Pops) . Spiri- President, and what the President's fellow tual: He's Got the Whole World in His citizens can now acquire in the record Hands ( Marian Anderson, Rupp) . Tiom- shops. kin- Washington: High Noon (Do Not Mr. Eisenhower's "favorites" were Forsake Me) (Al Goodman & orch.). picked by the President indirectly. Mr. Mendelssohn: Fingal's Cave Overture Rogers deduced most of them from re- (Chicago Sym., Reiner). Bach -Stokowski: quests emanating from the two hospitals. We All Believe in One God (Stokowski In Denver the President wanted specifically & orch.). Bach's Sheep May Safely Graze, less spe- RCA VICTOR LM 2071. r2 -in. $3.98.

MAGAZINE I 02 HIGH FIDELITY RECnRI)S

Attractions; Music of the Spheres. Eduard Various ensembles, Izler Solomon, cond. violinist, Claude Jean Chiasson, harpsi- Strauss: Doctrines. M -G -M E 3245. 12 -in. 53.98. chordist, and an unnamed celesta player for the delightful Concertant of Daniel Pink - Boston Pops Orchestra, Arthur Fiedler, A varied anthology of modern works for ham, a "study in sonorities" of the lightest cond. chamber orchestra, superbly recorded and RCA VICTOR LM 2028. 12 -in. $3.98. and wittiest kind. This Boston composer beautifully played. The Britten is that does not seem previously to have entered This is not the echt Strauss one hears in composer's Opus r, written when he was the LP lists. Vienna. The innumerable expressive eighteen years old. I think it is the best Ernest Bloch's Four Episodes (Knicker- piece by Benjamin Britten I have heard. changes of pace of that style are replaced bocker Chamber Players; William Masse - It is a three- movement fabric of motifs by a firm and regular beat, and the or- los, piano ) is an undistinguished miscel- manipulated chestral sound is solid and boldly colored. with an almost Schoenbergian lany of character pieces entitled Humor- complexity, but the involvements of its Personally, I find these readings enjoyable esque Macabre, Obsession, Calm, and Chi- in their own terms. The broad melodic tissue do not damp the composer's spirits; nese. Arthur Berger's Serenade Concer- they serve, however, lines are admirably stated, and the Boston to give the music tante (Brandeis Festival Orchestra) is a orchestra's virtuosity makes for undeniable an exceptional degree of integrity and short work, very exacting, disciplined, and elegance, only slightly dimmed, now and character. In his notes, Edward Cole ob- vital in its effect. A.F. serves again, by excessive reverberation. R.C.M. that "Britten passed quickly from such constructivist tendencies." Too bad. TENNESSEE ERNIE FORD: Hymns ELISABETH SCHWARZKOPF: Songs The Britten is performed by the M -G -M You Love Chamber Ensemble. The string players of Who at My Door is Standing; Rock of this group are joined by Robert Brink, Ages; Softly and Tenderly; Sweet Hour Traditional: Drink To Me Only with

Thine Eyes. Martini : Plaisir d'amour. Mendelssohn: On Wings of Song. Dvorak: Songs My, Mother Taught Me.

Hahn : Si nies vers avaient des ailes. Tchaikovsky: None but the Lonely Heart. YOUR INVITATION Jensen: Murmelndes Lüftchen. Grieg: Ich liebe Dich; Farmyard Song. Sibelius: TO JOIN THE Schilf, Schilf, säusle; Schwarze Rosen. Strauss: Wiegenlied. Wolf: In dem Schat- ten meiner Locken; Elfenlied. Swiss folk songs: O du liebs Angeli; Gsätzli. TERE0PHONIC Elisabeth Schwarzkopf, soprano; Gerald Moore, piano. MUSIC SOCIETY ANGEL 35383. 12 -in. 54.98. The "you" in the title of this record must refer to Miss Schwarzkopf's most Here's the most exciting news since ardent admirers. They are the only people whose "love" might encompass Sibelius' HERE ARE A FEW you first discovered the listening pleasures Black Roses and Grieg's I Love Thee at MEMBERSHIP BENEFITS of recorded tape! the same time, merely because she is singing them. Carping aside, Miss Sch - 20% SAVINGS ON AT LAST . , . you can stop wearisome shopping warzkopf's exquisite voice and personality STEREOPHONIC TAPE give a special to any RCA, HMV, Hi -Fi, Livingston, tours hunting for the recorded tapes you want. radiance song she AV, Concert Hall. touches, and only overfamiliarity has de- The Stereophonic Music Society has been prived some of these songs of their original 20% SAVINGS interest. Mr. Moore is his incomparable ON MONAURAL TAPE created to serve the needs of every music lover (Complete listings in "Harrison Cata- self at the piano. R.E. logue of Recorded Tapes" or "Tape who appreciates the true fidelity and Reel." You receive a copy of one upon IZLER SOLOMON receipt of membership application.) convenience of this ultimate music medium. Bloch: Concerto Grosso No. 2. Richter: SAVINGS This unique plan offers you one central source ON RECORDING TAPE Lament. Antheil : Serenade. for every fine recorded tape the market, All first grade, professional on quality, recording tape! M -G -M String Orchestra, Guilet Quartet, and -through its large volume purchases Izler Solomon, cond. FREE MUSIC -passes on tremendous savings to you! M -G -M E 3422. 12 -in. $3.98. MAGAZINE SUBSCRIPTION You get I year subscription A collection of unusual interest, and one ( regular value $3.00) ; contains complete coverage of cape, rec- MEMBERSHIP RATES not harmed in the slightest by its gor- ords and FM, reviews, articles, Your entire cost for participation in the Society Purchase geous recording. Bloch's first Concerto etc. Plan and all the privileges described for period of Grosso, composed in 1925, is one of his FREE CATALOGUE 6 Months $6.00 1 Full Year $9.00 most celebrated works. The second Con- OF RECORDED TAPES The Stereophonic Music Society opens the door to you certo Grosso, which dates from 1952, is Complete -up -to -date tally dis- to the finest recorded tapes in the world -offered to you tributed quarterly. as soon as they are made available by all labels -at prices relatively little known, however, even you can't heat anywhere. Send in this application blank NO MINIMUM PURCHASE though it is quite as powerful as the today, and enjoy the benefits of membership immediately! first concerto and is somewhat similar to REQUIREMENT Order as few or as many tapes - - -- _.MEMBERSHIP APPLICATION FORM------it in general texture. It uses a solo - string you wish. TO: STEREOPHONIC MUSIC SOCIETY, Inc. quartet, here played by the Guilets, in 303 Grand Avenue, Palisades Park, N. I. ID month period place of the piano solo of its famous GENTLEMEN: Please enroll me for a as a member In the ID year forerunner. The Lament by the young Stereophonic Music Society. I understand that I am under American composer Marga Richter is a no obligation to purchase any specified minimum of stereophonic, monaural or recording tapes under the short piece of great eloquence, expressive- Society's group purchase plan. As part of my member- ness, and harmonic subtlety. The Antheil ship I am entitled to a free one -year subscription to Hi -Fi Music Magazine, as well as the quarterly listings of all Serenade manages to be witty without recorded stereophonic and monaural tapes available. being insubstantial. A.F. (payable to My tans Stereo- Money Order p $9.0000 phonic Music Society, Inc.). Britten: Sinfonietta. Berger: Serenade NAME Concertante. Bloch: Four Episodes. Pink - ZONE CITY STATE ham: Concertant. MAKE OF TAPE RECORDER Stereophonic Stacked Staggered Monaural

DECEMBER 1 956 I 03 RI CORD',

of Prayer; My Task; Let the Louer Lights his popularity, in the years since he was issued under the rubric "Music at M. I. T." Be Burning; The Ninety and Nine; The a member of the "Grand Old Opry" in The sound is magnificent, and the playing, Old Rugged Cross; When They Ring the Nashville. The raw bumptiousness has by members of the Boston Symphony Or- Golden Bells; In the Garden; Ivory Palaces. yielded to an easy natural graciousness, chestra, is even better. Since the works and it is obvious that he takes himself involved are all very good, what results Tennessee Ernie Ford, baritone with guitar; seriously, especially at work like this. is a singularly engaging disk. Voisin and Orchestra and Chorus, Jack Fascinato, cond. Although some of the arrangements are his colleagues present four pieces. The CAPITOL T 756. 12 -in. $3.98. rather elaborate, the chorus sings with first is Ingolf Dahl's Music for Brass, a A regular feature of Tennessee Ernie Ford's sincerity and enjoyment, and the soloist's serious and wonderfully sonorous com- daily television show is what he calls the naturally musical voice is so persuasive position written in the days when Dahl singing of a song of faith. The "songs that one wonders if Ernie is trying to was strongly under Stravinsky's influence. of faith," for the most part, are genuine convert us all over again with Golden The second is Hindemith's Morgenmusik, old Gospel hymns, and of such is this Bells and Ivory Palaces. Worse, I dare an affectionate and noble tribute to the collection composed. The hymns them- say, could befall us. H. S. WALLACE German "tower sonata" of the seventeenth selves, to some of us, bring back nostalgic century. Third is a lively, generally satir- memories - of singing around the pump ROGER VOISIN: The Modern Age of ical Brass Suite by the late Nicolai Bere- organ in the front parlor, of preaching and Brass zowski. Fourth and last is the vigorous, in B -flat by eating and singing on the grounds of the Roger Voisin and his brass ensemble. expertly organized Quintet Sanders, professor of music at old country church. They are real Ameri- UNICORN UNLP 1031. 12 -in. $3.98. Robert cana, worth cherishing. Brooklyn College, who seems to make his Tennessee Ernie has grown, along with This is one of the series of recordings debut on records with this release. A.F. ! ',t, I Briefly Noted ,,=- More IF not everyone loves a parade, apparently a goodly proportion of record buyers do; and for them a rousing collection of band music is on the market. Of particular interest is Angel's release (35371) of the Carabinieri Band of Rome, presenting a selection of pieces from Verdi and Rossini, as well as several national anthems and marches. In the music of their native country the Carabinieri probably will not be surpassed (understandably, they do less well with the Stelle e Stresse of Giovanni Filippo Sousa); in general a colorful and expert group of musicians, splendidly recorded. More indigenous band music can be found on Marches for Twirling, played heV by the Eastman Symphonic Wind En- semble, under Frederick Fennell - again a first -rate band, well recorded. And for DO- IT-YOURSELF "H.M.S. PINAFORE..': those who want something different, and uniquely British, there is Men of Brass in singers have kept you from Gilbert & Sullivan, here's a If "marbles the mouth" on London LL 1456, which presents the will suit you to a "T ". Pure G & S "Pinafore" as an orchestral operetta. record that Massed Brass Bands of Foden's Motor But if singing G & S is your secret desire, we supply the music and lyrics so you and Works, Fairey Aviation, and the Morris your friends can "do it yourself" with full orchestral accompaniment...anywhere... Motor Works conducted by Harry Morti- the D'Oyly - want! Program notes by Martyn Green of Carte Company. and anytime you mer - in a potpourri ranging from The Philharmonia Orchestra conducted by Louis Shankson. and his Dog to Tchaikovsky's Concord 3001 -Long Play 12" Recording ... $3.98 Whistler r8í2 Overture. BEETHOVEN: Sonata No. 30 In E Major, Op. 109. "GALA PERFORMANCE" Others, interested in music new or in- Sonata No. 31 in A Flat Major, Op. 110. Fourteen favorite opera arias and duets per- frequently recorded, will be glad to know one world's great pianists, performs Egon Petri, of the formed with members of the Metropolitan four compositions by two of Beethoven's later sonatas, written the same Opera Association. Symphony Orchestra con- of Modernists - time as the Ninth Symphony and "Missa Solemnis." ducted by Hans Jurgen -Walther. Walter Piston, Randall Thompson, Vit- These works occupy the same position among plano Joseph Jongen, played sonatas that the last quartets do in quartet literature. MOZART: Don Giovanni: Brindisi torio Rieti, and Mr. Petri's performances of these sonatas have been VERDI: II Trovatore: Miserere by the Berkshire Woodwind Ensemble and acclaimed on his world -wide tours. ROSSINI: Barber of Seville: Largo al factotum assisting artists (Unicorn UNLP 1029). 3002 -Long Play 12" Recording -$3.98 Butterfly: Un bel di vedremo Concord PUCCINI: Madama in any LEONCAVALLO: I Pagliacci: Vesti la Giubba The music is not really "modern" EMILE MARTIN: "Sacred Mass For the Kings of France" PUCCINI: La Boheme, Musetta's Waltz Song significant sense, but it is stimulating and VERDI: II Trovatore: Ai nostri monti ANTONIO LOTTI: "Crucifixus a cinq" enjoyable and the recording is good. Con- Tenor solo, three trumpets, two organs and full chorus. VERDI: Aida: Celeste Aida BIZET: Carmen: Seguidilla the French mu- temporary composers (Bozza, Hindemith, R.P. Emile Martin perpetrated cleverest GOUNOD: Faust: Le Veau d'Or hoax "L'Enfance du Christ" , as repre- sical since Berlioz attributed ST. SAENS: Samson et Dalila: Mon coeur s'ouvre and Ibert) along with Beethoven, to another composer. Martin wrote The Sacred Mass a ta voix by the Sextet in E -fiat, Op. 75, and and performed it as a long lost sented For The Kings of France" VERDI: Rigoletto: La donna e mobile Moulinié, a 17th century composer. Field - Partita in B -flat, also appear work of Etienne MOZART: Don Giovanni: La ci darem la mano Haydn's After hailed as the work of a genius, and a musi- it was BIZET: Carmen: Toreador Song on Columbia's presentation (ML 5093) of cal "find" of our times, Martin confessed that he was the composer and had written it in his spare time. Performed by Albert DaCosta, Sandra Warfield, the Philadelphia Woodwind Quintet. Jean Giraudeau, tenor; Marie -Claire Alain, Marie- Louise James McCracken, Louis Sgarro, Frank Valen- The living come off much better than the tino, Brenda Lewis, James Pease, Barbara 'Girod, organists; Messrs. Haneux, Bastardy, Pirot, trum- deceased, in a recording beautifully played pets; Les Chanteurs de Saint -Eustache, chorus; R.P. Troxell, Rudolph Schock, Mary Henderson, Emile Martin, conductor. Lois Hunt, Valeria Ruggeri. but marred by some echoic seepage. Concord 4001 -Long Play 12" Recording -$4.98 Concord 3003 -Long Play 12" Recording -$3.98 Miscellanies continue to offer their which melodious frivolity is RECORDS ..."The Sound Heard 'Round The World! "o delights, of CONCORD La en Every CONCORD Record is wrapped three ways to protect it from dirt, dust and fingerprints ... first In a the distinguishing mark of Vie polyethylene sleeve, second in an album container, third in an hermetically sealed plastic outer wrapper. Paris, wherein Marcel Cariven conducts At your dealer or write: the Orchestre de l'Association des Con- certs Lamoureux in familiar excerpts from CONCORD RECORD CORPORATION Bureau 2, 519 S. Fifth Avenue, Mount Vernon, N.Y.

104 HIGH FIDELITY MAGAZINE Offenbach and in unfamiliar and most wel- .BMP, come selections from the operettas of SERIES Hervé. Stylish direction and finished performances on this Grand Award disk, G.A. MERCURY 33 -401. Another collection of predomi- nantly French pieces, this time Franck, %tie; Ríclvml.S7 Poulenc, Saint -Saëns, and Chaminade, is on . Two -Piano Recital (Tiffany T 2000) by .17 t + Rudolf Ganz and Parthenia Vogelback, in forthright, clean playing. Another of the best of these "collections" is the Montilla Sampler (Montilla FM 79), on which L the Orquesta de Camara de Madrid under Daniel Montorio plays examples of every type of Spanish music, in authentic interpretations of real artistic merit. In current miscellanies featuring virtuoso 1 performers, results vary. Laurindo Almei- WAGNER Dawn and Siegfried's Rhine Jour- STRAUSS Till Eulenspiegell's Merry Pranks; dá s From the Romantic Era is, by and ney; Siegfried Idyll; Prelude to Parsifal; Suite from "Der Rosenkavalier. " Minneapolis Prelude to Act Ill of Tristan and Isolde Orchestra, Dorati conducting. MG50099 large, disappointing. These guitar tran- Detroit Symphony, Paray conducting. MG50107 scriptions of nineteenth -century music wNOCCIa,..,a.., (with the notable exceptions of Schu- FANTASY VARIATIONS ...s+ Eiger ENIGMA VARI AT IONS THE BRIGHT LANG ,.,ao+ Purcell SUITE V mann's Traumerei and Grieg's Waltz, Op. Fisrw -+I aocxts,LA seam ö.e Orsrxt VtA etb+RIO MMS$ 12, No. 2) are not convincing, and Al- meida's performance on the one nontran- scribed piece, the Sor Variations on a Theme from Mozart's "The Magic Flute," is cautious and colorless. Much more successful is Capitol's presentation (P 18025) of the cellist Andre Navarra, excellently accompanied by Jacqueline Dussol on the piano, in an unhackneyed program of N encore pieces called Cello Colours. The HANSON Fantasy Variations; ROGERS Leaves ELGAR Enigma Variations PURCELL- is Theme and from "The Taie of Pinocchio"; highlight the Paganini BARBIROLLI Suite for StringE Fla le Orchestra, TRIGGS The Bright Land. EastmaRochester on the i Variations, here set forth brilliantly Orchestra, Hanson conducting. MG50114 Sir John Barbirol conductin_. MG50125 A string of the cello. Beautiful playing can HÓ 01Iá8fAN DAW8S+.wr . also be heard on a collection of potboilers D' G sensitively performed by the violinist Al- fredo Campoli with Eric Gritton at the ANtat DORATI.. -. piano - Encores, London LL 1461. And that virtuoso of violin virtuosi, David Ois- trakh, is currently represented on two labels featuring his talents, Encores (Angel 35354) and The Genius of David Ois- trakh (Colosseum CRLP 249) , in both P records accompanied by Vladimir Yam - polsky. Both disks offer Kodály's Three Hungarian Folk Dances and Suk's Love BORODIN Poiuve e;an Dames i,`. Ih 1, a which CHRISTMAS CAROLS in HI -FI. Carlos Song, Op. 7, No. circumstance Salzedo, harp. MG50116 Chorus); RIMSKY- KORSAKOV La CO l d'nr makes particularly conspicuous the sonic Suite. London Symphony Orchestra, R conducting. MG50t22 superiority of the Angel. Oistrakh is at his Dorati LDZART cwc Muwt wlcRTrwxLx+ suave and sensitive best. R19Rr w C WAR uwzA..c (.sM®IM+fY ORG1`.6ri¢A ( E N T Adherents of vocal music are offered a .»: XWATI bargain in London's rerecording on LL 1329 of two ten -inch diskfuls of songs by ". E tir6à Debussy, Brahms, and Wolf, sung by Suzanne Danco, whose highly polished artistry is a pleasure to listen to. The tenor Claude Rhea is also an attractive singer with good musical sense, but the S devotional music he sings on Sacred Mas- terpieces - with the Choir of Calvary Baptist Church, New York and Clifford Tucker at the organ does not always MOZART Eine Kleine Nachtmusik; Symphony CHAUSSON Symphony in 8 -fist. Detroit - in C Major ( "Linz "). London Symphony Symphony, Paray MG50108 conducting. reach its full impressiveness in church per- Orchestra, Dorati conducting. MG50121 E formances ( Word 4009) ; Handel and Haydn particularly suffer. Religious music of a different kind receives an unpretentious, musically and emotionally satisfying, esTtva ovtw I_rxe. performance on Grailville Sings -a col- CAPRICCIO ITALIEN N lection of Advent and Christmas music sung a cappella by the Grailville Com- munity College Singers (Audio- Fidelity AFLP 1820). This group of young women 4,0-13 R , singers (who, incidentally, themselves pre- ..Malty a wM y^awa ro++`.S 6a.e?.n pared many of the arrangements, C translations, and texts) offer a range from Gre- <>. gorian chants to traditional carols to TCHAIKOVSKY I812 Overture (original RAVEL Daphnis and Chloe (complete Brahms - and their efforts are wholly ad- scoring with cannon and bells): recording). Minneapolis Symphony. mirable. Capriccio Italien. Minneapolis Symphony. Dorati conducting. MG50040 Dorati conducting. MG50054 E DECEMBER i956 I 0 RECORDS

rather, representations of humanity's atti- - without a setting of a city dump or a tudes toward life. In fact a major weakness T. S. Eliot concept of a wasteland - the THE SPOKEN WORD of the play's appeal to an American theater haunting mood of the play is dramatized audience is that its structure is, if any- by the actors' voices. Bert Lahi s croaky thing, too simple. It appears profound, but utterance catches the anguished quality of is in reality deceptively simple in its style an ignorant but suffering humanity, in a JACQUES BARZUN: The Care and and meaning. performance memorable in contemporary Feeding of the Mind Without the visual aids of the theater theater. Kurt Kaszner, as the tyrannical A lecture, delivered by Jacques Barzun. SPOKEN ARTS 713. 1 2 -in. $4.98. In a series entitled "Distinguished Teach- Dialing Your Disks ers," Spoken Arts is presenting "today's most vital educational leaders" offering All LP disks are recorded with treble boost following values in the table below: ROLL- "stimulating thought -provoking discus- and bass cut, the amount of which often OFF- 1o.5: LON, FRRR. 12: AES, RCA, sions" in a number of fields. On this varies from one manufacturer to another. Old RCA. 13.7: RIAA, RCA, New RCA, record Mr. Jacques Barzun, Professor of To play a disk, the bass below a certain New AES, NARTB, ORTHOphonic. 16: History and Dean of the Graduate Facul- turnover frequency must be boosted, and NAB, LP, COL, COL LP, ORTHOcoustic. ties of Columbia University, delivers a the treble must be rolled off a certain num- TURNOVER - 400: AES, RCA. 5ooC: discourse on the exercise of the mind, with ber of decibels at ro,000 cycles. Recom- LP, COL, COL LP, Mod NAB, LON, a view to the intellectual pleasure which mended control settings to accomplish this FFRR. 5ooR. RIAA, ORTHOphonic, can be derived from the "Mind at Play." are listed for each manufacturer. Equalizer NARTB, New AES. 50o: NAB. 630: Taking his point of departure from the control panel markings correspond to the BRS. Boo: Old RCA. apparent conflict between the current gen- .111 records produced under the following labels are recorded with the industry - standard RI. LI , urrr ( 00R uine concern with the problems of educa- turnover; 13.7rolloff): Angel; tAtlantic; Bethlehem; Classic Editions; Clef; EMS; Epic; McIntosh; tion and the contemporary suspicion of the MGM; Montilla; New jazz; Norgran; Prestige; Romany; Savoy; Walden. Labels that have nerd other recording curves are listed hei mv. "egghead," Mr. Barzun suggests as essential means of training the mind the cultivation OLll RECORD LABEL NhW of "attention," of "resilience," and of "fer- Turnover Rolloff Record No. or Date: Turnover, Rolloff

tility" (by which he means the qualities : \flied 1 500 Ili

Amer. Rec. Soc. I 400 12 of awareness and imagination) . For any- To 1955: 400, 12.7 one who enjoys being lectured at, here is Arizona 500R 13.7 Audio Fidelity 500R 13.7 No. 901- 905: 500, 16 a pleasant and urbane speech from the Audiophile 500 12 rostrum. J. G. Bach Guild 500R 13.7 No. 501 -529: 500, 16 * Bartok 500R 13.7 No. 901 -905, 308, 310, 311: 500R, 13.7 No. 906 -920, 301 -304, 309: 630, 16 SAMUEL BECKETT: Waiting for Blue Note Jazz 500R 13.7 To 1955: 400, 12 Godot Boston 500C 16 *Caedmon 5008 13.7 No. 1001 -1022: 630, 16 Bert Lahr, Gogo; E. G. Marshall, Didi; Canyon 500R 13.7 To No. C6160: 400, 12 Kurt Kasznar, Pozzo, et al. Capitol S.10R 13.7 To 1955: 400, 12.7 COLUMBIA (D2L -328. Two r2 -in. $9.98. Capitol -Cetra 500R 13.7 To 1955: 400, 12.7 Cetra -Soria 500C 16 Waiting for Godot, the work of Samuel Colosseum 500R 13.7 To January 1954: 500,16 Beckett, James Joyce's former secretary, *Columbia 500R 13.7 To 1955: 500C, 16 was originally written in French and pro- Concert Flail 500R 10.5 To 1954: 500C, lli duced in Paris in 1953. For its New York *Contemporary 500R 13.7 No. 3501, 2501, 2502, 2505, 2507, 2001, 2002: 400, 12. No. 2504: 500, 16 production in 1956, Michael Myerberg tCook (SOOT) 500 12 -15 sought to solicit the support of the intellec- Coral 500 16 tual playgoer. How far short he fell of Decca 500R 13 7 To November 1955: 500, 16 reaching this audience was made clear by Elektra 500R 13.7 No. 2 -15, 18 -20, 24 -26: 630. 16. No. 17, the play's limited run. Now Goddard 22: 400, 12. No. 16, 21, 23, 24: 500R, 13.7 Lieberson's recorded production will give Esoteric 5008 13.7 No. ES 500, 517. EST 5, 6: 400, 12 Folkways 500R 13.7 To 1955: 500C, 16 to many an opportunity hear a drama *Good -Time Jazz 500R 13.7 No. 1, 5 -8: 500, 16. No. 3, 9 -19: 400, 12 which has been damned, jeered at, and Haydn Society 500C 16 extravagantly praised by critics both in HMV 500R 16 Europe and the United States, in a pres- Kapp 500R 13.7 No. 100 -103, 1000 -1001: 800, 16 entation which enlists the talents of the Kendall 500 16 New York cast and of that unorthodox *London, Lon. Int. 500R 13.7 To No. 846: 5000, 10.5 American playwright, William Saroyan, in Lyrichord 500 16 *Mercury 500R 13.7 To October 1954: 400, 12 the writing of a commentary on Beckett's Nocturne 500R 13.7 No. LP 1 -3, 5, XP1-10: 400, 12 dramaturgy. Mr. Saroyan states that he has Oceanic 500C 16 read it, and that he likes it. Although I *L'Oiseau- Lyre 500R 13.7 To 1954: 500C, 10.5 did not have the privilege of seeing Mr. *Overtone 500R 13.7 No. 1 -3: 500, 16 Myerberg's audacious and courageous pro- Oxford 500C 16 duction, I echo Mr. Saroyan's sentiments Pacific Jazz 500R 13.7 No. 1 -13: 400, 12 here, by stating that I have heard it, and Philharmonia 400 12 500 16 I too like it. fPolymusic RCA Victor 500R 13.7 To September 1952: 500 or 800, 12 The play concerns two tramps who are Remington 500 16 waiting, seemingly suspended in time and Riverside 500R 13.7 To 1955: 400, 12 space, in a town dump for the arrival of Tempo 500 10 Godot, a symbolic figure who never ap- Transradio 500C 16 pears. Life is symbolized as a disenchant- Urania 500R 13.7 No. 7059. 224, 7066, 7063. 7065, 603, 7069: 400, 12. Others: 500C, 16 ing circus, a mean spectacle of futility; yet Vanguard 500R 13.7 No. 411 -442, 6000 -6018, 7001 -7011, 8001- to Beckett, humanity's spirit is uncon- 8004: 500, 16 querable, unquenchable. The two tramps Vox 5008 13.7 500, 16 unless otherwise specified. stand and wait; they endure the harrowing *Westminster 500R 13.7 To October 1955: 500C, 16; or if AES specified: 400, 12 nightmare of human suffering and disillu- *Currently rerecording old masters for RIAA curve. sionment. It is not difficult to read fur- tBinaural records produced on this label have no treble boost on the inside band, which should be ther meanings in the play's allegory, for played without any rolloff. the characters are not real people, but

>o6 HIGH FIDELITY MAGAZINE master of man, gives a vocal performance whole, passion is subdued to a plain lucid- potentialities of life and humanity. The that counterpoints Lahr's melancholia, and ity, and one is reminded anew that Donne seven deadly sins still stalk across the stage E. G. Marshall's intellectual projection was a master of ratiocination. By lovers in all their grisly accouterments; in some balances the complex vocal pattern. The of the actor's art, of language per se, of sense Faustus himself is simply the legend- hysterical and neurotic quality of Alvin thought densely packed and deeply felt, ary magician muttering meaningless in- Epstein's articulation, in his long soliloquy this recording will be much cherished. cantations; and in the final scene the devils on the process of modern man's thought, J.G. literally drag the protagonist off to a very is an extraordinary display of the actor's physical hell replete with "adders and ser- art in terms of pure speech. The purity of CHRISTOPHER MARLOWE: The Tra- pents." Yet at the same time, in a very Luchino De Solis' childish voice completes gicall History of the life and Death characteristic Elizabethan hodgepodge, Mar- the vocal orchestration of the symphonic of Doctor Faustus lowe has made his Faustus an exemplar arrangement. And the dominant mood is Frank Silvera, Doctor Faustus; Frederick of the modern man, one who has mastered supported further by a fabric of sound Rolf, Mephistophilis; Chester Stratton, all knowledge and whose rebellion is a effects of a more or less abstract nature. Lucifer; John Pavelko, Wagner; et al. fierce protest against the apparent limita- Waiting for Godot now stands as an CAEDMON TC 1033. 12 -in. 55.95. tions of the human state. It is the painful exciting record of Michael Myerberg's pro- recognition that he is "... still but Faustus duction, and will reach, one hopes, the Doctor Faustus is the example par excel- and a man" which leads this professor of discriminating theater audience for whom lence of the intellectual temper of the logic, medicine, and law to make his pact he originally presented the play and for English Renaissance, mingling, as it does, with the infernal forces. Faustus seeks whom Beckett wrote. G. B. DOWELL the medieval preoccupation with death power, but not only in the tangible and and deity with the new emphasis on the temporal sense. His act is the daring asser- JOHN DONNE Selections from Donne's Sermons and from Devotions upon Emergent Occasions, read by Herbert Marshall. CAEDMON TC 1051. 12-in. 55.95. Donne's Devotions are a series of medi- tations upon mortality, written during the course of a serious illness and in effect forming a diary of the course of his disease. Three of the selections offered here take as their basis the symbol of the Tolling Bell, which to the sick man becomes the knell of his own death. Donne in fact recovered and lived on for some eight years, but the Devotions represent in little the characteristic themes and attitudes of the sermons delivered by the great preacher of St. Paul's. Actually Donne had but a single central motif - "the variable and therefore miser- able condition of man," his body "a poor VERDI wretched thing which dissolves to putre- faction," his life "but a going out to execution." This mortal state is described in terms of brutal realism and with a con- JJJ !J VATOJ creteness of sensuous detail which will appall the squeamish. And what intensi- Leonora Renata Tebaldi Points to note on this recording: fies the horror of the dying life and living Manrico Mario del Monaco death of the body is not the usual catalogue 1) The present edition contains such Azucena Giulietta Simionato generally omitted passages as the of sins, but that "melancholy in the soul," Di Luna Ugo Savarese Leonora- Mitnrico duet in Act 3; like melancholy of the body the hardest Ferrando Giorgio Tozzi both verses of Di quella pira (with humor to cure, which distrusts the pos- Ines Luisa Maragliano High C's) from the same act and the soprano aria Tu vedrai the sibility of salvation for the "worms of Ruiz 1 Athos Cesarini amore in terra of Act 4. this dunghill." Donne's reiterations of Messenger I faith, of "everlasting joy and rest and Old Gypsy Antonio Balbi 2) The entire famed chorus of the sinner Florence May Festival was glory" even for the most desperate CHORUS OF MAGGIO MUSICALE brought to Geneva to join the su- cannot outweigh the conviction that his FIORENTINO (Director: Andrea perb symphonic ensemble of L'Or- God "is a terrible God." that the torment Morosini) chestre de la Suisse Romande. Re- of eternal seclusion from the sight of God L'ORCHESTRE DE LA SUISSE corded in Victoria Hall (where the fine Ansermet discs may equally well await. ROMANDE, Conductor: Alberto Erede are made) XLLA -50 3 -12" $14.94 there is startling realism achieved. What saves these sermons from morbid At no time can the listener feel neuroticism is Donne's solicitude not for the presence of the microphone; a his own destiny alone, but for that of sense of living atmosphere in a all men. The dust of "patrician and plebe- large theatre is created. ian" is the same; "No man is an lland, FREE 3) The top voices of present day were intire of it selfe; every man is a peece of Italy engaged for leading roles for this is without question the Continent, a part of the maine." It is Complete Vocal one of the most difficult operas in this insistence on universal involvement the repertory. It takes 'all" a in the human dilemma which commands at singer can give up to the very last note of the score (from Azucena). least an emotional responsiveness on the Score The celebrated executants per- part of reader and listener. forming here have not failed their It should be said too that Herbert Mar- responsibilities. shall's reading does much for Donne. The Elaborately baroque brilliance of Donne's imagery and the soaring eloquence of his rhetoric are Packaged conveyed with an appropriate sense of the 0i1P OT author's passionate fervor. But on the RECORDS

DECEMBER 1956 I07 tion of man's supremacy over his own soul. other example of the frivolous misuse of Romeo and Juliet; read by Paul Rogers. The life and death of Faustus is set power. The ordinary living -room listener, SPOKEN ARTS 723. 12 -in. $4.98. forth in blank verse of extraordinary however, probably will most enjoy the This disk is an actor's tour de force, pro- power, in language of a vigor and flamboy- sheer magnificence of sound in those pas- viding the listener with an opportunity to ance eminently fitting the tremendous voy- sages in which an arrogant Faustus de- hear the Old Vic's Paul Rogers portray a age of discovery on which not Faustus and bates with himself on the possibilities of roles ranging from Falstaff Marlowe alone but the whole Renaissance damnation and salvation, and will be most wide variety of to the parts of all six world were embarked. Marlowe here is, stirred by the final soliloquy in which the through Macbeth home -spuns" who usually in fact, much more poet than playwright, now abject hero grovels in an agonizing of the "hempen reader in A Midsummer Night's and one suspects Caedmon might have plea that time stand still. bore the Dream. Mr. Rogers' Falstaff is a bumbling done better to present those excerpts dem- In Mr. Silverá s reading the sound is but at that, may onstrating the "mighty line" rather than magnificent. The play is, of course, very fat fool, pure and simple; to author's intention than the to offer the play more or less complete. much Faustus', but he is ably abetted by a be closer the whom latter -day senti- The pageant of the seven deadlies surely competent cast of readers, of whom Fred- tragic hero manqué have created from the devotee is dependent on visual spectacle for its ef- erick Rolf in a gentlemanly interpretation mentalists addresses the fectiveness; the horseplay at the papal court of Mephistophilis is especially distin- of old sack. His Mercutio Mab speech to a lovesick Romeo is farcical comedy on the most elementary guished. The incidental music (from Queen John of level; the childish revenge on the skeptical Palestrina to Bartók) neither adds to nor with proper bravura splendor. s ( "This blessed plot, this knight is hardly amusing unless one sees, detracts from the production's effectiveness, Gaunt paean is read, whether on stage or in the mind's eye, but the omission of the text is a sad de- earth, this realm, this England ") is not, as part the cuckold's horns appear on the doubting ficiency. J.G. as it should be but often Richard Thomas' head. The presentation of Doctor of the dying man's prophecy that . . fierce blaze of riot can- Faustus as a whole may be intended to the Second's ". WILLIAM SHAKESPEARE from Macbeth make the student aware of the structural not last." And the excerpts interpreta- deficiencies of Marlowe's play and of the Scenes from Macbeth, A Midsummer provide an extremely sensitive customary Elizabethan catering to the tastes Night's Dream, First Part of King Henry tion of a highly complex role, culminating of the groundlings; and perhaps it may IV, Second Part of King Henry IV, Merry illumine the character of Faustus as an- Wives of Windsor, King Richard II, Continued on page to

London Goes to Italy for a Songbag of Sunshine THE POPULAR music of Italy has never and guitar of Roberto Murolo, who, thanks l'Amore Quando e Sera, or How Good been as plentiful in American record to Angel, is no stranger to United States it is to Make Love in the Evening. marts as the chansons of neighboring discophiles. Murolo here ranges with ef- The only distaff voice on Durium's list France. This discrepancy seems the more fortless vocal grace through a selection of is Flo Sandon's (DLU 96008) . Signorina remarkable inasmuch as post -World War florid Neapolitan melodies generally less Sandon's (she spells her name with the II Rome has supplanted Paris - at least well known - but no less beautiful - than apostrophe) has a robust delivery and a in the accounts of bedazzled tourists - the usual staples like Core 'Ngrato and voice that is reasonably pleasant and flex- as Europe's "gayest capital." Now, in one Santa Lucia. ible. She is, according to the notes, "one of fell swoop, the balance begins to be re- However, precisely such basic fare is Italy's most popular girl vocalists." In dressed. Ten releases on London's Durium contained in Aurelio Fierro Sings Italian addition to a group of Italian torch songs, label, all ten inch and all priced at $2.98, Popular Favourites (DLU 96010). Fierro, she essays a few Spanish and Portuguese manage to cover just about every high- a versatile, full -throated tenor in the best ballads with a good deal of success. light of the contemporary Italian "pop" Italian tradition, is a splendid interpreter Judging from the rather fatuous anno- picture. The sound throughout is never of these overblown but marvelously tune- tation of An Italian In Paris (DLU 96013), worse than good, and in most of the ful ballads of lost and thwarted love. The pianist Luciano Sangiorgi is (God forbid) records it is the peer of anything currently accompaniments by Mino Campanino and Italy's answer to Liberace. Actually, his available. the Neapolitan Song Orchestra sometimes keyboard transcriptions of such Parisian From the mecca of all Italian vocalise smack of Phil Spitalny, but they never stand -bys as La Mer, Ciel de Paris, etc., are well played save for some unduly come two albums. One ( Songs From become really distracting - mostly because Napoli, DLU 96011) features the voice Fierro in full cry can eclipse all accom- heavy fingering in the fortissimos. In- panists. terpretatively, they are straight out of a Fierro's other album, Canzoni d'Altri carriage -trade cocktail lounge. Tempi (DLU 96007), is a genuine gem. Like a breath of bracing air comes The These are vintage Italian pops of thirty Mountains of Italy (DLU 96018), where- years back - and a nostalgic, bubbling in the Chorus of the Club Alpinistico draught they are. Fierro adapts his voice Italiano of lowland Padua present folk nicely to these relaxed, "happy ending" songs from the snow- topped, granitic love songs of a less complex, less neurotic Dolomites. These songs deserve to be age than our present decade. better known. In addition to surpassingly The Songs of Rino Salviatti (DLU lovely melodies, they possess a kind of 96015) are another matter. While Sal - charming artlessness. Regrettably, conduc- viatti gives us a whirl through the cur- tor Livio Bolzonella drags his tempos and rent Roman hit parade, neither his voice occasionally allows the chorus to over - - which seems to drip sugary grief no harmonize - which is no reason not to matter what the mood of the song - buy the record. It is unlikely to find com- nor the material is arresting. In fact, one petition for some time to come. item, Buongiorno Tristezza, causes one to Danze Folcloristiche (DLU 96019) is a regret that Françoise Sagan ever took pen bit of mislabeled fluff, containing work- in hand. manlike renditions of assorted tangos, On another tack, Sergio Centi has as- mazurkas, and waltzes - but not a single sembled a group of peculiarly Roman tarentella. And The Fifth San Remo Song songs which he delivers in the quick - Festival (DLU 96006) is a potpourri of tongued Roman dialect ( Canzoni Romane, 1955 favorites sung by Aurelio Fierro, Flo

DLU 96009) . Centi is an ideal interpreter Sandon's, and Bruno Rosettani. Neither of this genre, and his repertoire includes the songs nor the performances generate perhaps the most unexceptionably titled more than perfunctory interest. Roberto Murolo, of Naples. song in the series: Corné e Bello Far HOWARD LaFAY

zoé HIGH FIDELITY MAGAZINE a REI

The Music Between by Murray Schumach We climbed

THIS month critical rules will be relaxed and Robert Locksmith at the carillon, rein recognition of the Yuletide gift cus- produces with extraordinary fidelity the tom that has made the LP record a serious soaring swell of the organ and the resonant the highest rival of the necktie. In this annual period pealing of the bells. Before I wind up of good fellowship, I think it permissible this discussion of Christmas music, may I to write not only of those records I like, suggest that the recording .made by RCA but also of disks that might, despite my Victor of Gian -Carlo Menotti's Amahl and lack of enthusiasm, add a bit of joy to the Night Visitors with the original cast mountains someone else's Christmas. of the NBC telecast (LM 1701) is as Offhand, I would say that this season lovely as ever. - to capture, for your sheer delight, Esoteric, Westminster, and Angel merit Christmas shoppers not concerned with the authentic, spirited folk music of top honors in the Christmas music cate- carols and kindred music will, unless they the Austrian Alps as sung by Austria's gory. These companies have turned out are strict classicists, derive and give pleas- best entertainers. a cheery collection of seasonal fare that ure with two records by popular singers. should delight anyone who has ever choked One, by Judy Garland, is called Judy and There was no other way. The up at the beauty and purity of carols. I is issued by Capitol (T 734); the other is famous singing and dancing troupes would not want to predict that their records a two -record Decca album by Ethel Mer- that hold forth at the Alpine lodges in will outsell some freak jukebox tune. But man. called A Musical Biography (DX they will, I think, give more lasting pleas- 153). ure. Columbia has a couple of interesting For me, the most enjoyable of this entries for the shopping derby in the year's Christmas records - and a fine ex- pop field. First, there is The Elgart Touch, ample of high fidelity - is English Medi- (CL 875) with Les Elgart and his or- eval Carols and Christmas Music, released chestra. These dance arrangements, with by Esoteric (ES 521). Sung exquisitely by their clean beat and orchestrations that the Primavera Singers of The New York are interesting yet respect the melody of Pro Musica Antiqua, directed by Noah the composer, should be helpful at Christ- Greenberg, this disk captures with sweet mas parties. The other Columbia disk that serenity the faith in which religion, as seems to have something for everyone is well as the miracle of Christmas, is rooted. called Top 12 (CL 937) and contains The excellent text and record liner mate- selections by such well -known pop artists rial makes it easy to follow the touching as Doris Day, Vic Damone, Rosemary lyrics of these rarely heard carols, some Clooney, and also by musical groups of them so old that the English is mixed headed by Percy Faith and Mitch Miller. with Latin. To listen to this group sing Another recorded potpourri that should Make We Joy Now in This Fest, Nowell look good at the base of many Christmas this picturesque setting rarely, if carols, (Angel Sing We, Lullay Lullou, and other trees is With Love from Paris ever, come down to level ground. So as well as strictly religious music, is to ex- 65028) . Here we have, in that curious CAPITOL OF THE WORLD went to the perience beauty that comes close to the mixture of tenderness, hope, and sadness sublime. Christmas of a more familiar for which French singers are famous, some mountains to bring you the happiest nature is offered by Esoteric on another songs by Edith Piaf, Charles Trenet, Gil- collection of singing, yodeling and record, Christmas on the Siena Pianoforte bert Becaud, Annie Cordy, and Les Com- foot -stomping ever heard on the flat- (ES 3005) . On this extraordinary instru- pagnons de la Chanson. lands. ment Grace Castagnetta plays, and taste- This brings me to pop records that I "Music of the Austrian Alps" (No. fully improvises on, such carols as Joy to don't particularly like, but which might of the World, Deck the Halls with Boughs make good Christmas gifts. First, there 10016) is a special kind album of Holly, Good King Wenceslas, and six- are three records of college songs from capturing in precious high- fidelity teen other songs. RCA Victor called Tony Cabot Swings on the traditional old Alpine- Austrian To Christmas music Angel adds lovely the Campus (LPM 1308, 9, to). This folktunes. And the yodeling! Easter music and madrigals in its record prom -style dance rhythm seems to me far * n * entitled simply St. Paul's Cathedral Choir less interesting than the more raucous "HONEYMOON IN RIO" (No. I0038) (35381). This famous choir knows the march beat of football bands. brings you the most romantic sounds secret of building up enormous emotional Still in the spirit of Christmas charity in this hemisphere exquisite Sambas a pattern of peaceful- by - power with careful I call attention to records Mantovani Baions recorded in jewel -like Rio ness and sincerity. The great calm of these and Andre Kostelanetz. The Mantovani and pieces, as exemplified in Gabriel's Message, disk is Music from the Films (London LL de Janeiro by two of Latin- America's is retained even when the ancient choral 1513 ) . The Kostelanetz contribution, favorite and most talented enter- group is zestful in Hodie Christus Natus courtesy of Columbia, is Tender is the tainers: pianist Caroline Cardoso de Est, tender in Shepherd's Cradle Song, Night (CL 886) . As usual, the tone is Meneses, who plays exciting sambas, poignant in the Five Mystical Songs of of high quality, the musicians good. If and Orlando Silveira, who plays the Ralph Vaughan Williams. you're short on music to telephone by, true baions. Quantitatively, the most ambitious these will do as well as any. Christmas music offering comes from West- Finally, we come to a record that I dis- Other CAPITOL OF THE WORLD albums include: minster, with an even dozen records at like intensely, but which may make an WHEN IN ROME No. 10030 INTRODUCTION TO FLAMENCO No. 10012 I last count. Of those heard the one that ideal gift for thousands of teen -aged girls: MY IRELAND No. 10028 most delighted me was A Festival of Les- The James Dean Story (Coral CRL 57099). sons and Carols (wP 6036), featuring Written by Steve Allen, who narrates it the choir of King's College, Cambridge, with Bill Randle, it tells a most heroic CAPITOL OF directed by Boris Ord. This was recorded saga of the late young actor, backed up by by Westminster's English affiliate during a couple of orchestras and choruses that Christmas Eve services in King's College work in music from his movies as well Chapel, and it retains a spacious church - as His Name uas Dean and The Ballad of A SERIES OF OUTSTANDING INTERNATIONAL- RECORDINGS like quality. Carillon for Christmas (wP James Dean. My own feeling is that it 6020) , with Robert Owen at the organ is in bad taste. TR

DECEMBER 1956 Tog a harsh granularity of voice and a style FANTASY 3 -214. 12 -in. 32 min. $3.98. of delivery that, while it develops a certain Herman tenor tension, does so at the price of the sus- Coker, a onetime Woody is tained incandescence that informs the best man, has put together a group that lone flamenco singing. Andrés Heredia contrib- essentially a saxophone ensemble. A trumpet and an equally lone trombone utes first-rate guitar work and Rafaél Here - dia some taut, sharply delineated dancing. each appears here twice. Coker's saxophones are smooth, swinging, and unpre- The otherwise smooth sound is subject to tentious, his rhythm section pushes steadily, breakup when the singer strikes a partic- Announcing plays several Another ularly robust note. and Coker's brother, Jack, fleet, linear piano solos. It is all pleasant. Somewhat more exciting is Flamenco, jazz, a bit on the polite Great Sampler Tape (Twv 91051, $4.98), primarily because cleanly played side. of the gypsylike, Sevillano vocal effects of Manolo Leiva. His accompanist, Pepe de CLASSICAL BOB DAVIS QUARTET: Jazz from the Almeria, strikes somber fire from his North Coast guitar. The engineers, however, have SAMPLER slurred the transients in his quick -fingered Goose: The Way You Look Tonight: solos. Nancy: It's All Right with Me: The Song Both Leiva and Romero are competent, Is You: Night in Tunisia: Willow Weep TRACK ONE: often thrilling, performers. But hearing for Me: China Boy: The Lady is A Tramp. LISZT. Piano Concerto No. 1 (Introduction) many others on so many them - and so Bob Davis, piano; Bob Crea, alto, tenor, PROKOFIEV. Lt. Kije Suite (Troika) wonder why other releases - makes one and baritone saxophones; Sm Anderson, no English or American record company GRIEG: Norwegian Dance No. 2 bass; Bill Blakkestad, drums. has bothered to commit to vinylite the art CHOPIN: Waltz in G -Flat (Novaes) ZEPHYR 12001. I2 -in. 34 min. $3.98. of the greatest of all contemporary flamenco TRACK TWO singers, Pepe de la Matrona, now well over The North Coast in the title refers to BORODIN: Prince Igor (Polovetsian Dance) seventy. His remains the attainment by Minnesota where both this new record which all others must be measured this BEETHOVEN: Symphony No. 9. (Ode to Joy) - company and this hitherto unrecorded despite his advanced age, or perhaps par- quartet are located. The disk is a fine BACH Toccata 8 Fugue (West Point Organ) tially because of it. For, oddly enough. beginning for each. The Davis Quartet flamenco is one musical form in which is an unpretentious and strongly swinging youth is no asset. The power to stir pro- group with a style that is up -to -date with- A brilliant companion to the Pop foundly comes only with years, and it is out being aggressively modern. Davis is Music Sampler! designed to pre- only with maturity that the voice and a dexterous pianist who plays in a handful - view our finest classical tapes. The emotions darken sufficiently true to com- of -keys manner reminiscent of Earl Hines. municate tragedy. Crea, working on three saxophones, has a selections included present the The fourth and best of the London crop driving up -tempo style much like that of widest range of orchestral, instru- is Gypsy Music recorded at the Festival of Phil Woods. The quartet is given a strong mental and vocal true sound. Les Saintes Maries de la Mer, 1955 (TwB yet sensitive beat by drummer Blakkestad 91127, $4.98) . Here, as recorded at an and bassist Anderson. Aside from these in- 71/2 speed dual track 5" reel annual gypsy festival in the South of dividual merits, the group has a cohesive France, is flamenco in its savage, hard - quality which many more renowned jazz PM -3 only $1.98 handed habitat. Wandering groups from groups might envy. The recording is ex- Spain, France, Italy, and points east con- tremely good. verge every year to sing, dance, drink, and And don't miss revel in the time -honored way of their ELLA FITZGERALD, LOUIS ARM- PM 2 kind. Flamenco is their musique propre. STRONG: Ella and Louis and here is all the wild excitement of spon- POP MUSIC taneous performance: one man sings him- Can't We Be Friends: Isn't This a Lovely SAMPLER self into hoarseness; another pauses period- Day: Moonlight in Vermont: They Can't only $1.98 ically for pulls at a bottle of raw alcohol; Take That Away from life; Under a an obvious intoxication - of more kinds Blanket of Blue: Tenderly: A Foggy Day: both performers and Stars Fell on Alabama: Cheek to Cheek: 71/2 speed dual track 5" reel than one - pervades audience. Despite occasional fuzziness and The Nearness of You: April in Paris. Track 1 a shifting sound source, the engineers have Ella Fitzgerald, vocals; Louis Armstrong, PM 109 Holiday in Naples acquitted themselves admirably in this field vocals and trumpet; Oscar Peterson, piano; PM 142 Midnight Moods: Solitude recording. There are no nuances in this Herb Ellis, guitar; Ray Brown, bass; Buddy PM 115 Spotlight on Percussion: music, no subtlety; but you will seldom Rich, drums. Latin -American Rhythms hear flamenco of greater vitality. VERVE 4003. 12-in. 55 min. $3.98. PM 5005 Echoes of Spain -GEORGE FEVER Ella Fitzgerald has never, to my knowl- Track 2 THE BEST OF JAZZ edge, sung so well on recoris as she does PM 102 Porgy and Bess Suite on this disk. The impersonal quality char- her recording is PM 141 Folkways Jazz -LOUIS ARMSTRONG by John S. Wilson acteristic of so much of absent here. Instead, we get the PM 5008 Flamenco Guitar -MARIO ESCUDERO completely warm purity of tone and the easy rightness PM 142 Midnight Moods: Jalousie JERRY COKER: Modern Music from of phrasing that are her own personal hall- SPECIAL Indiana ílnii ersity marks. The material is ideally suited to her lyric talents; the accompaniment by Included in each Sampler is a coupon Limehouse Blues: Old Crinkletoes: Opus Worth $1 toward the purchase at list Oscar Peterson's trio and the occasional No. r; Red Kelly's Blues: Nancy: Kigeria: are price from your dealer of one tape in trumpet obbligatos by Louis Armstrong You Gotta Show Ale: It's You or No perfect complements to her singing. The the PHONOTAPES- SONORE catalogue Is Always: Lost One: Jack's Acts: This recording is exceptionally good too. April: Clare -ity. Armstrong as singer shows up rather latest FREE listing tapes. Write for the of Jerry Coker, Lou Ciotti, Bob Cowart, tenor badly on some of the numbers; slow-ballad Fred Fox, Roger Pemberton, tempo gives him trouble. But when the PHONOTAPES- SONORE is another saxophones; baritone saxophones; Al Kiger, trumpet; beat picks up ( Can't We Be Friends, They fine product of PHONOTAPES INC. Jim Hewitt, trombone; Jack Coker, piano; Can't Take That Away from Me, Cheek 248 West 49th St., N. Y. 19, N. Y. Bill Montgomery, bass; Charles Mastro - to Cheek), he is in his element. An at- paolo, drums. mosphere of geniality hovers about these

II2 HIGH FIDELITY MAGAZINE RECORDS

performances that easily offsets minor lapses. AS A DISCRIMINATING A must for all collectors ERROLL GARNER: Concert by the Sea MUSIC LISTENER I'll Remember April: Teach Me Tonight: of Classical Long Playing Mambo Carmel; Autumn Leaves: It's All Records. . . You have probably spent a good deal Right with Me: Red Top; April in Parir: of time and money in assembling a They Can't Take That Away from Mlle: sound system to meet your particular How Could You Do a Thing Like That standards. to Me.?; Where or When; Erroll's Theme. Annual Are you just as particular about the condition of the records you purchase ?. Do Erroll Garner, piano; Eddie Calhoun, bass; you scrutinise each one closely for hair- Denzil Best, drums. line scratches, a small pit, a suspicious COLUMBIA CL 883. 12 -in. 43 min. $3.95. looking spot, or a nasty looking rub ?. If so Erroll Garner has developed such a positive and individual musical personality ARTIST THE MUSIC BOX that it is sufficient to say of his records that they are good Garner, bad Garner, or so -so Garner. This disk is good offers you a unique, personal mail order service, which will relieve you of this Garner. He is at the top of his form - tedious and time consuming operation, gay, romantic, rhythmic, and completely LISTING with its attendant moments of exasper- winning. The program is varied, the re- ation, and send you records which, as cording is excellent, and even though there one Egyptian customer eloquently wrote, are intrusions of applause and audience "Shine like bright moons ". laughter, this is one of the most successful Schwann Catalog Here is a service which guarantees that: disks that Garner has made. 1957 Edition * Every record mailed is a brand new, JOHN GRAAS: Jazz-Lab-i factory fresh, unplayed copy, which has been very carefully examined for John Graas, French horn; Bob Enevoldsen, visible imperfections. Possible flaws trombone; Dave Pell, tenor saxophone, This massive catalog are carefully spot checked - on the "Bert Herbert," alto saxophone; Claude finest equipment, and records that do Williamson, piano; Howard Roberts, one year in preparation - not meet our rigid standards are re- guitar; Curtis Counce, bass; Larry Bunker, jected. lists every classical recording drums; and others. * Every record is dusted, cleaned and DECCA DL 8343. r2 -in. 33 min. $3.98. artist alphabetically, together enclosed in a polyethylene envelope, for additional protection against dust The special points of interest on this disk with every available record damage. are the two jazz sections - Andante and he has made up to January Allegretto - from Graas's Symphony No. * Every record is stoutly and care- r. They are both completely in the jazz fully packed, 1957 to reach you in perfect idiom, but there is more condition. meat in the written development of these two sections Major classifications in- * Every order over S6.00 is mailed than is usually found in jazz pieces played POSTAGE FREE anywhere in the by similar small groups (and this includes clude: Instrumentalists, Vo- U. S. A. On orders of less than several of the other selections on this calists, Choral & Operatic S6.00, there is a charge of 400 to disk ) . The Andante is based on a romantic cover postage and handling. theme, richly voiced in the ensemble pas- Groups, Orchestras and Con- * All records are sold at the manufac- sages and highlighted by an excellent alto ductors. turer's suggested list price only. NO saxophone solo by "Bert Herbert." The DISCOUNTS. Allegretto has a stronger pulse, and is marked by some of Graas's best work on For example, if you are * We can supply you with any LP on French horn. any label IF it is available from th interested in the recordings manufacturer. The other selections lean toward the glib type of swing often heard from West Coast of a pianist, simply look * Our service is prompt and courteous. groups, but Graas imbues them with more under "Pianists" and then than usual vigor. The disk shows him as Music Box is * The devoted EXCLU- an intelligent, creative, and talented musi- under the artist's name. SIVELY to Mail Orders, is it not cian, effectively bringing open to the public, and only two his musical per- You'll find all of the artist's people handle our stock. sonality to bear on the varied groups represented here. records compactly itemized. * When ordering, simply list the records you need, with your check GRAND ENCOUNTER: 2 Degrees East We're sure that you'll find or money order to cover their cost. 3 Degrees West To avoid delay, please list substitutes, - our Artist Listing an invalu- since we never make substitutions Love Mlle or Leave Me: I Can't Get Started; without your written permission. Easy Living: 2 Degrees East -3 Degrees able reference during the Sorry ... no C. O. D's. West: Skylark: Almost Like Being in Love. Collectors please note. We have a year. limited number of deleted LP's, vocal Bill Perkins, tenor saxophone; John Lewis, and orchestral. piano; Jim Hall, guitar; Percy Heath, bass; Available December i at Chico Hamilton, drums. * PACIFIC JAZZ 1217. 12 -in. 35 min. over 3,500 dealers who carry $3.98. the monthly editions of the ;".° o If this meeting between elements of two c t. :1(,J 'yo;,1 of the best small jazz groups working today - Lewis and Heath of the Modern Schwann Long Playing MAIN STREET Jazz Quartet and Hall and Hamilton of Chico Hamilton's Quintet had produced GREAT BARRINGTON, MASS. - Record nothing else but Love Me or Leave Me, the Catalog so-called "grand encounter" would be re-

DECEMBER 1 956 113 with occasional opportunities for discreet A 13 solo work by Lowe and Joe Wilder. This is, in a sense, mood music, but it is totally HAVE A unlike the things usually labeled mood EXCITING music. This is music for people who are HIFIRI:CARD alert, alive, and susceptible to a stimulat- CHRISTMAS! ing variety of moods. All 12 Long Play Albums

R -701 George Wright Plays the Mighty NEW RAY McKINLEY: The Swinging '3os Wurlitzer Pipe Organ R -702 George Wright Encores at the Scrub Me, Mama; Hard Hearted Hannah; Mighty Wurlitzer Pipe Organ Royal Garden Blues; Cou' Cou Boogie; R -703 A Richard Purvis Organ Recital in Grace Cathedral (Vol. I) Jeepers Creepers; Sugar Foot Stomp: Ray R -704 A Richard Purvis Organ Recital in RELEASES McKinley, drums, vocals; Lee Castle, trum- Grace Cathedral (Vol. II) R -705 Music For Christmas (Purvis, pet; Peanuts Hucko, clarinet; Dean Kin - Organ) caide, baritone saxophone; Mickey Crane, R -706 Merry Christmas (George Wright, piano; Trigger Alpert, bass. Wurlitzer Pipe Organ) R -707 More George Wright from I Found a New Baby; Seven Eleven; R -708 George Wright's Showtime Come R -709 George Wright Plays the Elec- On the Alamo: Soft Winds: Poor Butter- lT tronic Organ fly; Avalon: Peanuts Hucko, R -710 The George Wright Sound clarinet; Billy R -712 A Bruce Prince -Joseph Organ Re- Butterfield, trumpet; Boomie Richman, cital at Columbia University tenor saxophone; Hank Jones, piano; Mun- R -201 Joe Enos Plays Two Pianos EPIC R -202 Stan Seltzer Piano dell Lowe, guitar; Jack Lesberg, bass; R -301 The Mitchell Boys Choir Sings Morey Feld, drums. R -401 Dick Stewart Sings R -402 Dorothy Carless' Mixed Emotions GRAND AWARD I2 -in. 37 min. R -403 The Carless Torch 33-333. R -404 Terrea Lea Folk Songs and Ballads $ 3.98. R -601 The Magic Harp of Verlye Mills RECORDS R -602 Harry Zimmerman's Band With A Before Ray McKinley undertook the leader- Beat R -603 Swingin' Harpsichord - Bruce CHARPENTIER: Louise (Com- ship of the current version of the Glenn Prince -Joseph plete Opera). Berthe Monmart, So- Miller band, he recorded these selections IS All High Fidelity Record- lange Michel, André Laroze, Louis - several of them McKinley specialties F ings Inc. albums also Musy, with Soloists, Chorus and dating back to the McKinley -Bradley band available on pre- record- Orchestra of the Paris Opéra -Corn- of the early Forties - with a group of ed HIFITAPES. ique, Jean Fournet, cond. delightfully empathic musicians. They play with great spirit and vigor, and these SC -6018 (3 12 ") $1 4.94 qualities are heightened by the excep- HIGH FIDELITY RIMSKY -KORSAKOV : Scheher- tionally good recording. The warmth and RECORDINGS, INC. azade, Op. 35. Concertgebouw Or- ebullience of McKinley's singing has never 6087 Sunset Blvd. Hollywood 28, Calif. chestra of Amsterdam, Eduard van come across on records as well as it does on these numbers, and Lee Castle's precise, Beinum, cond. LC 3300 (1 12 ") $3.98 punching trumpet is a constant delight. DVORAK: Slavonic Dances, Op. The Peanuts Hucko Septet also benefits 46 & Op. 72 (Complete); from a trumpet player in top form - Billy Butterfield, SMETANA: From My Life (trans. who growls and bites with PIPE ORGAN great exuberance. Hucko's clarinet play- for orch. by Dr. The Szell). Cleve- ing is less deliberately Goodmanish than MASTERPIECES land Orchestra, George Szell, cond. it has been recently, and some of his Hi -Fi Records SC -6015 (2 12 ") $7.96 work is done in an attractive modern Now on manner. (Recorded & Pressed by RCA) STRAVINSKY: Firebird Suite; KODALY: Háry János Suite. Con - The finest library of classical, certgebouw Amster- semi -classical and religious Orchestra of PHIL WOODS QUARTET: Woodlore pipe organ music ever pro- dam, Eduard van Beinum, cond. Slow Boat to China; Get Happy; Strollin' duced -and high fidelity too. LC 3290 (I 12 ") $3.98 with Pam; Woodlore; Falling in Love All 118 selections on 10 new 12 Over Again; Be My Love. inch 331 RPM long -play MOZART: Symphony No. 40 in G records. All played with a Minor, K. 550; Symphony No. 41 Phil Woods, alto saxophone; John Wil- vibrant and inspired inter- liams, piano; Teddy Kotick, bass; in C Major, K. 551 ( "Jupiter "). Nick pretation by Porter Heaps, The Cleveland Orchestra, George Stabulas, drums. internationally known con- PRESTIGE 7058. 12 -in. 32 min. 54.98. cert artist. A real find for Szell, cond. LC 3287 (1 12 ") $3.98 lovers of fine pipe organ Phil Woods may stand as the example music -so realistic you FALLA: El Amor Brujo ; Nights in the of the ultimate dead end of the cool school would believe you were in Gardens of Spain. Corinne Vozza, of jazz. Woods is an alto saxophonist a cathedral listening to a big contralto; Eduardo del Puevo, who has almost everything on his side organ. And for the Hi -Fi piano; L'Orchestre des Concerts - polished technical skill, a strong swing- fan, the pipe organ with its Lamoureux, Jean Martinon, cond. ing attack, and a great carousing drive. tremendous range makes these Summit records ideal LC 3305 (1 12 ") $3.98 Yet, because he has no suggestion of warmth or shading, the final impression for putting a set thru its paces. is of a shrill and tiresome series of exer- w ly//j, cises. For a chorus or two, any of these Ask for then at your HIGH FIDELITY selections engages the attention; but then, record counter or as aural attrition sets in, one sits back write direct for com- =EPIC to await the entrance of John Williams, plete record list. RADIAL SOUND a pianist who is both modern and human. $3.98 each

Other December Jazz THE SUMMIT SOUND A PRODUCT OF CBS SYSTEMS COMPANY Variety: A promising series of disks has 919 E. Market St., Akron 5, Ohio been inauguratedg byv Creedree Taylorv with

IT6 HIGH FIDELITY MAGAZINE RECORDS

Know Your Jazz, Vol. r (ABC Paramount from My Fair Lady on Shelly Manne and 115. I z -in. 39 min. $3.98) , which is His Friends, Vol. 2 (Contemporary 3527. made up of examples of the use in con- r2 -in. 38 min. $4.98) and puts them temporary jazz of twelve instruments. The back together again in modern jazz terms. oie . illustrative solos, ranging from good to ex- Its a deft performance but one that may cellent, are played by such notable jazz- grate on the sensibilities of anyone who Expériences Anonymes intro- as Tony Scott, Billy Taylor, Jimmy cherishes the Loewe- Lerner score. men duces a new concept in Cleveland, Mundell Lowe, Oscar Pettiford, For the traditional- minded, Riverside imagina- and others. The explanatory notes are has transferred thirteen more bouncing rag- tive, high fidelity recordings to admirably rational and down -to- earth. time piano rolls to a disk, The Golden Age widen your musical horizons. Jimmy Giuffre's breathy, low register of Ragtime (Riverside 12 -II O. 12 -in. 37 clarinet is heard in a number of different min. $4.98) , while neoragtimer Ralph THE SONG OF SONGS contexts on The Jimmy Giuffre Clarinet Sutton happily rollicks and hums his way Read in Hebrew and in English (Atlantic 5238. r2 -in. 36 min. $3.98), through some rags and stomps on Back - MORRIS CARNOVSKY CAROL VEAZIE from a solo accompanied only by foot- room Piano (Down Home MG D -4. r2 -in. tapping to a nine -piece group, from non - 41 min. $3.98). ANNE MEACHAM HENRY BATE jazz and atonality to light, Basie -like swing. Trumpets: Two of the groups with This is stretching Giuffre's rather limited which Chet Baker made his long tour of TROUBADOUR AND TROUVÈRE SONGS clarinet talent a bit thin, but many of the Europe last winter are heard on Chet Baker RUSSELL OBERLIN, countertenor disk's twists and turns are interesting. in Europe (Pacific Jazz 1218. 12 -in. 47 SEYMOUR BARAB, viol Despite its ominous title, Primitive Mod- min. $3.98), a disk on which Baker ern (Prestige 7040. r2 -in. 32 min. proves that it is possible to play a subdued $4.98) by the Gil Melle Quartet is very trumpet with authority. Seven trumpet ENGLISH KEYBOARD MUSIC the players, accompanied by a rhythm section listenable, rhythmic jazz featuring PAUL WOLFE, harpsichord leader's baritone saxophone and a buoyant led by Elliot Lawrence, are given a chance guitarist named Joe Cinderella. The Midg- to show their wares on Cool Gabriels ets (Vik LX 1060. 52-in. 35 min. $3.98) (Groove LG 1003. 12 -in. 35 min. $3.98). EXPÊRIENCES ANONYMES by the Joe Newman Septet is built around Despite the multiplicity of horns (Conte 20 East 11th Street, New York 3, N. Y. duets between Newman's trumpet and Candoli, Nick Travis, Bernie Glow, Don send (8 Frank Wess's flute, some of them brightly Stratton, Dick Sherman, Phil Sunkel, and Please album (s) $5.95 each engaging but, over a whole twelve -inch Al De Risi) , the disk is pleasantly varied, disk, just a little too much of one thing. and Travis gives further evidence that he Keyboards: Although neither is, strictly is one of the most accomplished of present - speaking, a pianist's record, both The day trumpeters. Trumpet with a Soul NAME Flying Fingers of Art Tatum and Buddy (Epic LN 3268. I2 -1n. 32 min. $3.98) De Franco (American Recording Society serves as a disk introduction for Mel Davis, ADDRESS who has a big, ripe tone in the Harry G 412. r2 -in. 43 min. By subscription) CITY - STATE and The Rhythm Section (Epic LN 3271. James manner and a leaning toward a Check enclosed Bill me later E 12 -in. 4o min. $3.98) are made memor- legitimate rather than a jazz style. able by the work of the pianists involved. On the first, Tatum (who died prematurely is at the top of his rhythmic SELECTOR ARM last month) easily glides to record AT LAST ! YOUR PRECIOUS RECORDS form, pulling together and giving definite desired -moves it out form to performances that are generally INDEX NUMBERS SAFE, CLEAN, VERTICAL, IN A diffuse when he is out of the spotlight. top and bottom make Incidentally, the eleventh disk in The filing easy MINIMUM OF SPACE... Genius of Art Tatum series (Clef MG Instantly C -712. 12 -in. 37 min. $3.98) has also available - been released, more unaccompanied solos Re -filed in seconds! on the same high level as those in the ten disks that have already appeared, although this latest one hardly seems necessary for any collection that has a few of GUIDES of firm the earlier ones. The pianist who makes rubber -hold records The Rhythm Section worth hearing is securely Hank Jones, whose warmly precise playing is featured on three of the twelve selections. INDEX MARKER improvements happily noted: Lou catalogs records, Two marks place for record Levy, whose first disk for Victor was mys- return teriously out of character, returns to his Jazz in EASY OPERATION proper, virile, propulsive form on The Norpine Selector Record File slight lift gently Four Colors (RCA Victor LPM 1319. holds 100 LP 12" records in a mini- moves out record 12 -in. 4o min. $3.98) with a quartet mum of space -with a maximum of in which Larry Bunker's vibes offer Levy a availability. Skillfully designed firm steady challenge; and Villegas makes some- rubber grooves touch only non -play- thing of a recovery from his clumsy intro- ing surfaces. Records are filed by Frame is strongly built of steel, beauti- ductory disk with Very, Very Villegas number and selected by means of a fully finished in gray, ivory, green or arm (Columbia CL 877. 12 -in. 39 min. sliding engaging a notched in- tan. Specify color desired. Sold direct dex. A slight lift which suggests that he is be- of the selector arm to you only. Send your check or M.O. $3-98), moves out the record desired. Re -fil- for $ 59.95 (plus $1.80 sales tax if you ginning to learn something about jazz ing is a matter of seconds! Gummed live in Penna.) forimmediateshipment though he is still far from being a distinc- numbers to apply to your records, -express charges collect; weight ap- tive pianist. handy index marker card and trans- prox. 25 lbs. (try it for 10 days -if Barbara Carroll, usually rather glib, parent, plastic dust cover provided. not satisfied, return it for immedi- turns brooding in most of the selections Fits standard 16 "x16 "x24" cabinet. ate refund). Also 10" size -$54.95. on We Just Couldn't Say Goodbye ( RCA Victor LPM 1296. 12 -in. 40 min. $3.98), NORPINE CORPORATION po- thereby largely draining them of any ; therm RECORD FILE tential jazz qualities. Likewise glib, André Dept. B- P.O. Box 129, Chambersburg, Pa. Previn takes apart eight of the tunes

DECEMBER 1956 I17 RECORDS

Saxophones: Buddy Arnold, an able Record Market tenor saxophonist unfairly neglected in the recent flood of jazz recording, comes out SET A RECORD swinging brightly on Wailing (ABC -Para- mount 114. 12 -in. 37 min. $3.98) with a player atop this table EXCLUSIVE! sized black wrought septet that includes the dependable pianist iron cabinet, and Not Available From Any Other Source John Williams. Lennie Niehaus, an alto you'll have a com- TAPE saxophonist noted for precision, shows wel- plete music center! come signs of a growing warmness on Two shelves and 12 Encore Treasure Tape "The Measure of Your Tape Recorder's Performance" (Excerpt from Lennie Niehaus, Vol. 5: The Sextet (Con- individual compart- Dubbings test tape D -110. Includes the fol- temporary 3524. I2 -in. 44 min. S4.98) . ments to file over 25o lowing tests: Timing (tape speed), Recording of your long -playing level, head alignment (rough and fine), Wow Also on the improved list is another altoist, and flutter, Signal to noise. Instruction book- Julian "Cannonball" Adderley, whose In record albums. Top let included. Limited quantity. largest the Land of Hi -Fi (EmArcy MG 36077. INTRODUCTORY OFFER player made! Sturdy, 12 -in. 34 min. $3.98) reveals an increasing 3o" high X 22" x 17 ". 59c each -- 3 for $1.50 sensitivity and a vastly improved tone in Please remit $14.95 (plus postage) a musician whose work has never lacked with order; shipped Send for free catalogue of interesting for vitality. Vitality is Coleman Hawkins' express charges col- new products. stock in trade, and he needs it and uses lect. Leslie Crea- AMERTEST PRODUCTS CORP. Dept. HF (3) it to advantage to breathe life into some tions, Dept. 209D, 1280B Sheridan Avenue, New York 56, N.Y. Lafayette Hill, Pa. of the French pop tunes and Paris -oriented standards he tackles on The Hawk in Paris (Vik LX 5059. 12 -in. 38 min. S3.98). Big Bands: The high -spirited gallumph- HOLDS ing of Bob Crosby's band is brightly revived on Bob Crosby in Hi -Fi (Coral 57062. 12 -in. 42 min. $3.98), newly recorded versions of old Crosby hits by a Send For Our zoo studio band which includes Crosby veterans WONDER VALUE si Eddie Miller and Many Matlock and a buoyant non -Crosbyite, Charlie Teagarden. CATALOG RECORDS Maybe this group doesn't have quite the OF LONG PLAYING flair of the original Crosby band, but what CLASSICAL RECORDS Black wrought -iron cabinet is just waiting for your collection to grow into! "Shows-off" over 200 big band does these days? Not Georgie One Of The Largest Selections long- playing record albums of either 10" or 12" Auld's orchestra, for sure, although Auld's In The Whole Country size; or numerous 78 RPM albums. Ten individual low Write Dept. 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Flat as a homemade stein, The Record Changer. pancake from 18.75 to 20,000 cps., it "His best recordings . . . I cannot recommend it is perfect source material to check too highly." . . . Elinor Hughs, Boston Herald. your system's response from pickup to "The best recording (he has) done to date. I hope speaker. ONE CAUTION: You must know there will be more." Max de Schaunsee, Philadel- your stuff in order to use it properly. O phia Bulletin. We have included a full description of JUST f : RICHARD DYER -BENNET #1 includes "Lonesome how it was made, what it is and how to RELEASED fl Valley ", "Oft in The Stilly Night ", "Joys of Love ", use it. But, the really clever among you "Bonnie Earl of Morey ", "So We'll Go No More A will find any number of worthwhile "CHRISTMAS ON W Roving ", and others $4.95. (DYB -1000) applications for the EPSCB. RICHARD DYER -BENNET #2 (Just released) in- THE SIENA PIANOFORTE" 1:r cludes "Cock Robin ", "Blow the Candles Out ", "Garden Where the Praties Grow ", "Cockle- $3.50 from your ELEKTRA dealer or post. Write for its fascinating story shells", and others $4.95. (DYB -2000) paid from Sold at leading record shops. If not available at ELEKTRA RECORDS your dealer, send $4.95 per record (no postage 361 Bleecker St., New York City. ESOTERIC necessary within U.S.), check or money order, to: 238 EAST 26th ST., N. Y. C. 10 Dyer- Bennet Records, P.O. Box 235, Woodside 77, N.Y. Protect Your TRIAL OFFER LP Records J- GIBSON GIRL TAPE SPLICERS 12 for $1 00 Twelve -Inch Record

NV SCISSV aS! COVERS NO RAZOR BLADES! shipped Dioponol tuA ends " prepaid N, sOic edges Money Back GUARANTEE At Your Dealers Made of Polyethylene Plastic. H.R.S. LP CASE No. 7 Slips Inside Original Jacket Deluxe dust -proof cases to hold 10 LP records. Avail- Keep your valuable records free from dust, able in Red, Blue, Green and Tan and in two sizes scratches, finger marks, spilled liquids, etc AUD -O -FILE for either 10" or 12" records. Rich book mi.mod IA, n.., ,o,d -like bind- ,y. ing of simulated Levant leather is stamped with Introductory NO INDEXES! genuine gold. See your dealer; if not available SAMPLER DOZEN and order direct. Please specify size and color. 10 -inch t SURPRISE BONUS $1.00 Prepaid NO JACKETS, $2.75 and 12 -inch 52.95 (10 -inch $3 and 12 -inch NO SLEEVES, $3.25 W. of Miss. and in Ala., Fla., La., Miss., Minn.). Dealer Inquiries Invited Two or more cases postpaid in U.S.; add 25c for one NO ALBUMS, case. No COD's please. BRADLEY /VC. INC. ROBINS INDUSTRIES CORP H. ROYER SMITH CO. 11 W. Magnolia Blvd. Burbank, Calif. a side 61 N. Y. Dept. H, Philadelphia 7, Pa.

I'S HIGH FIDELITY MAGAZINE Tape Deck

by R. D. Darrell

Note: as usual, all tapes reviewed are CHAUSSON: Poème, Op. 25 Paul Badura -Skoda, piano; Philharmonic 7.5 ips and - unless specifically noted (Saint- Saëns: Introduction and Rondo Symphony Orchestra of London, Artur as stereo - are 2 -track single -channel Capriccioso, Op. 28 Rodzinski, cond. recordings. The symbol prefixed David Oistrakh, violin; Boston SONOTAPE SW 1035. 7 -in. $7.95. to a review indicates stereo tape. If a Symphony Orchestra, Charles Munch, cond. date in parenthesis is appended to the Immaculate transparency of recorded sonic RCA VICTOR CCS 16. 7 -in. $10.95. review, it refers to the issue of HIGH detail and painstaking executant precision FIDELITY in which the corresponding Paul Affelder's review of the LP versions never can substitute adequately for the disk review appeared. (LM 1988, in which they were incongru- indefinable élan vital of poetic interpreta- ously coupled with orchestral excerpts tion- which is the object lesson of the BACH: Cantata No. 140, Wachet auf from Berlioz's Roméo et Juliette) tempered present version of the Symphonic Vari- praise with the pertinent comment that ations. Here, as on LP (Westminster Magda Laszlo Waldemar (s), Kmentt (t), "though pure technique and silken tone W -LAB 7030), the recording will serve Alfred Poell (bs); Akademie Kammer- contribute enormously, they aren't every- orchestration and piano students as a chor; Vienna Staatsoper Orchestra, Her- thing." In the stereo medium the silken superbly lucid textbook analysis of the mann Scherchen, cond. tonal qualities of the fine -spun orchestral score, but a lover of Franck's finest crea- SONOTAPE SW 1037. 7 -in. $7.95. fabric itself as well as of the gleaming solo tion will search in vain for its endearing glow and lilt. Badura -Skoda seems much My welcome mat is always out for the violin embroideries still aren't everything, less impersonal and Rodzinski less self - return of so dear an old friend as this, but they are sheer tonal enchantment. It effacing in the darkly romantic soliloquies especially since my copy of the LP version is a shame that Oistrakh's too cool and of the early and far- from -characteristic (Westminster WL 5122) has long since impersonal perfection fails to add the Rimsky concerto, a work no less lusciously lost much of its pristine groove cleanliness. warmth and intensity of poetic feeling to the and cleanly recorded, but in itself far less Except for somewhat more distant micro - Chausson which would enchant one's rewarding music. (June 1956) phoning than we are accustomed to now- mind as well as one's ears. Yet I keep adays, this discloses no hint of arterial returning to the Poème, as though to a hardening in the lovely duos by Laszlo and drug which once tasted becomes an ob- GROFÉ: Grand Canyon Suite Poell, the oboe obbligato for the second session, for this score has never been more ethereally and bewitchingly reproduced. Boston Pops Orchestra, Arthur Fiedler, of these, or the admirably balanced en- cond. sembles throughout features which have The sparkling Saint -Saëns showpiece makes - no RCA VICTOR ECS 57. 7 -in. $14.95. maintained the pre- eminence of the Scher - comparable expressive demands and so is more chen performance ever since it first ap- uniformly successful over -all. The Pops ensemble probably never has (Feb. 1956) peared. (Summer 1952) sounded more like the Boston Symphony than here; Fiedler seldom has prepared FALLA: Nights in the Gardens of Spain and voiced a score with more loving care BEETHOVEN: Symphony No. 9, in D Guiomar Novaes, and exactitude; and surely it is only in minor ( "Choral"), Op. 125 piano; Pro Musica Sym- phony Orchestra (Vienna) , Hans Swarow- stereo that every ingenious detail of Grofé's Teresa Stich -Randall (s), Lore Fischer sky, cond. instrumentation could emerge with such (c), Ferdinand Koch (t), Rudolf Watzke PHONOTAPES -SONORE PM 5 oo6. 5 -in. crystalline purity. Yet, by the same token, (b) ; Orchestra and Chorus of Gurzenich $6.95. never have Grofé's pretensions been more (Cologne), Gunter Wand, cond. mercilessly exposed as those of a poor OMEGATAPE OT 8005. 7 -in. $10.95. In the early stages of intoxication with man's - or Radio City Music Hall - the high -proof stimulus of a new sonic Richard Strauss. I have been bored often The soloists' names are familiar, but those medium, it's only too easy to delude oneself enough by the Grand Canyon suite, but of the conductor and orchestra are brand (if not others) that stereo and aural magic never particularly annoyed by it. It is only new to me. Gunter Wand, whatever his are synonymous. is Here strong evidence now in the aural equivalent of super - background may be, is obviously no gauche that poetic is atmosphere by no means Cinemascope that its gaudily painted local - youngster weary routinier. or He brings a beyond the powers of single -channel record- color backdrops, its laboriously contrived strong, deliberate, to sure hand his task, as ing. The highly praised LP version (Vox sunrise, sunset, and cloudburst, and its well as notable reserves of somber energy. PL 8520) was perhaps not as widely cir- puppet trail riders are exposed as com- He is at his best, I think, in his rather culated as it should have been, since it pletely ersatz. This stereo is proving to slow but broadly sustained and serenely was there coupled with a Grieg Concerto be a dangerously double -edged weapon! expressive reading of the Adagio. Despite had that to meet severe competition; alone I might sourly suggest that here, at least, the usual intonation troubles per- (and here, and against a flawless tape back- audio technology may be so overstimulated haps overincisive attacks) among the other- ground, the Falla piece comes triumphantly by its new powers as to have entirely for- wise assured soloists and chorus, the finale into its own. I have heard the orchestral gotten Lewis Carroll's pertinent variant is worked up with more exciting dramatic part played with more polish and stylistic of an old adage: "Take care of the sense, force than one normally expects from any distinction (and I still maintain that only and the sounds will take care of them- non -Toscanini. in stereo can its impressionistic scoring be- selves." Since I have a personal "blind spot" come completely non- earthbound) , yet no vis -à -vis the Ninth and thus lack any orchestral or medium advantages could adequate representation of this symphony ever compensate in themselves for any MOZART: Serenade No. 13, in G in my permanent library, I can't attempt enactment of the solo role that failed to ( "Eine kleine Nachtmusik "), K. 525; to place Wand's version among the better - match the improvisatory freedom, artistic Ein musikalischer Spass, K. 522 known ones, but I should guess that it subtlety, and declamatory eloquence of a 1-Leopold Mozart: Toy Symphony should rank well up in the list; and I'm Novaes. (June 1954) Pro Musica Chamber Orchestra ( Stutt- sure that for recording clarity, brilliance, gart), Rolf Reinhardt, cond. and expanded dynamic range it should be FRANCK: Variations symphoniques PHONOTAPES -SONORE PM 548. 7 .in. placed very close to the top. The per- tRimsky- Korsakov: Concerto for Piano $8.95. formance is not yet available on LP, at and Orchestra, in C -sharp minor, Op. least not in this country. 30 Continued on page 124

DECEMBER 1956 1 21 Now! ONE Berlant-Concertone Recorder does the work of % H R E E

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THIS NEW STEREO TRIPLE PLAY HEAD DOES IT- The 36ST Berlant Deluxe Platys Full Track, Half Track, Stereo Recorder is ideal for radio station use. Delivers performance characteristics for the most exacting quality use. Hysteresis synchronous drive model - (99.8% timing accuracy). Frequency response 40 to 15,000 cps at 15 ips ± 2db. Save the cost of a second recorder plus savings in space, operator time and tape. Perfect for the station planning stereo tape broadcasts on AM and FM simultaneously. Head Complim nt Model 26ST and Model 36ST. Another exclusive development For the Advanced of the superb engireering laboratories of American Electronics - America's nranuFactu er of electronics for military, home and industrial use. Audiophile foremost the Concertone Custom Recorders answer recording and playing needs for years to FREE- $50.00 worth of recorded tape w_th Full professional come. the purchase of any B -C reco -der. features include use of 1032 reels, editing and cueing, SA VE- $73.50 on a new $93.50 Concertone _431:. signal level meter, 3 motors, Custom Microphone. monitoring from tape while recording, Offers limited and may be withdrawn wi-h- 2 channel input mixer. out notice. See your Berlsnt- Concertone distributor today for your FREE tape libr .ry or for the microphone savings ... featured at Take Time to Pay... the dealer stores listed on opposite page. Terms to meet your budget Write for new 6 -page brochure No. 4 -D. on all models. (Model 22) Audio Division, As low as $49.50 down, $7.50 per week, 24 months to pay. AMERICAN ELECTRONICS, INC. 655 West Washington Blvd. Los Angeles 15, California

122 HIGH FIDELITY MAGAZINE The following Berlant -Concertone distributors invite you to visit their store to see the new TRIPLE PLAY RECORDERS and /or get your free $50.00 tape library or Concertone Custom Microphone for $20.00 with purchase of any Berlant- Concertone recorder.

AKRON LAFAYETTE, INDIANA PHILADELPHIA Audio Hall Lafayette Radio Almo Radio 326 W. Bowery St. 408 North Street 412 -16 North 6th St. 509 Arch St. Olson Radio Warehouse Inc. LAKEWOOD, OHIO 73 E. Mill Street Radio Electric Service Music Unlimited 709 Arch Street ALBUQUERQUE 13410 Detroit Ave. Fi Inc. PHOENIX Hi Equipment LAS VEGAS Mateo S. E. Audio Specialists 816 San Nevada Book & Sound Sound Engineering & Equipment Co. 333 E. Camelback Road 306 E. Charleston 3011 Monte Vista, N. E. Radio and Sound Supply Co. PITTSBURGH, PENNSYLVANIA Concerto Room, Inc. BEVERLY HILLS 25 E California St. of Beverly Hills 642 Grant St. Crawfords BEACH, 456 N. Rodeo Drive LONG CALIFORNIA M. N. Mansfield Co. Dackney Electronics 937 Liberty Ave. BINGHAMPTON, NEW YORK 343 East Market Street Radio Parts, Inc. Morris Distributing Company Scott Radio Supply, Inc. 6339 Penn Ave. 195 Water Street 266 Alamitos Avenue PORTLAND, OREGON BROADVIEW, ILLINOIS LOS ANGELES Meier and Frank Co. Hi -Fi Unlimited Beverly Hi -Fi Sandy's Camera Stores 1305 Roosevelt Road 468 So. Robertson Blvd. 714 S. W. Washington Street BROOKLYN Bushnell Electronics RED HOOK, NEW YORK Brooklyn Hi Fidelity Sound Center 12026 Wilshire Harter, Inc. 836 Flatbush Ave. Gateway to Music 10 South Broadway 3089 Wilshire Blvd. BUFFALO RIVERDALE, ILLINOIS L. A. Portable Recorders Buffalo Audio Center Audio Distributors Inc. 521 No. La Cienega Blvd. Arrowlite Co. Electronics 14218 S. Indiana Ave. 153 Genessee Street Midway 2817 Crenshaw Blvd. RIVERSIDE, CALIFORNIA CANTON, OHIO Sound Unlimited Custom Music Burroughs Radio Inc. 6320 Commodore Sloat Drive 3980 Main Street 2705 Fulton Road, N. W. MADISON, WISCONSIN SACRAMENTO The Camera Center Hi -Fi Sound Supply 331 Cleveland Avenue Hi -Fi Corner 1910 - 16th 401 State Street Street CENTRAL CITY, NEBRASKA ST. LOUIS, MISSOURI Sampson Electronics MIAMI Van Sickle Radio Company 102 G. Street Hi -Fi Associates 1113 Pine Street 3888 Biscayne Blvd. CHICAGO SALT LAKE CITY Continental Corporation MILWAUKEE Sound by Craftsmen 3239 W. North Hi Fi House, Inc. 358 South 3rd East Electronic Expediters, Inc. 2630 N. Downer Street 2909 W. Devon Avenue Photoart Visual Service SAN DIEGO Hi -Fi Inc. 840 No. Plankinton Ave. Breier Sound 10309 South Western Ave. Wack Sales 3781 Fifth Street Newark Electric Company 3131 W. North Avenue Recording Center 223 West Madison Ave. 1342 - 5th Avenue MINNEAPOLIS House Hi -Fi Voice & Vision Wright's of Electronic Industries, Inc. 5140 El Cajon Blvd. 53 E. Walton Place 2451 Hennepin Avenue CINCINNATI SAN FRANCISCO Paul Schmitt Music Company San Francisco Radio & Supply Co. Customcrafters Audio Inc. 68 South Tenth Street 2259 Gilbert Avenue 1280 -84 Market Street Steinberg's Inc. NEWARK SAN MARINO, CALIFORNIA 633 Walnut Street Hudson Radio & Television Corp. E. O. Bulkley Co. Street CLEVELAND 35 William 2533 Mission St. Radio Wire Television Co. SAN PEDRO Audio Craft Co. Ave. 2915 Prospect Ave. 24 Central Bower's Music National Manufacturing Co. NEW YORK 810 So. Gaffey 1000 Hamilton Ave. Airex Radio Corporation SANTA BARBARA The Progress Radio Supply Co. 64 Cortlandt St. Pacific Audio Supply 413 -415 Huron Rd. Asco Sound Corp. 2919 De La Vina Street 45th Street COLUMBUS 115 West SEATTLE Shaffer Music Company Third Floor Seattle Radio Supply Inc. Audio Unlimited, Inc. 849 North High Street 2117 - 2nd Avenue 119 East 59th Street l's DAYTON Inc. Tal Goody Audio Center, 1415 Third Ave. Custom Electronics, Inc. 235 W. 49th St. 1000 South Main St. 250 W. 49th St. STOCKTON, CALIFORNIA DENVER Grand Central Radio Quality Sound Service Electric Accessories 124 East 44th Street 1217 North Wilson Way Stout at 20th Street Heins & Bolet TOLEDO DETROIT 65 Cortlandt Street Jamiesons High Fidelity Haco Distributing Co. Hudson Radio & Television Corp. 840 W. Central Avenue 9730 Burnette 48 W. 48th St. Torrence Radio, Inc. K.L.A. Laboratories, Inc. 212 Fulton St. 1314 Madison Avenue 7375 Woodward Ave. Leonard Radio Co. 69 Cortlandt St. TOPEKA, KANSAS Lobby-Hobby, Inc. Plaza Television 17300 Woodward Ave. Liberty Music Shops 450 Madison Ave. 140 S. Huntoon EAST CHICAGO, INDIANA Peerless Camera Stores TUCKAHOE, NEW YORK J. N. E. Television 138 East 44th Street Boynton Studio 2013 Broadway Radio Wire Television, Inc. 10 Pennsylvania Avenue Avenue HEMPSTEAD, LONG ISLAND 100 Sixth TUCSON Island Audio & Hi Fi Center, Inc. Recording Wire & Tape Co. Art Electronic Supply Co., Inc. East 87 Street 441 Fulton Avenue 163 145 South Park Ave. Newmark & Lewis Sun Radio & Electronics Co. Inc. 43 Main Street 50 W. 20th Street VAN NUYS Terminal Radio Corporation Valley Electronic Supply Co. HOLLYWOOD, CALIFORNIA 85 Cortlandt Street 17647 Sherman Way Hollywood Electronics 7460 Melrose Ave. ONTARIO, CALIFORNIA WASHINGTON, D. C. Magnetic Recorders Rudi Pock - The Original Hi Fi Shop Electronic Wholesalers 7120 Melrose Ave. 604 N. Euclid 2345 Sherman Avenue, N. W. Pacific Hi Fi PASADENA Kitt Music Company 1320 Cahuenga Blvd. Audio Associates 1360 G. Street N. W. Sun Parts Distributors, Ltd. HOUSTON 689 So. Fair Oaks 520 - 10th Street N. W. Audio Center Inc. Dow Radio 1633 Westheimer 1759 E. Colorado YONKERS Busacker Electronic Equipment Co., Inc. High -Fidelity House Westlab 1216 West Clay 536 So. Fair Oaks 2475 Central Park Ave.

DECEMBER T956 123 TAPE DECK Continued from page 121

C. G. Burke's review of the LP version (Vox PL 978o) had prepared me for the persuasive straightforwardness and complete freedom from smirking coyness with which these little pieces are played by Reinhardt, but even his praise of the re- EN cording scarcely led me to expect so exquisite a sense of tonal balance or such wholly "natural" small -scaled sonorities as are revealed by the Stuttgart group and its close yet vibrantly "live" reproduction on the present tape. Few disks and even fewer tapes have ever solved more con- clusively the problems of recording a small, mainly string, ensemble. And if the familiar Nightmusic never quite attains my apparently unrealizable ideal, I have never heard the satirical (prophetically poly- tonal) Musical Joke played more satis- factorily, nor the jaunty Toy Symphony (long attributed to Haydn) done with more delicious relish and grace. (Oct. 1956)

OFFENBACH: Gaîté Parisienne Boston Pops Orchestra, Arthur Fiedler, cond. RCA VICTOR ECS 15. 7-in. $14.95.

Delighted as I was with Fiedler's original 78 -rpm Gaîté of 1947 (transferred some MONAURAL four years later to LM loot ) and the even STEREO- wider -range recording of its successor ( LM RECORDING 1817 of 1954), they both "wore" badly PHONIC with me. Eventually I came to tire, not and i of the eternally exuberant music itself, but of what came to seem like excessively top - PLAYBACK heavy sonic balance. The high end of the PLAYBACK spectrum was so extremely bright that for all its clarity it became overfatiguing and unpleasantly penetrating, if not actually shrill, simply for lack of a more solid low - STEREO -MAGIC frequency foundation. And it is in this respect, even more than in the airy open - CONVERSION KIT ing-up of the top register, that the stereo version impresses me as marking a notable Adapts any Pentron tape advance. For here there is no suggestion recorder sold in the past 5 years whatever of oversharp tonal edginess and no eventual aural fatigue although, as for stereophonic - tape playback. usual in stereo, the over -all experience is akin to that of a live performance in leav- List: ing its participant -listeners emotionally ex- 1 695 hausted. What I had assumed was Rosen - thal's failure to provide a firm enough instrumental substructure is revealed here STEREO -MAGIC as only the result of some aural myopia STOCK PENTRON MODELS in single -channel microphoning. Even the enhanced glitter of the percussionists These regular in -stock models (given almost concertolike starring roles) offer stereophonic playback plus now never seems hectic, so matchlessly monaural recording and play- is it integrated into the weightier yet back. wondrously air -woven fabric of full -spec- T -90S: $219.95, list trum sonorities. HF -400S: $269.95, list In short, while the Debussy Nocturnes by Monteux must rank as stereo's most HFW-500S: $319.95, list enlightening contribution to date to aesthetic sensibilities, and while a few big PENTRON CORP., 788 S. Tripp Ave., Chicago 24, III. display -work and jazz tapes may have Send details on Stereo -Magic ... achieved more sensational raw dramatic impact, this Gaité Parisienne is the first in- Name disputable, all- round, stereo -hit release. Address And if ever a single work justified the investment in a two- channel home play- in Canada: 'Atlas Radio Ltd., Toronto City State back system, quite regardless of the in-

124 HIGH FIDELITY MAGAZINE dividual listener's personal taste predilec- tions (provided only that he craves the best that present -day technology can achieve in orchestral sound reproduction), this is it. (Dec. 1954, for LM 1817, as noted above.)

SCHUBERT: Symphony No. 8, in B minor ( "Unfinished ") Boston Symphony Orchestra, Charles Munch, cond. RCA VICTOR CCS 13. 7 -in $10.95. Among those to whom the Unfinished primarily connotes dark pathos and fervid songfulness, Munch's reading has won top honors in its LP version (LM 1923, where it was coupled with a less convincing Beethoven Fifth) . Stereo adds a new dimension of haunting, echoing aural atmosphere to this interpretation, but is even more distinctive in its enhancement of the tonal beauties of the Boston players, freed here from the bondage of interpre- tative mannerisms which for me made the stereo version of the Beethoven Fifth quite intolerable. Despite all such seduc- tive enchantments, however, I still cling obstinately to what may be a private illusion that the Unfinished is properly less of a luxuriant sonic tapestry and more of a water -color miniature, demanding spontaneous galanterie rather than "romantic" lyrical exposition. So far, however, Beecham is the only conductor who has even given a hint of sharing that ideal - and who knows whether his mercurial disposition will still have the same bent when and if he too is afforded stereo -recording opportunities? (Feb. 1956)

WAGNER: Tristan and Isolde: Prelude and Liebestod; Tannhäuser: Overture Philharmonic Symphony Orchestra of Lon- don, Artur Rodzinski, cond. SONOTAPE SW 1040. 7 -in. $7.95.

I have spoken before about tape's special affinity for chamber -music reproduction - an aptitude which oddly enough italicizes the present release's principal raison d'être. James Hinton, Jr., in reviewing the LP version (Westminster W -LAB 7035), re- marked on the "almost chamber -music transparency" of the engineering, a quality which, along with the use of what seems a comparatively small orchestra, is even more marked in the present tape edition. It's definitely intriguing, at least on first the ultimate achievement in music systems hearing, and for anyone engaged in analyti- cal studies of Wagner's orchestral scores, The new Ampex Console Music System offers the startling experience perhaps no more orthodox treatment could of stereophonic sound on tape ... a complete two- speed, half -track be as illuminating. But a Wagner without tape recorder AM -FM tuner three-speed record changer ... and overwhelming breadth and devoid of un- ...... restrained emotional fervor is surely not two amplifier- speaker systems - each the finest component of its kind, the Wagner we know best or one who superbly integrated in the most complete sound system obtainable. imperiously commands complete surrender from his devotees. The latter are best Separately, the stereophonic player -tape recorder is available in handsome advised to shun the present release, but table -top or portable cases with matching amplifier-speaker systems. Hear an collectors of outstanding audio curios may Ampex Stereo System today .. you'll never be satisfied with less. feel it amply novel to warrant preserva- tion. ( July 1956 )

ORGAN RECITALS Kurt Rapf, organ. AUDIOSPHERE 711 -2 BN. 2 7 -in. Sia

Continued on next page A69

Ampex Corporation 93.E Charter Street, Redwood City, California Monaural Recorder from $379.50. For complete A series brochure write Dept. F -3033 O+01 x TAPE DECK ti.7 Continued from preceding page A Keep your Recording Tape each ($7.50 to Livingston Tape Club From Time -Wasting TREMENDOUS members) . Spilling with TAPE! Originally released a year or two ago, /1/ee0 u11=C-4y"a'' these two reels were among the very first stereo tapes I received, but I have pro- Any Size Reel! SYMPHONY NO. crastinated for months in preparing a re- :1441i[11'14i. view - largely because they struck me as IN D so uneven, both musically and technically, MINOR, and I feared that my unfamiliarity with the OP. 125 new medium was warping my judgment. 't CHORAL' Replaying them recently, however, my first impressions are sustained that Rapf Wilma lipp. Soprano

Fluabem Hnpon Alto (for all his considerable fame as a con- Julius Patdas. Tenor ductor and harpsichordist) is no adequate Whether you're a professional or Hon Weser Bass Bach interpreter. His ponderous, heavily record at home, you know how rq,e.iem der Besellschan registered Toccata and Fugue in D minor, often tape spills out from a reel MusAlreunde Vienna Ost BWV 565 ( in 710), is only passable at you're ready to use. That wasted Pa lima Symphony Ihenea best, while his Passacaglia and Fugue in time may mean missing the very

HORNSTEIN. crux of what you want record. JASCHA C minor, BWV 582 (in 712), is for to - -Clip, all its earnestness too lumbering and Magi cg an ingenious brass, evoaNLNI.A rvuu.x.,P.A.SO^ORE,. - se- unsteady in tempo to non -magnetic clip, holds tape be even passable. curely on the reel till ready for Beethoven's great "Choral" symph Querying a German organ-specialist use. It snaps over flange of any ony complete for the first time or friend about Rapf's reputation abroad as size reel, holds even a partial reel. a Bach interpreter. I elicited one tape! Over 64 minutes of high - only a con- Lasts indefinitely. Ideal for mail- level sound with temptuous dismissal of all Viennese musi- ing or storing! absolutely no cians as unfitted for any music earlier than INTRODUCTORY OFFER! distortion. Haydn's - one of the grossest examples of aesthetic intolerance 20 for $2.0C (postage paid) PM 150 71/2 .. $8.95 33/4.. $6.95 I've ever come Magi -Clip is not sold in stores. across, yet not entirely without a grain Send cash, check or money order to: of MOZART: truth in this particular instance. At Requiem, K. 626 any rate, the indubitably Viennese Rapf NIBLICK THORNE COMPANY Soloists. Wilma Lipp, Elizabeth Hoengen, seems far more at home with the Men - DEPT. H.F. Murray Dickie, Ludwig Weber delssohn Organ Sonatas, Op. 65, Nos. r Box 86, Scottsdale, Arizona Singverein der Gesellschaft der Musik- and 2 ( one on each reel) ; or, to put it way, freunde, Vienna. Jascha Horenstein, conductor. another the rather pompous romantic fervor of these works lends itself better to PM 153 71/2.. $8.95 33/4 .. $6.95 his treatment. And Rapf proves that he cannot be dismissed as a merely sincere but SCHUMANN: Carnaval, Op. 9 pedestrian interpreter when he suddenly comes life Papillons, Op. 2 to in the lushly chromatic breadths of the first Franck Choral in E Guiomar Novaes, piano. major (in 7 r 1 ) . However leisurely he lingers over these, it is with a loving PM 152 71/2 . $8.95 33/4. $6.95 eloquence that achieves a genuine radi- LIFETIME ance in the heaven -storming conclusion. MAGNetrC ReCORbros vsn In time for My puzzlement over the apparent failure of the separate speakers' outputs to CHRISTMAS! "fuse" more evenly, as they are generally supposed to do in proper stereo reproduction, evaporated when I realized that obviously any listener located as close to the E0RGE FEVER'S organ lofts as the stereo microphones must DOES THE IMPORTANT JOBS be would hear a similar separation between NO OTHER TAPE CAN DO! EelivEs' the pipe ranks on either side of the church chancel. Apart from this characteristic, Revolutionary new Soundcraft LIFETIME® however, stereo does add markedly to the Magnetic Recording Tape takes over where "spacious cathedral" effect of hearing an others fail. This high -fidelity tape: Ban- fikwF organ in its natural habitat. Certainly it ishes program timing problems due to tape. contributes impressively to the compara- Preserves priceless recorded material for tive clarity of the present recordings. for a lifetime. Stores perfectly in any cli- N2iN!qs the reverberation period is so long that the mate. Is a third as strong as machine polyphonic lines here, and the use of the steel. Will never break, cup, curl, tear, dry out or grow full organ to which Rapf seems so addicted, brittle. PHONOTAPESBONURE To the best of engineering knowledge, A POE RECOaINNO . would be hopelessly blurred in the single - . .. 0. LIFETIME Tape will last forever. channel medium. The Newest in instrument itself Soundcraft's quality tape line, its remark- Another tape in the fabulous (that of Vienna's Piaristenkirche) is one able Micro- Polished5 oxide coating an- which should be extremely fascinating Echoes series by the incomparable to chored to DuPont "Mylar" polyester base connoisseurs, for it is apparently an old makes it the finest tape money can buy. At Feyer. one with many extremely attractive timbres dealers everywhere. Start using it today. (when we PM 5012 71/2 .. $6.95 33á .. $4.95 are given a chance to hear them For Every Sound Reason unblended ) . Because these recitals are not currently available on LP (and may never PHONOTAPES INC. be), and because of the knotty problems REEVES SOUNDCRAFTCORP. 248 West 49th St., New York 19, N. Y. of evaluation they present, I have dealt DEPT. B -1 with them at exceptional length. They 10 E. 52nd St., New York 22, N. Y.

126 HIGH FIDELITY MAGAZINE remain enigmas in many ways; but if they must be ranked as only dubiously successful, they certainly are not lacking in pro- vocative interest. don't buy any REEL MUSIC NOTES ALPHATAPE: Third Man Anton Karas' true fidelity tape recorder zitherings on earlier Alpha and Omegatapes proved such palpable hits with all types of listeners that further examples were unless it's Stereophonic, inevitable. The present Zitherama is "more of the same" in that he blends some has 3 speeds and sells for les than $200 seventeen typical Viennese café- entertainment tunes into an all -too -brief medley, but the vibrantly twangy tones of his instrument are captured even more irides- cently here (AT 22, 5 -in., S3.95). Anton Paulik's Vienna Nights is not a new recording, but extracts from Omegatape OT 3003 ( reviewed here Aug. 1956) , featuring the starred attraction of that longer tape, the too -seldom heard Johann Strauss Carnival in Rome, along with a less distinctive Blue Danube and brother Josef's ...like Feuerfest Polka. Yet unless my ears de- ceive me, this shorter tape seems to have been more carefully processed, for the this Vienna Pro Arte Orchestra's playing - while still hardly full -bodied - is reproduced somewhat more effectively (AT 23, BELL 5 -in., $3.95). BEL CANTO: Music for Hearth. and Heart is exactly the sentimental background in- anity you'd expect, novel only for the augmentation of Frank Hunter's salon BT orchestra by rather ridiculously realistic Model -76 STEREOPHONIC ... THE ONLY wind and rain "effects" and the occasional intrusion of a small chorus, whose soloists 3 -SPEED TAPE RECORDER IN THE WORLD ( Dotti Malone and Joe Foley) pop brashly out of the fireplace to croon with discon- WITH "PLUG -IN" STEREOPHONIC SOUND certing intimacy right in your ears (106, 5 -in., 56.95; also available on Jubilee LP 10.20). Carl Perkins at the Piano, with Simply plug the cable (supplied) from the traps and string bass accompaniment, never gets very heated, but he plays with a cool, built -in pre -amplifier of the BT -76 into the if somewhat spasmodic, jauntiness, some phono plug of your Radio, TV or other fairly intricate ornamentations, and at his best a quite expressive lilt. The recording amplifier. Nothing else is needed to have the is extremely bright and close, yet try as I incredible realism of Stereophonic Sound... may I can't distinguish any particular aural evidence of Perkins' chief claim to origi- and, at remarkably low cost. Better buy Bell. nality - the use of "his left hand in a backward position . . . suspending his left arm over the keys and using his elbow MONAURAL TOO! The BT -76 is also a dual - track, 3- speed, fully to play additional bass notes" ( 502, 5 -in., equipped monaural recorder; engineered for high quality recording and 56.95; also available on Dootone Modern Jazz LP DL 21i). playback of all monaural tapes. CONCERTAPES: It's not quite my idea of TO real jazz, but Srringin' Ear)! invests some IT'S COMPLETE -READY PLAY -ONLY $189.95'' six (mostly standard) tunes with a pleni- tude of brash spirit, a touch of pseudo - ENGINEERED FOR THE FUTURE ! The knowledge that your Bell exoticism (Sauter -Finegan brand), and tape recorder will provide you with Stereophonic Sound, as well as other some decidedly piquant tonal colors and contrasts by the Modernes' odd combina- wanted recorder features, puts you in the enviable position of not having tion of percussion, accordion, vibraphone, one of the many "outdated" recorders on today's market. Better buy Bell. and string bass. At their best, in the exceedingly catchy Song of the Vineyards, they play with infectious verve, and the BELL DESIGNED stereophonic equipment also includes the 3 -DTG stereo recording makes the most of their Amplifier and the 300 -D "Sound- Cabinet ". See and hear them at Depart- distinctive timbre schemes ( 508, 5- ment, High Fidelity and Camera Stores. Write in., S7.95). for literature. Bell Sound Systems, Inc., (A Subsidiary of Thompson Products, Inc.,) 563 Marion CONCERT HALL: While waiting im- Road, Columbus 7, Ohio. *Priced patiently for review copies of the complete slightly higher west of Rockies. first Concert Hall stereo release list (the three works reviewed in the Nov. 1956 Continued on next page R-. "World Renowned for the Best in Sound"

DECEMBER 1956 127 TAPE DECK left) and sax (on the right), which never could achieve such buoyant equilibrium Continued from preceding page and contrast in the single -channel medium. At its best, as in Severson's Too Much, this is both semijazz and stereo in exception- Tape Deck are all I have heard so far) , ally attractive and novel veins ( ST my appetite is further whetted, as well as 4016, 7 -in., $10.95). partly assuaged by a "demonstration - N sampler" devoted to excerpts from both w PHONOTAPES -SONORE: In Jonel Perlea's a the first and a forthcoming second list. I long Russian program with the Bamberg F can hardly say this is the best of the stereo Symphony (also available on LP as Vox 0 samplers, for its the only one I've heard PL 953(3), the outstanding item is the w to date, but it certainly will be hard to o shortest piece: César Cui's once immensely z beat, for not only are the selections well popular but now seldom -heard Tarantella, o diversified (if mostly on the familiar o Op. i 2 -a blessed relief from the peren- w Finlandia Fire Dance Firebird symphonic- nial Orientale as well as in its own right favorites order, except for an amusingly a brilliantly bouncy symphonic -dance hit w jazzed -up Kerry Dance), but they are z which for once justifies Cui's inclusion IL mercifully free from vocal announcements among the "Mighty Five." Perlea ap- z and plugs, and for once they are all com- parently expended most of his interest plete pieces or movements - that is, if and animation here, for his Balakirev I- W the Andante and Finale of the Rhapsody Thamar, while romantically atmospheric, w z in Blue can be considered so. In all, a lacks the integrated drama of Von Matacic's iL highly effective (and at its price, extremely Angel LP version, while the also -included w enticing) introduction to musical stereo - Borodin Polovtsian Dances and Mussorgsky I phony ( CHT /Dem. s, 7 -in., $4.00). Night on Bald Mountain carry little conviction even when they are not relaxed to JAZZTAPE: One of the most ingenious the point of lackadaisicality. The re- Write for Dept. HF of stereo potentialities I've exploitations cording, however, is warmly rich through- listing. yet come across is the misleadingly named out (PM 145, 7 -in., $8.95). SONOTAPE Sounds Crazy, where what is billed as CORPORATION ... the Paul Severson Quartet turns out to be SONOTAPE: 185 Its a bit of a shock to find Madison Ave. essentially a contrapuntal and antiphonal New York 16, N. Y. the invariable technical perfection of Sono- duo, backed by discreet traps and bass tape processing and Westminster recording accompaniment. The pieces themselves, (WP 6005) expended on Music in the apart from a few standards, are Severson Night. The pop -classic melodies chosen originals of notable imaginative lyricism here (None But the Lonely Heart, Plaisir and danceable lilt, but even these owe d'amour, Rosamunde Entr'acte, etc.) are much to the special charm of the relaxed no doubt appropriate enough as "beauty - yet jaunty interplay of trombone (on the rest music to go to sleep by," but the expected suave sentimentality of these salon performances is disconcertingly slug- Largest Here are a few of the out- gish. The mostly- string ensemble's leader, standing additions to our one Montini, lacks a good deal more than First in monaural ... first in Stereophonic Catalogue in stereophonic ... always the various categories: an extra syllable to his name to warrant Tape quality leader in recorded tape CLASSICAL his stumbling far along the paths to pop- for home music performance, MOZART: Concerto No. 2, 3 ular glory trodden by Mantovani (su' LIVINGSTON is rapidly for French Horn and Orch. 1027, 7 -in., $7.95) Treasury (K.447,417), James Stagliano adding to its library of and Zimbler Sinfonietta STERECORD: new stereophonic releases. Boston 7-4 BN SONY It's even more start- in CHORAL ling to find that the one tape of Christmas STRAUSS, JOHANN: Voices Hymns and Carols received in advance of from Vienna, Vol. 1, incl. the holidays stems from - of all places Blue Danube, Sweets from Japan. The Tokyo Culo Costello male Vienna, Thunder and Light - - ning, featuring the 106 voice chorus here is liberated from most of the Vienna Choir with Orchestral built-in hum of their R 5 ( Accompaniment. earlier tape Nov. PHONIC 1956 Tape Deck), but nevertheless STEREO Audiosphere 705 BN seems ORGAN inexplicably dispirited as it plows stolidly J. and through Adeste Fideles, two German The LIVINGSTON catalogue contains BACH, S.: Toccata and Fugue in d minor, Kurt Rapf three English seasonal favorites, topped the greatest diversity of recorded playing Piaristenkirche Or- works ranging from the monumental gan; also contains Mendels- off by the inevitable (but why ?) Schubert classics to Jazz and Dixieland, from sohn's Sonata #2, Franck's Ave Maria. Only in the too -brief fa -las Bach's works for the Organ to the Chorale in E major of Deck the Halls does it come momen- Rampart Street Ramblers. Included in Audiosphere 705 BN tarily to life, is the LIVINGSTON listings is the POP and never it sonorously finest material from such LENNY HERMAN: Music in expansive enough to fill out the sonic famous independent labels as: Motion, Vol. 1 - Standard spaciousness of the stereo medium ( dance favorites with striking AUDIOSPHERE BOSTON ATLANTIC stereo effects. F 4, 7 -in., S6.95). EMPIRICAL ESOTERIC LIVINGSTON Livingston T -1088 BN TICO: One of the most dubiously valuable ALL LIVINGSTON tapes are 1200', splice -free, on 7" reels, JAZZ fully guaranteed. All tapes come in attractive tape -enlargements of my musical RAMPART STREET RAMBLERS horizons individual boxes, immediately identifiable and Paris, a has been a not entirely docile with complete program annotation. with Wilbur de Sen. introduction sational Hi Fi recording of to the literature of mambos and cha -cha- List Price $11.95 Dixieland tunes. Atlantic 7.5 BN chas (if that's the proper plural for the LIVINGSTON tapes can latter). A little goes a long way with me, be auditioned at your High and in the case of Tito Rodriguez's Mambo Fidelity -Audio Deyler or // /' i/ eon Record Shop. Send for our Madness, even extremely crisp recording complete catalogue and the can't dissuade me that the trumpet squeals name of your nearest / dealer. and extended (Spanish, of course) vocals here don't go entirely too far. (TI 5 -6, 5 -in., $6.00; or $4.50 to Livingston Tape LIVINGSTON ELECTRONIC CORP., Livingston, N. J. Club members.)

12 HIGH FIDELITY MAGAZINE Equipment reports appearing in this section are prepared by members of HIGH FIDELITY'S staff, on the basis of actual use in conjunction with a home music system, and the resulting subjective evaluations of equipment are expressed as the opinions of the reviewer only. Reports are usually restricted to items of general interest, and no attempt is made to report on items that are obviously not designed primarily for high -fidelity applications. Each report is sent to the manufacturer before publication; he is free to correct the specifications paragraph, to add a comment at the end of the report, or to request that it be deferred, ( pending changes in his product) or not be published. He may not, however, change the report. Failure of a new product to appear in TITH may mean either that it has not been submitted for review, or that it was submitted and was found to he unsatisfactory. These reports may not be quoted or reproduced, in part or in whole, for any purpose whatsoever, without written permission from the publisher.

MANUFACTURER'S COMMENT: The primary pur- RCA 501S1 Biaxial pose of the off- center (biaxial) tweeter mounting is to avoid exact in -phase and out -of -phase rela- Speaker tionships between the two cones in the crossover region, thus minimizing irregularities in frequency response. The response as SPECIFICATIONS (furnished by manufacturer): described in this report suggests that the tests were conducted under aver- a 12 -in. dual -cone two -way loudspeaker. Fre- age acoustical quency range: 40 to 18,000 cycles. Power capac- conditions with the speaker mounted in a parallelopiped enclosure, and it confirms our ity: 12 watts continuous. Magnet weights: woofer response specifications. The choice of an enclosure 14.5; cone tweeter 1.47 oz. Nominal imped- - - is in our opinion a matter of personal taste. We ance: 8 ohms. Dimensions: 12 1/8 in. diameter respect the author's conclusion, we also re- by 6 1/2 deep. List price: $55.95. MANUFAC- but spect the opinions others who have expressed TURER: RCA Electronic Components Division, Cam- of decided preference for the 501St in all other den, N. J. types of enclosure. The comments on brightness were gratifying indeed. Good high- frequency RCA's design engineers have long felt, as response is difficult to obtain without resort to have many others in the loudspeaker busi- horn loading of the tweeter, so we have achieved our goal. To those who like sound on the deeper ness, that a cone woofer could best be or mellower side, we say "Turn down the treble matched in sound by a cone tweeter, and control, or try our 50251 single -cone speaker." that phasing difficulties between the drivers in a multiway system could be minimized by coaxial mounting of the units. The 5orSr is a true dual -cone coaxial, Fisher 20 -A Power with its tweeter mounted in front of the The Biaxial with its connecting cable. woofer cone, but it differs from most AnlpIifier conventional coaxials in that the tweeter is for a direct radiator; I would estimate SPECIFICATIONS (furnished by manufacturer): a single- chassis self -powered basic power ampli- mounted off -center, probably to reduce about 5% or 6% in free air. Its low - fier. Power output: 15 watts. IM distortion: below the annoying cavity effect that is often set frequency characteristic is such that it 1.5% at 10 watts; below 0.7% watts. ± at 5 Fre- up between the rear of the tweeter and performs best in a reflex -type enclosure, quency response: 0.1 db, 20 to 20,000 cycles; 1.0 db, 10 to 100,000 cycles. Power response: the woofer cone in similar designs. The and when so baffled and properly tuned ± 1.0 db, 15 to 30,000 cycles at 15 watts. Hum woofer itself has the usual corrugated paper it produces very nicely integrated and well - and noise: better than 90 db below 15 watts. Damping factor: 16. Sensitivity: with level -set suspension, to a distance of about a half blended sound from its twin cones. It control full up, 0.7 volts required for 15 watts inch inward from the edge of the frame. is unmistakably on the bright side, with output. Input: one, at high impedance, from control unit. Control: input level -set. Power supply This is then attached to the main cone a crisp high end that brings brass in- socket for control unit. Outputs: 4, 8, and 16 ohms by means of a ring of sponge rubber (see struments and violins to the fore, and its to speaker. Tubes: 12AX7, 2 - EL84, EZ -80. Dimen- sions: 13 in. long by 4 1/4 wide by 6 3/4 high. illustration) which effectively damps the low end seems very smooth down to a Price: $59.50. MANUFACTURER: Fisher Radio Corp., edge motion of the cone, provides increased little below 55 cycles, where it starts to 21 -21 44th Dr., Long Island City 1, N. Y. compliance, and adds a small amount to drop gradually to about disappearing 4o, Put this down as a neat, light, compact its mass. The result is a very free -moving, below that. There was very little trace power amplifier, and a truly outstanding low- distortion suspension, having a meas- of doubling below cutoff, and this lack of ured free -air cone resonance of about 58 distortion is reflected in its ability to re- cycles. produce bass instruments with consider- Installation of the speaker is as simple able definition and cleanliness. as that of any single -cone i2-inch speaker. An ear check with a test oscillator bears The tweeter is already mounted on a Y- out RCA's high end specification on this shaped bracket, and need not be removed speaker. Its response begins to rise above for installation. As an added convenience, about 5,500 cycles, hits a broad peak at RCA has thoughtfully attached a 21/2-foot around 3,000 or 4,000, and begins to cable to the speaker, with a plug at one roll off slowly out to around 8,doo, where end that fits into a receptacle on the there is a small but sharp peak. Then speaker frame, and a pair of screw ter- there are several more sharp peaks of lesser minals at the other end for mounting amplitude out to around 13,000, and a on the rear of the enclosure. One of gradual falling off above that to around these terminals is marked with a red dot, 17,500 cycles, where my ears give out. Fisher's 20 -A r5 -watt power amplifier. and the enclosed instructions explicitly This is a fine speaker for those who state that positive polarity on the red demand presence from a high -fidelity sys- example of how much it is possible to terminal will give forward cone movement tem, although it is a little too bright for simplify the design of a high- quality am- - thus permitting precise phasing of the my taste. The 5oIS5 is well worth the plifier. 50151 with any other speakers, and with- consideration of anyone shopping for a For all its simplicity, the 20 -A retains out the need of resorting to battery tests. medium -priced high- quality speaker. most of the convenience features that will Efficiency of this speaker is quite high be found on the more expensive Fisher

DECEMBER 1956 1:31 equipment. The attractively styled case is bottom which make the difference be- tions provided usually suggest holding the also quite similar to that used on some tween a "very nice little system" and one two sections of tape together, cutting them of the larger Fisher amplifiers, with the with really wide range. at an angle (to prevent clicks) using a main difference being the neat compact- This is one of the few multi -way pair of non- magnetized scissors, and then ness of the 20 -A. speaker systems which, despite four dif- holding the ends of the tape in line while Within its modest power limitations, ferent types of drivers, spaced fairly far a piece of splicing tape is bridged across the amplifier performs much like the best apart, manages to produce very well -blended the butted ends of the tape. At this of Fisher's high- powered models. Its hum and cohesive sound. There is a remark- point, the splicing tape is likely to be level is extremely low - I was able to able lack of "source shifting" or changing much wider than the 1/4-in. tape, so the detect only the slightest trace of hum with coloration with changing frequency, and scissors must be used again to trim it off, my ear up against the loudspeaker cone. the over -all sound has about it a consider- cutting slightly into the edges of the tape At low -to- medium volume levels, the sound able sensation of openness. of the 20 -A is outstandingly clear and With two level -set controls to adjust well defined. Its tightly -controlled bass per- (one for the super -tweeter and one for formance nicely complements its crisp, the high -frequency section of the SS -1) transparent high end, and the over -all sub- it can be a rather tricky matter to adjust jective effect is that of an amplifier having the whole system for optimum balance, excellent control over the loudspeaker it since enough recordings are variable is feeding. enough in sound so that a correct setting for Because of its rated 15 -watt output, the one does not sound right for another. I 20 -A should not be used with low- efficiency found that the simplest way of setting loudspeakers. Its compact, practical design the level controls was by means of the "white noise" hiss produced by an FM and reasonable price make the 20 -A well Twin curved blades trim edges of splice. worth the consideration of the hi -fi en- tuner when set between stations. Using thusiast, particularly where a modest bud- this signal source, it was fairly easy to get and limited space are important. set the controls so that a minimum of itself to make doubly sure that there is audible "pitch" was discernible from the no splicing tape overhanging the tape system. Incorrect settings of driver level edges. controls will produce "steps" in the re- For a tape splice to be silent and non- sponse curve which show up as definite adherent to adjacent layers on the reel, pitches when reproducing white noise. there must be no exposed areas of coated Optimum settings reduce this pitch to a tape. The ends of the splice must fit minimum. squarely together (without any gap be- Heath SS -1B Range - When so adjusted, the Heath system tween them) , and the edges of the splicing Extending Loudspeaker produced sound which fairly closely tape must be exactly even with (or slightly matched the balance of my standard sys- inward from) the edges of the tape it- Kit tern, but which had significantly more self. Also, the spliced ends must be in precisely in line, or the tape will buckle SPECIFICATIONS (furnished by manufacturer): projection the middle and high ranges a low- frequency driver and super- tweeter installed (due to the horn drivers). Its sound or shift sideways as it passes over the in a ducted -port bass reflex enclosure, and sup- could best be described as being "forward ", playback head. Obviously, it takes more plied as a home -construction kit. Frequency response (when used with Heath SS -1 system for with a full, deep low end and surprisingly than a little manual dexterity to turn out mid and high range coverage): ± 5 db, 35 to smooth top. The super -tweeter is notably a perfect splice with nothing more than 16,000 cycles. Power rating: 35 watts, speech and music. Nominal impedance: 16 ohms. Speakers: smoother than most of its type, and when a roll of splicing tape and a pair of scissors. specially- designed Jensen 15 -in. woofer; specially - operated at low to moderate volume levels, For this reason, professionals and ama- designed Jensen horn -loaded super -tweeter. Mag- prefer net weights: woofer, 56 oz; tweeter, 6.8 oz. Cross- sounds much like some of the better cone teurs who do considerable editing over slope: 12 db /octave. Balance control: 16- tweeters. to use a splicing jig of some kind to hold ohm L -pad for super -tweeter. Dimensions (SS -1B in place and perfectly in only): 29 in. high by 23 wide by 17 1/2 deep. In terms of flexibility, one of the more the tape firmly Price: $99.95. MANUFACTURER: The Heath Com- attractive features of the Heath speaker line. pany, Benton Harbor, Mich. system is the inclusion of a separate pair The original Gibson Girl tape splicer The Heath SS -1 two -way speaker kit was of input connections and a throwover was an ingenious, though expensive, splicer reported on in this department in May switch enabling the woofer to be con- which clamped the tapes in place and 1956. It was found to be a truly remark- nected separately to a second amplifier, for cut them at a precise 45- degree angle. able performer for its low cost and small biamplifier operation. When operated bi- Then after the strip of splicing tape was size, but it was unquestionably lacking in amplifier, the sound from the Heath sys- laid across the splice, a pair of curved response at both ends of the audible tern becomes, as might be expected, per- cutters would trim off the edges, putting spectrum, a condition that was to be ex- ceptibly cleaner and better defined, par- a slightly concave cut into the edges of pected in such a system. ticularly at the low end (where the main the splice, hence "the splice with the Gib- The SS -1B range extender, however, advantages of biamplifier operation are son Girl shape." does away with this limitation by adding realized). Either way, though, the SS -1B The Semi -Pro Gibson Girl splicer is a the few additional octaves at the top and range extender is an ideal addition to the much less expensive and greatly simplified smaller SS -1 system, and is a logical choice version of the earlier model. Made of for the hobbyist who likes to build his own plastic, it consists of a channeled aligning equipment but who also likes to be cer- jig and a two -sided cutting tool. The tain it will work properly when completed. tapes to be spliced together are pressed into the jig's channels and held in place by friction (the channels are very slightly narrower than the tape). The angled side of the cutter is then placed between four guide posts on the jig and pressed downward, cutting both tapes at a 45- degree angle. A strip of /21 -in. splicing tape is Gibson Girl Semi -Pro laid across the jig between the indicated Tape Splicer guide lines and pressed onto the tape. Then the other side of the cutter (with DESCRIPTION: a small tape splicing ¡ig and is cutter, with protective cover for cutting instrument. the two curved blades) placed between List price: $3.50. MANUFACTURER: Robins Indus- the guide posts and pressed downward. tries, 214 -26 Forty -first Ave., Bayside 61, N. Y. This puts the concave cuts into the edges Nearly every book that has been written of the tape, and completes the splice. about tape recording includes a short sec- The completed Heath Range Extender. tion on how to splice tape. The instruc- Continued on page 134

132 HIGH FIDELITY MAGAZINE SKITCH...on his Presto Turntable

"MY CUSTOM HI -FI OUTFIT is as important to me as my Visit the Hi -Fi Sound Salon nearest you to verify Mr. Mercedes -Benz sports car," says Skitch Henderson, Henderson's comments. Whether you currently own a con- pianist, TV musical director and audiophile. "That's ventional "one- piece" phonograph -or custom components - we think you'll be gratified with the difference you'll hear why I chose a PRESTO turntable to spin my records. In when you play your records through custom hi -fi components my many years working with radio and recording teamed with a PRESTO turntable. Write for free brochure, never seen engineers play back records on studios I've "Skitch, oa Pitch," to Dept. WS, Presto Recording Corpora- PRESTO anything but a turntable -and it's usually a tion, P.O. Box 50G, Paramus, N. J. turntable. MODEL T -2 12" "Promenade" turntable "My own experience backs up the conclusion of the en- (33% and 45) four pole motor, $49.50 MODEL T -18 12" "'Pirouette" turntable gineers : for absolutely constant turntable speed with no (33%, 45 and '78) four pole motor, $75.00; especially critical with Hysteresis motor (Model T -18H), annoying 'Wow' and 'Flutter,' at $131.00 33% and 45 rpm speeds, for complete elimination of MODEL T -68 16" "Pirouette" turntable motor noise and 'rumble,' I've found nothing equals a (331/2, 45 and 78) four pole motor, $99.00; with Hysteresis motor (Model T -68H), PRESTO turntable. It's heavy ... it's brilliantly machined $170.00 .... it's the only instrument on which the genuine audiophile should ever allow his records to be played." WALNUT "PANDORA" Turntable Cab- inet by Robert W. Fuldner, $42.50

Hear the difference when you play your records on /P/fl,ÍEIS'7O YLIARRITAISILES

A UNITAONICS COA7OAATION AAiILIATE TESTED IN THE HOME cabinetry with some tubes inside. Over plenty of volume with a reasonably the years, the wide gap has been better efficient speaker, but cannot be expected to Continued from page 132 and better filled. At one end, we now compete in cleanliness with the more have kits which almost anyone can as- deluxe Altec systems. There's not much that can be said about semble with success. At the other ex- To go with the record reproducer are anything as simple as this, except that it treme, we have radio-phonograph consoles three different speaker systems. (In pass- is very easy to use and is quite effective. which amply qualify as high fidelity. Near ing, we might point out that Altec has (a) The jig comes with two strips of adhesive this end of the line is the group of Altec- more elaborate equipment and (b) more on it which can be used to attach it firmly Lansing equipment reviewed here. It elaborate speaker systems.) Smallest of to the top panel or head cover of the makes an impressive addition to the once the three is the 700B Melodist, which was recorder, where it is always within easy very short, but now gradually growing, reviewed in the April 1955 issue. reach of the tape. When using the Semi - Our listening tests with it this time Pro, make sure that the tape is laid out have strengthened our earlier feelings. It straight at both ends of the jig before produces quite clean bass, and crisp, well - making the first cut; the channels are defined highs. The 7o -cycle low- frequency deep enough to hold the tape firmly in limit tends to make it sound rather thin place, but they aren't quite long enough in contrast to its extended high end. to prevent the cut tape ends from getting The 824A Iconic speaker system is slightly out of alignment when the tape larger and has much more ambitious pre- is twisted before it enters the jig. tensions than the miniature Melodist sys- All in all, a neat and effective tem. It is a two -way system incorporating splicer. J.G.H. a 12-in. woofer and a compression -type - super- tweeter, with 3,000 cycle crossover network. Its sound is rather on the bright side, but this is nicely offset by a full, solid low- frequency end. The driver units Altec Lansing 901B blend unusually well with each other, and the tweeter exhibits remarkably little of Record Reproducer and the spitty quality that often characterizes 700B, 824A, and 826A super- tweeter sound. Voice reproduction is somewhat bass - Speaker Systems heavy, but the over -all impression from changer, amplifier. SPECIFICATIONS (furnished by manufacturer): The 901B houses a orchestral program material is of remark- MODEL 9018 -a record changer and amplifier ably powerful, crisp sound. This is all the installed in a compact finished cabinet. Record list of components which anyone who has its size, since changer: Collaro RC -54. Amplifier: Altec Melodist more surprising in view of 339B. Amplifier frequency range: 20 to 22,000 two eyes and two hands can interconnect the apparent sound source somehow seems cycles. Power output: 10 watts at below 2% har- and thereby achieve true high fidelity. to be considerably larger. A very nice monic distortion. Gain: 132 db, maximum. In- - puts: total of three, one for high- impedance micro- With this equipment, Altec helps kill the medium -sized speaker system phone or phono cartridge, two for tape and tuner. persistent rumor that hi -fi is only for is into quite an attrac- Controls: selector /equalizer (RCVR, TAPE, MIC, The 826A built EUR, LP, RIAA, 600); volume or loudness and AC college graduates with degrees in audio tive lowboy cabinet, and stands about power; bass (± 13 db, 50 cycles) treble (± 15 engineering. eight inches from the floor on four tapered db, 10,000 cycles); loudness off -on; input level - sets for all channels. Outputs: 4, 8, or 16 ohms, to The Altec systems adhere, first, to their legs. It can be located anywhere along speaker. Two switched AC convenience outlets. commendable concept that to qualify as the wall of a room, leaving the corners Tubes: 12AY7, 12AX7, 12AU7, 2 - 6CM6, 6AX5- GT. Cabinet finishes: mahogany or blonde. Di- high fidelity, the speaker must be in a for more conventional appointments such mensions: 20 3/4 in. wide by 15 3/4 deep by cabinet separate from the equipment. So as chairs, bookcases, or doorways. But 10 1/8 high. Price: $237.00. Iron legs $4.05 per we an cabinet is set. MODEL 700B - a small two -way speaker sys- start with equipment (the wall location still of some importance; tem. Power rating: 20 watts. Impedance: 8 ohms. 901B reproducer) containing a Collaro I got best results with the 826A located Frequency range: 70 to 22,000 cycles, guaranteed. Low -frequency driver: special 10 -in. unit. Tweeter: changer, a GE dual- sapphire* cartridge, against a wall about three feet from a model 3000A. Cabinet finishes: mahogany or and a Melodist 339B amplifier. The corner, although this optimum position- blonde. Dimensions: 22 3/4 in. wide by 10 1/8 deep by 11 1/4 high. Price $111.00. MODEL Melodist amplifier's earlier counterpart, the ing will vary from room to room. 824A - a compact two -way speaker system. Power A -339A, was TITHed in April 1955. rating: 20 watts. Impedance: 8 ohms. Frequency ad- response: 50 to 22,000 cycles, guaranteed. Low - The 339B differs from it only in the frequency driver: model 412A. Tweeter: model dition of a switch to cut the loudness con- 3000A. Cabinet finishes: mahogany or blonde. and in having Dimensions: 19 1/2 in. wide by 16 deep by 28 trol in and out of circuit, high. Price: $198.00. MODEL 826A - a two -way more explicitly identified equalizer posi- speaker system consisting of a 15 -inch 803A woofer and 802C horn -loaded tweeter, installed tions. These components have been assembled in a compact, attractively styled cabinet to form the 9o1B reproducer, and all it requires is the addition of an external loudspeaker to complete the entire system. The 9o1B is supplied for table -top location, but 16 -in. iron legs are available at small extra cost so the unit may be used as a chairside console. All connections to and from the amplifier are acces- sible through the bottom of the cabinet, The 7ooB Melodist speaker system. and leads may be brought out through holes in the rear, to the speaker and AC in a bass -reflex lowboy furniture enclosure. Fre- wall outlet. As in the A -339A, there are quency response: guaranteed 35 to 22,000 cycle also additional input connections on the range. Power rating: 30 watts. Impedance: 16 ohms. Cabinet finish: mahogany or blonde. Di- amplifier for a tape recorder, tuner, and The middle-sized 824A Iconic system. mensions: 37 1/2 in. wide by 20 1/2 deep by high- impedance microphone. 28 high. Price: $324. MANUFACTURER: Altec Lansing Corporation, 9356 Santa Monica Blvd., Sound from the 901B is clean and In this position, sound from the 826A Beverly Hills, Calif., or 161 Sixth Ave., New York quite listenable at all levels up to moder- was crisp, well defined, and a little on the 13, N. Y. 10- ate room volume, at which point the bright side (to my ears, anyway) . Once upon a time you either wired your watt nominal rating of the amplifier be- On music, the low end was tight and own amplifier, with nothing much more gins to limit its output. It will produce quite deep, but rather cold and sparse. than a schematic as a guide, or you went *Suggestion: when the microgroove sapphire wears out and bought a ready -made piece of out in 10 to 50 plays, replace it with a diamond. Continued on page 136

134 HIGH FIDELITY MAGAZINE -'Irtf »Of . as silent as the stars"

¡F-

)1( COMPLETE STARLIGHT UNIT STARLIGHT ARM MODEL 671 MODEL 07 Ato

Exclusive double wrist action... counter- balanced head for minimum mass assures The T M14ATER perfect tracking and reduced record wear ... instantaneous counter -weight adjustment from 4 to 14 grams ... lifts to vertical position for easy cartridge replacement on precision -machined pivot ... ball bearing swivel and single hole mounting . total arm resonance well outside the audible range ... beautifully finished in black and satin chrome . 12 inches long overall, plays all records up to 16 ". HIGH FIDELITY TURNTABLE

with Continuously Variable SPEED CONTROL and BUILT -IN STROBOSCOPE permitting exact settings for 16, 33, 45 or 78 RPM. Look at the outstanding features of the Metzner Starlight * Fully shielded, 4 -pole motor ... laminations cast Turntable and Transcription Arm and you will hardly in lead. believe that so much precision is possible at such modest * Entire unit supported on "Lord" anti- vibration prices. But when you check these claims at your Starlight mounts. dealer ... check them against even the highest priced * Attractive satin-finished aluminum mounting plate. models. You will agree there is nothing finer in its field at any price. Why not check Starlight quality right now!? No matter how fine - or expensive - the electronic components of your music * Direct center -drive, no belts - no pulleys - no cones. system * Massive, precision -machined aluminum turntable - are, PERFECTION REALLY STARTS AT non -slip cork pad. THE TURNTABLE. SO ... DON'T AC- * Micrometric speed adjustment from 16 to 83 rpm. * Wow and flutter is less than 0.2% RMS. CEPT LESS THAN A STARLIGHT .. . Noise and rumble * better than 40db below average See your dealer today. recording level.

E N G I N E E R I N G C O R P O R A T I O N HOLLYWOOD 38, CALIFORNIA

DECEMBER 1956 135 Gain: 48 db max. Harmonic distortion: below its makers. Cautiously, they kept it small, TESTED IN THE HOME 0.3 %, 20 to 20,000 cycles. Hum and microphonic noise: absolutely non -existent. Noise: essentially since smallness sells even when the buyer white noise, 65 decibels below 10 millivolts is doubtful about performance. Hopefully, Continued from page x34 input for Hi -Z cartridges. Output voltage: 0.5 to 1.0 volt. Power supply: self -contained battery or they built in RIAA equalization and four The fact that it was possible to follow the auxiliary AC power supply. Power consumption: input functions, so that the unit could watt. Transistors: 3 2N109. Dimensions: 0.0217 - as a self -sufficient preamplifier when bass line in music without too much dif- 2 in. high by 4 1/8 wide by 4 1/2 deep, over-all. serve ficulty indicates that this system is quite Price: $29.95. MANUFACTURER: Fisher Radio Cor- used with just a pickup, power amplifier, poration, 21 -21 44th Dr., Long Island City 1, N. Y. smooth down there, but I had some and loudspeaker. Which is to say, it need trouble in identifying one bass instru- When I first examined this tiny preamp not play through, nor be limited by (in ment from another. I put it down mentally as a bit of com- freedom from distortion) an auxiliary con- The high end of the 826A is obviously petition to the usual one -tube preamp, trol unir. Using the two receptacles (see very wide- range, and its horn- loaded selling for around S to or S;2, which can specifications) in various combinations tweeter is about as smooth as any of this be used between a given cartridge and a with the selector switch positions, practi- type that I've heard. As a result, record power amplifier. Such simple, inexpensive cally any cartridge can be accurately matched preamps find wide application, particularly to the TR -r, or the fixed RIAA equaliza- for the modernization of older equipment; tion can be switched out so the preamp you install a magnetic cartridge, add the can be used with any high -impedance mi- preamp, and you have the first step to- crophone that will operare properly with ward a hi -fi system. a 47,000 ohm load. The Fisher TR -t looked as if it would The TR -t is normally supplied with fill this bill perfectly. The price was a its own built -in battery supply, but an bit high but that, I supposed, was because external AC power supply is available for transistors were used - and maybe their those who do not wish to be concerned primary purpose, I thought, was as an with battery life and periodic replacement. advertising or sales gimmick. In either case, the switch on the TR -r's So I connected everything up and, to volume control acts as the power switch my astonishment, the sound that came for the preamp alone, so it must be turned from my system was some of the cleanest off separately from the power amplifier it and most transparent I have heard from is being used with. A suggested way of Lowboy model 826A two -way system. my "reference'. system. The TR -r is, in controlling both the preamp and power fact, the first example of transistorized amplifier from a common switch would equipment I have encountered that really be to use the TR -r's external power supply surface noise and fuzziness are subdued, gives some indication of the potentialities and connect both it and the power am- and strings and brass instruments have of transistors in hi -fi applications. plifier to a single AC switch. some of that "sheen" that is present in It has long been known that transistors Because the TR -1 tested was battery - live performances but isn't often heard powered, its hum level was for all intents in the home. and purposes nonexistent. Its hiss level The 826A is equally good on repro- and microphonics were equally low, but duced speech; very little boom from the its sound is what makes it a truly out- male voice, and no gross accentuation of standing performer. sibilants. Used directly into my power amplifier, I don't know how far up this system however - by- passing all tone-controls - extends; my ears collapse at a little above the accuracy of the TR -1's RIAA equaliza- 17,000 cycles anyway. I would estimate tion, together with its remarkable cleanli- that the system's low end falls gradually ness of sound, fully exposes the differences below about 7o cycles and increasingly in equalization between disks recorded with rapidly below 5o. This may, however, the old Columbia LP, AES, and early just be a subjective reaction to the slightly London curves. One can, of course, feed bright sound of this system ( which seems the TR -1's output into the high -level input to subdue the low end) . of a conventional control unit, and while Generally, the 826A gives a nice replica this still precludes the use of the equaliza- of live sound in the living room, although tion controls, it allows the tone controls it brings the performers a little more for- to be used for trimming up the play- ward than they were recorded. Personally, back balance. However, it also brings in I like a somewhat warmer sound from a -stage distortion of the control The transistor preamp, minus its cover. the latter speaker system, but many people still pre- unit, which we were trying to avoid. So as might be fer a more "powerful" sound, - for the nonce - this preamp is at its heard from a fairly close vantage point offer several properties important in high best when used by itself with RIAA disks. in the concert hall. - C.F. quality audio equipment. Among these MANUFACTURER'S COMMENT: Our purpose in are lack of microphonic susceptibility, lack bringing out these four furniture packaged units of hum (because their very low current was to make available to non- do-it- yourselfers ready -assembled units made up of our genuine consumption allows them to be powered catalogued high -fidelity components, and to pro- by a small battery) and potentially very vide a central amplifier /record player package which could be used with any one of several sizes low noise. On the other hand, though, of matching loudspeakers, so as to fit a broad range they have seemed unsuitable for use in of budgets and a variety of room sizes. precision low -distortion applications because of their variability from one to another of the "same" type and production run, and because of their critical power Fisher Transistor Pre- supply regulation requirements. But if the Fisher TR -1 sent to us is typical of what One knob controls volume and power. amplifier can be done with transistors at their present state of development, I for one SPECIFICATIONS (furnished by manufacturer): If the TR -i could have been a com- MODEL TR -1 - an all- transistor self -powered pream willing to overlook their theoretical plete control unit, comparable in flexibil- amplifier. Inputs: two; one for high- output cart- disadvantages and acknowledge that careful ridge requiring 27,000 ohm load, and one for ity to, say, Fisher's own 8o -C, it would be microphone, low- impedance cartridge, or high - selection of components somewhere during formidable competition for any preamp- impedance cartridge requiring 47,000 ohms load. the assembly process can circumvent the Controls: Phono /Microphone selector switch; High/ equalizer on the market. Low -impedance selector switch; combined volume hazards of erratic transistor manufacture. As it is now, it is a first -class part -time control and power on -off switch. Output: one, at It may be that the TR -1 is a compromise low impedance, to high -impedance input. Fre- quency response: ± 0.5 db, 20 to 20,000 cycles. between hope and caution on the part of Continued on page 138

136 HIGH FIDELITY MAGAZINE LET'S TAKE A CLOSE LOOK AT

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CONCENTRATED QUALITY!

AUx1L:ARY

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MAX COMPACT- Ig29 A M P L I F I E R 1OjDNCSS P O W E R

loud - A p I of light. Inputs for every Separate bass and Wide-ranging bass Tone controls See how the corn- Level and Essrtial to the need. No:e the treble compensa- and treble "tone" must never be pensation controls ness controls form Newccmb Compact :rystalline control tion for precise controls are sep- taken for granted. are marked both a smooth -working 102C :ontrol uni: knobs, chcsen as record reproduc- arate, of course. They are essen- by number and by team to bring you - preamplifier- a visible symbol Lion. 36 possible But they are also tial for bringing record make. No- music exactly the powe- amplifier. of the cystal- combinations help of especial excel- into balance all tice how all con- way your sensitive With ium so low, clear lob of am- you "tune in" a lence. Advanced of the irregulari- trots have index ear requires it. you'd have n3 plification you get note -for -note re- Newcomb engin- ties present in the marks so that you Superior hearing other reminder from the 1020. creation of the eering and metic- recording and re- can exactly dupli- curve compensa- you eft the power It is elegant, styl- original perform- ulous assembly production proc- cate settings tion furnished by on. 'ewer! Plenty ish, beautiful to ance. It's fun to result in tone con- esses ... such as which are perfect the loudness con - of smooth, clean look at. Brushed work with con- trots which pre- recording hall for your listening trot is tailored to power for the brass -colored face trots which per- serve the absolute acoustics, living area, source mate- the individual own room by the level largest m u l t i p l e p I a t e , c 3 s e IS mit so high a de- purity of the am- room acoustics, rial, and your specter system. dusted with gold. gree of flexibility. plified signal. speaker variations. taste. control.

...since 1937. Hollywood's leading producer of precision instruments for the control and amplification of sound - high fidelity components, record and transcription players for professionals, radios, public address systems.

Concentrated into the Newcomb Compact 1020 are three integrated components-a preamplifier sensitive enough for the lowest level pickup, exceptionally flexible control section, a flat, smooth, clean power amplifier. 11'hen he conibirres them, the manufacturer assumes total responsibility or the perfect performance of your complete amplification system. And when this manufacturer is Newcomb, you get a distinctive, clean and balanced sound that is all but impossible to attain any other way. Newcomb amplifiers A companion in concentrated perfection to the are worked, tested, and reworked until they meet 'Newcomb standards - Compact 1020 is the Newcomb Compact 200, an extremely sensitive, exceptionally stable, beautifully refined the highest in the high fidelity industry. FM -AM Radio Tuner.

For complete details write: NEWCOMB AUDIO PRODUCTS CO., DEPT. HF -12 6824 LEXINGTON AVENUE, HOLLYWOOD 38, CALIFORNIA. EXPORT DEPARTMENT: 431 FIFTH AVENUE, NEW YORK 16, NEW YORK. TESTED IN THE HOME adjust level controls (wherever they exist) tern of belt drive onto the turntable rim, to three -quarters full on in this order: but the fact that it is an inner rim means Continued from page 136 power amplifier, Van -Amp, preamp -control that all of the business section of it is unit main volume (with the loudness concealed from view. Ir also enables the "front end" for a phono -only system of function, if any, switched out, naturally), turntable to be installed where space is the very highest quality. It can also serve and finally bring up the level control (s) at an absolute minimum, because the only as the preamp section of a more flexible on the input channel (s) of the preamp- area occupied by the whole system is system, in which application its volume control unit until maximum desired loud- that of the turntable itself. As a matter control could be used as a pre -set phono ness is obtained. of fact, if a sufficiently compact arm were input level control. used, this turntable could easily fit into The TR -I has proven to me that tran- the record changer compartment of an sistors can - if it is possible to apply existing phono console. quality- control effectively to their selection I am sure that Components Corpora- - play an extremely potent part in the tion did a lot of careful considering before improvement of early amplifier stages. they decided to produce a turntable which How well they stand up under long usage is essentially single- speed. Its speed can, remains to be seen. Further, I should be of course, be changed by replacing the interested in knowing whether Mr. Fisher drive motor pulley with one of a different is contemplating a companion unit, fur- size (at a cost of $2.50 per extra pulley), nishing the other facilities of conventional but it is no little bother to do this, be- The Van -Amp variable crossover unit. control units. Meanwhile, the TR-i can cause the turntable must be unscrewed provide a level of performance in the from the ceramic flywheel and then the Hum and tube noise are a major prob- home from RIAA disks that will come as motor must be carefully reoriented to lem in several of the electronic dividing a revelation to owners of many current true -up the drive belt. However, there are networks with which we have worked re- preamps. J.G.H. many record collectors who own nothing cently. The Van -Amp minimizes this prob- but LP disks, and of those whose collec- lem, but it still does add a bit of hum to tions include 78s, many use a record the system. By starting out with no changer exclusively for them. So it would audible hum, and then exercising every appear that the demand for a turntable care in connections, the small amount in- The Van -Amp such as the Junior will be quite high, herent in the Van -Amp will not be ob- particularly in view of its price and per- SPECIFICATIONS (furnished by manufacturer): jectionable and may not be audible at all. an electronic dividing network for use between formance. a control unit and two amplifiers in a biamplifier system. Crossover frequency: continuously vari- As might be expected from a belt -drive able from 90 to 1,100 cycles. Voltage gain: 8 table, the Professional Junior's speed reg- times. Attenuation rate: 12 db per octave. Price: in kit form, $39.95; completely assembled, $56.95. ulation is excellent, and its rumble very MANUFACTURER: General Apparatus Co., 346 East low. Since the rubber drive belt in the 32nd St., New York 16, N. Y. Components Professional unit I tested tended to rub gently against This unit originated a long time ago in the a pair of guide pins that keep it centered pages of HIGH FIDELITY, when we first Junior Turntable on the motor pulley, it might be expected discussed biamplifier systems in the No- DESCRIPTION: a compact, 12 -in. belt- driven single - to wear out before heat from the motor vember- December 1952 issue. The cir- speed turntable. Speed: 78, 45, 33.3 or 16 rpm, attacks the rubber, but the belts are in- selectable by installing appropriate motor shaft cuit has been modified and improved since bushing. Dimensions: 12 in. wide by 14 1/2 long. expensive and easy to replace. However, then, and we now have a smart -looking 2 1/2 in. required under motor board. Turntable the gentle rubbing of this belt on its height: 1 1 8 in. Price: $39.50. MANUFACTURER: three -knob device which provides con- Components Corporation, Denville, N. J. guide pins also tends to increase slightly tinuously- variable crossover between about the Junior's rumble level to above what 7o and I,000 cycles (these were the 3 -db- Several readers have written to us during it might otherwise be, so the Junior's per- down points, according to our tests). The the past few months asking why no formance is not as good as that of the rate of attenuation appears to be about 8 manufacturer made a really high- quality db /octave, according to our workbench single -speed 33.3-rpm turntable that could tests, at least until you get far away from be sold at lower cost than the multi -speed the crossover point, when it begins to units. All we could do was tell them we approach its rated 12 db /octave. didn't know why, but we'd try and find The left -hand knob controls the high - out. Now, however, we can point to the frequency level, the center one the cross- Components Professional Junior and say over frequency, and the right one con- "there is such a thing." trols the low- frequency level. The standard Components Professional The Van -Amp provides a substantial turntable (TITHed in the Jan. -Feb. 1954 amount of gain. We found that consider- HIGH FIDELITY) is a very heavy and able care must be exercised in the adjust- bulky unit whose design succeeds in reducing rumble and speed variation almost to the vanishing point, through the use of a high- inertia turntable and a light belt drive system. Its three speeds are The Components Junior belt -drive table. selectable by lifting the cover from the drive motor and simply shifting the cloth full -sized professional table. (But then belt to another step on the motor shaft. its price isn't as high, either.) The principle of the thing lends itself The Junior will, however, outperform ideally to simplification without significant some turntables costing substantially more, and it is definitely well worth the atten- Connections to the Van -Amp are at rear. loss of quality, and the Professional Junior tion of anyone looking for extreme com- is the result. pactness and very high quality at a price ment of levels throughout the system. In the Junior model, a 9 -in. diameter Because of the gain in the Van -Amp, there ceramic turntable supplies the flywheel that should be expected to buy less ambitious performance. J.G.H. is at least some possibility of overloading inertia, and a machined aluminum turn- power amplifiers connected to its output. table fits over it like an inverted dish. MANUFACTURER'S COMMENT: Recent develop- There is also definite danger of overloading The s1/2-in. space between the edge of the ments in the manufacture of belts have enabled us to eliminate the guide pins, as well as the the first stage of the Van -Amp, thereby flywheel and that of the turntable is suf- need for occasional adjustment of the motor producing excessive amounts of distortion. ficient to clear the top of the motor, and alignment. We are now using the new belt system on all Junior tables, and have made available The usual procedure should be followed: it is from there that a flat rubber belt a moderately -priced kit containing the new belts turn the level control on the input chan- runs around the outer edge of the ceramic and pulley, for replacement on earlier Junior turntables. nels of the preamp- control unit off. Then flywheel. Essentially, then, this is a sys-

138 HIGH FIDELITY MAGAZINE ASTOUNDING PERFORMANCE FROM 20 to 20,000 CYCLES

WITH A SINGLE CHANNEL SPEAKER SYSTEM GOODMANS `free suspension' AXIOM 80 LOUDSPEAKER Ix

ifJr ENCLOSURE

The Goodmans Axiom. 80 is a 10- tion is clean and articulate and the inch, twin -cone, full range loud- 'highs' smooth to 20,000 cycles. All speaker, whose performance, in a of this is accomplished without the proper enclosure, is as astounding use of special 'tweeters' and elabo- as its unique design. rate crossover networks. The most revolutionary advance Power handling capacity of the embodied in the Axiom 80 is its single Axiom 80 /ARU system is achievement of free cone suspen- entirely suitable for use in most sion -the theoretical ideal home that per- systems (8 -12 watts, contin- AXIOM 80 LOUDSPEAKERS mits the cone to move as a true uous program material; 4 -6 watts, piston at low frequencies, without rms sine wave). Where greater u li $6850 restriction and without distortion. power handling is desired, two Another direct result is that the Axiom 80 loudspeakers may be ARU ENCLOSURES fundamental resonance of the used together in the Model B -2800 Model C -1800 24 "h x 18 "w'x 16 "d Axiom 80 is only 20 cycles -lower ARU Enclosure or four may be (for 1 Axiom 80) than that of any other commer- used in the Model A -4800. 5925 cially available loudspeaker. No multi channel system, however Model B -2800 26 "h x 20 "w x 20 "d The new ARU Friction Loaded elaborate or costly, can surpass in ( for 2 Axiom 80s ) Enclosure represents the perfect performance these dual and quad- 6685 solution to the enclosure require- ruple Axiom 80 /ARU systems. Model A ments of this superb reproducer. ARU Enclosures are now available -4800 30 "h x 24 "w x 20 "d The Axiom (for 4 Axiom 80s) 80, mounted in a Mod- in easy -to- assemble kits, supplied 7490 el C -1800 ARU Enclosure, will re- complete with the necessary pre- produce true bass fundamentals cut lumber, grille cloth, padding, slightly higher west of Rockies down to 20 cycles -with no 'hang- glue, hardware, instructions and For complete details, see your hi -fi over' and without peaks above that the all- important ARU Acoustical dealer or write to Dept. ¡37M -2 frequency. Mid -range reproduc- Resistance Unit.

ROCKBAR CORPORATION 650 Halstead Avenue, Mamaroneck, N. Y. In Canada: A. C. Simmonds and Sons, Ltd., Toronto, Ontario

DECEMBER 1956 I 39 Low-Cost Hi -Fi with the TESTED THE HOME 1956 SOUND ECONOMY IN INDEX -

AMPLIFIERS Fenton Perpetuum -Ebner Rex May, p. 1o8 Audio Exchange "Big Brother" Garrard RC -88, RC -98, RC -121 June, p. too Sept., p. 111 Bogen DB -13o Aug., p. 82 Miracord XA -loo Aug., p. 78 Brociner Mark 10 Mar., p. 1 so Brociner Mark 3oA Mar., p. 112 SPEAKERS Fisher 20 -A Dec., p. 131 Allan Golden Ten Sept., p. 112 General Electric AI -32o Sept., p. 114 Altec Biflex 4o8A, 412A, 415A Harman -Kardon C-3oo Trend July, p. 82 April, p. 107 Beam Stentorian Mar., p. 116 Interelectronics Coronation 400 General Electric 85o Mar., p. 154 April, p. 116 Jensen H -53o, H -520, H -222 Feb., p. 122 STENTORIAN* Marantz Oct., p. 146 Kelly Ribbon Tweeter April, p. 112 Pye HF -25 Provost June, p. 95 Pampa Electrostatic Tweeter Nov., p. 132 LOUDSPEAKERS Radio- Craftsmen CA -r1 Concerto RCA 50551 Biaxial Dec., p. 131 Nov., p. 138 Racon 15 -HTX July, P. 79 Rogers Cambridge July, p. 82 Tannoy Aug., p. 78 THE SOUND THAT STANDS ALONE ... Sherwood S -l000 Feb., p. 520 SPEAKER ENCLOSURES Now, with W/B Stentorians, you can enjoy Stereo by Holt Nov., p. 138 high -quality high fidelity at unbelievably low, Axiom May, p. 110 low cost! AMPLIFIER KITS Bonn Sonosphere July, p. 83 Manufactured in England by world -renowned Whiteley Electrical Radio Company Dynakit Mark II May, p. 112 General Electric Al -411 Mar., p. 114 - originators of the first commercial per- Hallmark Williamson Mar., p. 114 manent magnet loudspeakers in 1927 - SPEAKER KIT Stentorians provide a beauty and realism that has won the unqualified praise of nearly ARMS, Phonograph Heath SS -1B Dec., p. 132 every leading audio critic and user, both here Gray io8 Aug., p. 75 and abroad. SPEAKER SYSTEMS But hearing is believing! Hear the W/B Stentorians at your very first opportunity CARTRIDGES Altec 7ooB, 824A, 826A Dec., p. 134 and discover for yourself why these See pickups American Elite Clock Speaker Sept., p. I14 distinguished units are the leading low -cost speakers in the world today. Ed -Kay Sept., p. 509 CONTROL UNITS Electro -Voice Patrician IV Feb., p. 112 See Preamplifiers 15" STENTORIAN WOOFER Model HF 1514 Jensen TV Duette Feb., p. 116 Response, 25 4.000 cps.; - bass resonance, CROSSOVER NETWORKS Sherwood Forester Feb., p. III 35 cps.; power rating, 25 watts; 10 lb. ELECTRONIC Magnet System $89.50 Colbert Three-Channel Nov., p. 532 Sounds Sales Phase Inverter July, p. 85 12" STENTORIAN EXTENDED RANGE LOUDSPEAKER General Apparatus Van -Amp. Dec., p. 138 University Tiny -Mite, Senior, Master Model HF 1214 June, p. 98 Response, 25 - 14.000 cps.; bass resonance, 39 cps.; power rating, 15 watts; 51/2 Ib. MISCELLANY Alcomax Magnet System $49.50 Gibson Girl Semi -Pro Tape Splicer TAPE RECORDERS AND PLAYERS Ampex Stereophonic Mar., p. 107 STENTORIAN Dec., p. 132 Pentron Emperor HF -400 Feb., p. t 14 UNIVERSAL IMPEDANCE Workman No- Solder Phono Plugs LOUDSPEAKERS Pentron Pacemaker and Clipper Aug., p. 76 WITH 4 - 8 - 16 OHM VOICE COILS Oct., p. 148 Zenith Trans -Oceanic Portable Y -600 Viking 75, PB -6o, RP-6i Oct., p. 143 Model HF 1012 -U (10 ") Response, 30 - 14.000 cps.; bass resonance, 35 cps.; power rating, June, p. too 10 watts; 12,000 gauss; 2 Ib. Alcomax Mag- TRI -CHANNEL SYSTEM net System $17.95 PHONOGRAPH SYSTEMS Sound Sales May, p. 105 Model 812 -U (8") Response, 50 - 12,000 cps.; Dictograph Oct., p. 548 bass resonance. 65 cps.; 12.000 gauss; 2 Ib. Alcomax Magnet' System. Other specifications Gray Concert Duet 700 Nov., p. 131 TUNERS, AM and /or FM as above. $13.95 Pilot Hi -Fi Ensemble Mar., p. 1o8 Bogen FM -5o Aug., p. 82 Model HF 816 -U as above but with 16,000 gauss; 31/2 Ib. Alcomax Magnet System $29.50 Bogen AM /FM, R -66o Aug., p. 82 ACCESSORIES PHONOGRAPH Browning AM, L -500 SW Feb., p. III STENTORIAN EXTENDED RANGE SPEAKERS General Science Service Stylus Microscopes Fisher AM -8o Sept., p. 109 Oct., p. 144 Model HF 810 (8") Response, 50 - 12,000 cps.; Fisher FM -4o Nov., p. 136 bass resonance, 65 cps. $10.95 p. 154 Hi -Fi Slumber Switch April, Fisher AM /FM 8o -R June, p. 98 Model NF 610 (6 ") Response, 60 - 12,000 cps.; Scheller Rack 55 Nov., p. 131 bass resonance, 70 cps. $8.95 Fisher AM /FM 8o -T July, p. 79 StrateJackets Aug., p. 76 STENTORIAN TWEETER Model T -10 Harman -Kardon FM, A -400 Counterpoint Response. 2,000 - 16,000 cps.; power rating, Walco Replacement Styli Feb., p. 520 5 watts; 21/2 lb. Alcomax Magnet System. April, p. I07 $19.95 PICKUPS Miller 595 Germanium Diode AM STENTORIAN CROSSOVER UNITS April, p. 1 12 Correct matching inductances and capacitors Asiatic 55 -TJ Mar., p. 112 for level crossover responses. Input and out- Audiogersh Miratwin April, p. 11I Radio -Craftsmen AM /FM, CT -3 put impedances, 15 ohms. Individual units Companion Sept., p. I I I for crossover at 500. 1,500 cps... @ $13.95 Fenton B &O Special A+ Nov., p. 136 or 3,000 cps. @ $9.95 Leak Mar., p. 108 Scott FM 311 -A Feb., p. 118 STENTORIAN CONSTANT IMPEDANCE Recoton -Goldring 500 Feb., p. 114 Scott AM /FM 33o Oct., p. 146 BALANCE OR VOLUME CONTROLS For mid -range, high frequency system bal- Shure Music Lover's Feb., p. 116 ance, or control of remote loudspeakers. TUNER-AMPLIFIER COMBINATIONS Individual units for 4, 8, or 16 ohm im- PREAMPLIFIERS Harman -Kardon Festival D-1 loo pedance. $6.95 ea. Fisher So -C May, p. rob April, p. 107 -6 Recital D -zoo For complete literature on these and many other Fisher PR June, p. 96 Harman -Kardon famous lower priced Stentorian loudspeakers Fisher TR -1 Transistor Dec., p. 136 April, p. 107 and audio accessories, see your dealer or write: Hilard 57 Transistor July, p. 85 Interelectronics Coronation 85 TURNTABLES Barker Sales Company Audiogersh Miraphon XM -t 1oA 996 -8 Edgewater Avenue, Ridgefield, N. J., U.S.A. April, p. 116 Pye HF -25A Proctor June, p. 95 June, p. 96 Exclusive Sales Agents Components Professional Junior for the U.S.A. and South America Rogers Cambridge July, p. 82 Charter Member: Inst. of High Fidelity Mfrs., Inc. Dec., p. 138 T /M Whiteley Electrical Radio Company RECORD CHANGERS Fairchild 4 t I Sept., p. 112 Crescent 501 Feb., p. 520 Gray Aug., p. 75

140 HIGH FIDELITY MAGAZINE STRAIGHT TALK FI -MAN'S STOCKING from Lectronics on Continued from page 66 Power Amplifiers unaware of the advantage of using really good solder, so a roll of Kester A new book the audiophile Many music lovers are terribly confused or Dutch Boy 60/40 rosin -core sol- cannot afford to be without concerning the power requirements for high quality reproduction in the home. One common misap- der should be especially welcomed. prehension is expressed: "I would like the quality ( 6o/40 refers to the ratio between of a high powered amplifier, but my speaker is rated at only twenty -five watts." lead and zinc in the compounded There is, in fact, no direct relation between solder.) HI -FI speaker ratings and total amplifier output. For Another very handy little device instance, I have found that my own speaker, which is rated at six watts continuous power, which unfortunately has not been YEAR BOOK only begins to give real dynamic impact on a true widely publicized is a type of double - by MILES HENSLOW fifty watt amplifier -one capable of furnishing the Edited short duration, dynamic musical pulses that give ended phono socket which can be in- of Hi -Fi News and Record News color and power to music. It is, then, not so much serted between two standard RETMA a matter of how many watts one uses continuously, interconnecting cables to extend their or can on test equipment; as it is a matter of ability to handle faithfully the dynamic power peaks length. These are more than worth Written by some of the most that are part of music. Indeed, I have already their 59( price in convenience and reliable experts in Great measured (by certain new techniques) very short Britain among them: peaks up to fifty watts going into my six watt added flexibility. - speaker! Not all hi -fi enthusiasts are do -it- Regardless of the technical controversies, the Cecil E. Watts, Past -President of bigger amplifiers produced more musical quality yourselfers, but regardless of one's the British Sound Recording Associ- with any loudspeaker. Every listener, even the manual dexterity, the addition of a ation and Designer of the original casual one, comments on the improvement, on the quick- heating soldering iron to the BBC disk recording equipment. greater solidity of bass passages, and the smoother, sheenier, string sound. Even the experts tool box will be a long -lasting asset. G. F. Dutton, Head of Advance who publicly argue moderate Development Group, Record Divi- for powered ampli- Weller or Wen soldering guns ( $5.85 fiers, on a technical basis, will privately concede sion of Electrical and Musical In- that, with a big amplifier, "It sounds better." to $11.75) heat to full temperature dustries Ltd. The Custom Series amplifiers were designed in 21/2 to 5 seconds after their for better listening, rather than as technical tour James Moir, Electronics Division de forces. With no gadgets or gimmicks, they pistol -grip trigger is pulled, and cool of the B.T.H. Company Ltd. definitely fulfill their purpose, to give the music off rapidly after use. Other tools lover better listening at a moderate price. The which will prove useful are diagonal music lover can now enjoy his system more fully, without bankrupting himself for the sake of cutters (5 to 6 -in. size) at $2.00 to use- "I know of no other book like less gadgets that contribute nothing to the musi- $3.00, needle -nose pliers ($2.00 to cal result. The Custom Series Brochure describes it, or one that is so full of up- , and Phillips the reasons in greater detail. The Custom "56" $3.00) -head and standard to -date and highly informative has been proven time and again on all kinds of (3/32 to 1 /4 -in.) screwdrivers. Sock- music to outperform any other known amplifier. technical matter ... I have al- The Custom "100" is designed expressly for the et wrenches of all sizes ( from 3, 16 ready learned much from mi perfectionist who will always insist on the final to /e5 -in.) come in handy from time first perusal and I am sure that refinements. Its unique dual chassis construction, to time, while a set of automatic wire further study will oversized power and output transformers, com- teach me plete laboratory quality of design and construc- strippers (made by Speedex, $3.88 to much more. I am equally sure tion show that it is intended to provide final $4.85) will prove invaluable to the that none of the backroom boys quality under home conditions for years to come. engaged in the industry can af- Indeed, each of these amplifiers is covered by a inveterate component builder. two year unconditional guarantee, without parallel If the workbench seems lacking in ford to be without it."- Percy in the industry! Wilson in THE GRAMOPHONE. Distribution is naturally restricted to the kind tools, a Stevens -Walden tool set of dealer who is equipped to give you fully per- ($12.00) will rectify the situation in sonalized attention, and completely experienced short order. This kit includes diagonal technical assistance-the kind of service for which Chapters on grooves, LECTRONICS has become famous. You can be sure cutters, needle -nose pliers, and a set styli, pickups, that your franchised CUSTOM SERIES dealer is of interchangeable screwdrivers and control units, amplifiers, speakers, the kind with whom you will want to do business tuners, recorders, stereophony, music in general! socket wrenches with a single general - Sincerely system assembly. Over 200 illustrations. Irving M. Fried purpose handle. A brief resume of specifications. More complete speci- Then, just in case the beneficiary fications are available in the CUSTOM SERIES Brochure. HI -FI YEAR BOOK is now available in this of all this equipment should be at a country from HIGH FIDELITY Magazine The Custom "56" $119.95 sole agent for the - Power: 50 watts continuous at .5% I.M. or lower United States and Canada. rapidly decreasing at lower powers loss as to how to use it, there may Dealers' inquiries invited. Response: Plus or minus thdb. from 6cps to 60KC, with still be room at the top of the Christ- gradual roll -off beyond, for stability on large electro- Send your order to us today. static systems mas stocking for Charles Fowler's Stability: Virtually absolute It will be filled immediately. Tubes: 6BA8, 6550(2), 5U4GB High Fidelity: A Practical Guide Hum and Noise: less than 2mv. absolute, referred to 135 plus 45 pages $2.25 open circuit ($4.95) and The Hi -Fi Year Book The Custom "100" $199.50 Power: 100 watts ( $2.25) listing all current British hi -fi continuous at .5% I.M. or lower HIGH FIDELITY Magazine 50 watts at .2% I.M. or lower equipment. And when the workbench Dept. H2, Publishing House Response: Same as above, with marginally Improved Great Barrington, stability on the larger electrostatic systems is completely equipped and the sound Mass. Tubes: 6BA8, 6550 (4), 5U4GB(2) Hum and Noise: same as above system working perfectly, the true I enclose S for which please send Construction and weight: dual chassis, with separate me copies of HI -Ft YEAR BOOK. power supply. All transformers fully encased. 8 7 audiophile will want to curl up for 16 ohm leads fused against continuous speaker (No C.O.D.s or charge orders, please.) overload. Bias and laboratory quadri- balance controls a happy Christmas hour or two with Foreign orders sent at buyer's risk. Add sealed against tampering. new High Fidelity 55c for postage on foreign orders. At your franchised CUSTOM SERIES dealer, Roland Gelatt's or order direct. Record Annual-1956 ($4.50) or NAME Roy H. Hoopes' compilation, Building ADDRESS EcTRoNres Your Record Library ($3.95). Then CITY LINE CENTER, PHILA. 31, PA. to all, a good night.

DECEMBER 1956 OPERA went through the movements of some MORE fandango steps before he took his Continued from page S7 place in front of the microphone. He when the musical staff and the engi- sang with his hands plunged into the pockets of his khaki pants, swaying neers consult one another. I find that this establishes discipline." in time to the music. IDEAS.., from could tell Misciano, a very good -looking You that the whole thing was going well. Even when Bastianini General Electric young fellow with a mop of blue - black hair, sang the Count's lines came to grief on a tongue- twisting buoyantly, but Erede ran into the patter passage, everyone, including the kind of difficulties that seem unavoid- culprit, laughed. In excellent voice, HI he sang, it seemed to me, with re- able at these sessions: The flute and FI markable breadth and slancio. the oboe were not together (according to Walker over the loudspeaker); When a technician came up to him and interrupted an Misciano made a false entrance, expansive gesture to place him in what was considered a stopped and apologized " Scusi. - preferable looked maestro "; a chair was found to be position, Bastianini creaking somewhere; the horns down at the floor, where his feet had been planted "Per sempre?" he sounded harsh ( and were accordingly - asked of the bewildered man. muffled ) ; the position of the chorus As was had to be adjusted for reasons of the duet in full swing, proper balance. Cesare Siepi, tall and handsome in his elegantly cut clothes, walked in. TRANSIS -TUBE As I was pondering on the infinite Behind Erede's he went PRE - AMP... patience required from all concerned, back, through Giulietta Simionato and Fernando a series of elaborate gestures (so much transistor power Greek to the circuit Corena put in an appearance, standing uninitiated) for the benefit of Bastianini, who was on the The new General Electric TRANSIS - expectantly in the wings. Erede ac- verge as TUBE preamplifier is distinguished for cordingly passed to some of the scenes of laughter he counseled Rosina to a super -sensitive preamplification -lower that involved the cast's Rosina and give him note for the hum unknown Lindoro. and noise with no mic.rophonics- Don Bartolo. Corena had a slight cold, uses no battery. Siepi had hardly Built around one NPN so that he wisely whispered, merely finished this mys- non -junction transistor and - one high suggesting Bartolo's aria, letting out terious pantomime, when he disap- gain double- triode 12AX7. Handles just his voice only rarely. Erede obviously peared just as suddenly as he had ma- about every magnetic cartridge known. terialized. I did not see cared mostly about rehearsing the ac- him again until TRANSIS -TUBE pre -amp contains companiment. a later session, when he was recording built -in RIAA curve to deliver flat fre- Simionato, one of London's most the famous La Calunnia. He had lost quency response from some of his debonair unconcern, for modern LP recordings. favored singers, looked pert and Only $2195 he was having trouble with the pe- sprightly in a pink ballerina skirt. nultimate note of Basilio's aria, In contrast to Callas, this apparently which up to that point had sounded smooth uncomplicated lady seemed a complete as silk from a purely vocal standpoint. extrovert gay, assured, very good - - He was not happy with this recalci- natured. Walker had told me that she trant tone, which somehow eluded was easy to work with. "I wish they him. After several attempts, success were all like her," he said wryly. was attained, Siepi beamed again, and "Matters would be so simple." the session moved securely to its finish. "Ready, Signora Simionato ?" asked Erede, as they began Rosina's second TWEETER ... aria - incidentally, the one Rossini and cross -over network assembly himself composed for the lesson scene and which has come into vogue again Here's a new Tweeter and matching mezzo- cross -over network for hooking into pres- of late. The singer's soprano ent systems, converting single speakers tones were superbly supported; the to dual jobs. etc. High -quality, versatile articulation sounded wonderfully clear, I left Florence, the glorious weather unit for independent tweeter needs. as she tossed the aria off with im- holding to the last. As the train ran pressive ease. When she returned to northward to Paris along the fresh - Tweeter $1795 Network $1395 the stage, after listening to a playback, blue outline of the Mediterranean, I she exclaimed with a laugh, "Ma, could hear, in my head, snatches of See these new General Electric developments quanti kilometri.t" - referring to the Rossini's music, and I recalled all the at your dealer's, or write for free copy of our long trek between the recording studio patient devotees of this most fascina- new Hi -Fi booklet. General Electric Co., Special Products Department, Section and the stage. ting of the arts whom I had seen R54126, Electronics Park, Syracuse, N. Y. Later in the morning, Ettore Bas - working so hard for so many days in tianini (Figaro), just back from their proud effort to earn an adjective ).ogress Is Our Most /mpor /an/ Roductr successes as Rigoletto in Barcelona, - the word definitive. GENERAL ELECTRIC joined Simionato in the duet, "Dunque I felt a little thankful about the io son?" Bastianini, in capital spirits, whole thing.

HIGH FIDELITY MAGAZINE MOZART YEAR Continued from page 53 record, then, which dictated the direction and compass of the Bicentennial, while the Bicentennial gave new en- couragement and impulse to the rec- your budget is small ord. The eminent conductor prepar- Whether you are a ing for a momentous Festival could or large, whether hardly pretend that there were only beginner or a devotee from three Mozart symphonies, in face of way back, this definitive guide the evidence recorded, and the most can help you get the most celebrated pianist was forced to ac- enjoyment out of your high - knowledge that reliance on the D fidelity system. minor Concerto had become haz- ardous since the phonograph had proved that among the twenty others there are no weaklings. The record has incalculably enriched the concert HIGH A Guide hall, and the concert hall will give FIDELITY: Practical back to the record a facsimile of its most memorable achievements. by CHARLES FOWLER Disregarding its annex and the several emendations, we know that the Köchel catalogue of Mozart's works As publisher of HIGH FIDELITY and AUDIOCRAFT Magazines, contains 626 numbers. Nothing is and author of many articles on high fidelity, there is little need more elastic than a Köchel number, to introduce Charles Fowler to readers of this magazine, nor to which may cover a minute gigue or assure them of his ability to tell in clear, nontechnical language a Don Giovanni, but it ought to just how to evaluate, buy, and operate hi -fi equipment for the optimum in lifelike reproduction. be noted that of the 434 numbers on LP at this writing, the great majority are of the most substantial works, the principal large omissions being of the most obscure operas, or of the operas unfinished. Most If you plan to build, buy, or add to your high -fidelity of the Masses remain unrecorded, system, this new book gives you practical advice and ex- with a heterogeny of small vocal pert guidance each step of the way. It makes plain every works and instrumental fragments. aspect of hi -fi ... shows how you can best recreate the Philips ( Epic ) , under the stimulus dynamic range and full tonal quality of live music in of the Bicentennial in which the your home. Starting with a fascinating introduction to company has taken an aggressive sound itself - what it is, how it is produced, how it is part, has announced that it will con- affected by room acoustics - the author describes the tinue, as a kind of epilogue, its Bi- various links in the hi -fi system. He explains their features centennial Edition until every last and specifications so that you can easily understand and Köchel entry - be it the most flippant canon - has been included. This an- use them as criteria in evaluating different makes of nouncement now seems eminently rea- equipment. With these standards you are shown exactly sonable and practicable. Ten years what to look for when buying each monstrous -fi and how to ago it would have been Gives complete unit in your hi chain, fantasy. information on: select and match components for Of the recorded Köchel numbers, best sound reproduction. two about half more than hundred - control units 310 pages, 100 illustrations, $4.95 - appeared for the first time as some and preamplifiers to company or other's contribution record changers the Bicentennial. In the same con- and turntables Book Department an even greater number HIGH FIDELITY Magazine tribution are tuners of records duplicating music already Great Barrington, Mass. pickups in the recorded repertory. About I enclose S for which please send me, 1,500 sides have been devoted to loudspeakers postpaid, copies of High Fidelity: A Practical Guide. Mozart since LP began the restoration, speaker enclosures including freakish bounties and im- NAME room acoustics poverishments: superfluities of excel- ADDRESS lent versions of Serenade No. Io, amplifiers (No C.O.D.s or charge orders, please. Foreign order, sent at buyer's risk. Add 55c postage on foreign orders. Continued on next page

DECEMBER 1956 Ii MOZART YEAR Continued from preceding page

Figaro, Symphonies No. 36, 38, and 4o, Clarinet Concerto, Clarinet Quin- tet and many quartets; absence of a FOR A THRILLING EXPERIENCE, thoroughly admirable Don Giovanni, HEAR THE MAGNIFICENT of entirely satisfactory versions of six DANISH B &O CARTRIDGES! or eight concertos, and of adequate AVAILABLE IN presentations of many concert arias TWO SERIES: and works for solo instruments. No 1. doubt we shall get them. There was no authoritative inter- Report from the national impresario for the Mozart Bi- LABORATORY centennial. The celebration would have taken place if the phonograph De Audio League Report* had never been invented, but the STATI[ Fig. 5 phonograph gave AcouatIC Output at 30 CPS conscience to the celebrants, who gave depth and scope A+STANDARD AR -1W to the festivities - and much more Professional 8 -pole magnetic cartridges, 7.5w The League's ref - Mozart than they would have dared 75 db erence standard reversible and single play cartridges for without the prodding presence of all modern plug -in shell record players and Mozart on records. changers; and The 7.8w 15" speaker v instrument - in no lovely re- 75 db system A pute for most of its life - was the power behind the scene. The manufacturers of records may not be 18w 12" speaker -w- 75 db system y Mozartians or even music lovers first, but they managed their Mozartean part with decency, dignity, and effective- 2.5w 15" speaker r/ ness. We are a lot richer in great 75 db system music because of their pains, and will not complain of occasional poor magnetic cartridges, records no worse than poor concerts, Professional 8 -pole *Vo . I No. 9 Oct., '55. Authorized quotation #k28. single play only for all professional tran- For the comp ete technical and subjective report or begrudge bread and butter to the on arms. the AR -I consult Vol. 7 No. 11, The Audio League scription Report, Pleasantville, N. Y. manufacturers because so many good records were the product of an oc- Report from the casion nearly solemn. CHECK THESE FEATURES Frequency response: 20- 20,000 cps WORLD OF MUSIC Built -in Static Remover, resulting in static - A JEWEL free, dust -free, and noise-free reproduction, with less record wear. Continued from page S9 Highest Signal Output (30MV) resonance frequency, less mechanical Lowest Noise Level damping is required to control the cartridge with resonance -peak, so the compliance of a First truly professional replaceable stylus. low -mass stylus can usually be made easy somewhat higher than that of a Unbelievably low-priced heavier one. Audiophile Net Prices: The Aeolian- Skinner Organ Co. uses an AR Among current makes of quality Standard Special woofer (with a Janszen electrostatic tweeter) cartridges, the dynamic mass at the Single (LP or ST) Sapphire $9.30 $11.60 in their sound studio. Joseph S. Whiteford, vice - Single (LP or $T) Diamond $21.30 $24.20 pres., writes us: stylus tip averages about 4 milligrams. RS Dual Sapphire .. $9.78 None "Your Al2-1W speaker has been of Some models run higher, in the in- RG LP Diamond /ST. Sapphire $21.78 None inestimable value in the production of our re- terest of durability. A stylus mass of cording series 'The King of Instruments'. No 2 other system I have ever heard does justice to milligrams or less is considered very the intent of our recordings. Your speaker, with light, and may be expected to lengthen its even bass line and lack of distortion, has so your records' lives substantially, pro- closely approached 'the truth' that it validates itself immediately to those whoa pre concerned vided, of course, that the lateral with musical values." compliance is correspondingly high FENTON COMPANY AR speaker systems (2 -way, or woof- enough to allow operation at a light 15 Moore Street, New York 4, N.Y. er -only) are priced from $132 to $185. Cabinet tracking force. size 14" x 11%" x 25 "; suggested driving power 30 wafts or more. Illustrated brochure on Frequency response, lateral and Sold through better request. vertical compliance, and stylus mass Audio Distributors. See yours today/ all contribute to the cleanness ACOUSTIC RESEARCH, INC. of sound West of Rookies. prices slightly higher. 24 Thorndike St., Cambridge 41, Mass. from a cartridge. An evenness of re-

144 HIGH FIDELITY MAGAZINE sponse throughout the audio spectrum also tends to prevent surface noise from assuming undue prominence. "GOLDEN SERIES" But another thing which will directly J affect the surface -noise level is the vertical sensitivity of the pickup. HIGH FIDELITY All the program material on a disk is impressed as lateral groove undula- Custom Sensibly tions, so for a pickup to collect this Quality Priced is necessary for it to The AR -1 acoustic suspension* speaker Hi -Fi for program it only system is now widely recognized as reproducing Components Everyone respond to side -to -side motion. If, however, the cartridge is also able to the cleanest, most extended, and most uniform convert vertical motion into electrical bass at the present state of the art. It is em- impulses, it will increase the audibility ployed as a reference testing standard, as a of scratches and dust particles lodged broadcast and recording studio monitor, as an in the bottom of the record grooves, acoustical laboratory test instrument, and in and will generate irrelevant sound thousands of music lovers' homes. when it encounters severe pinch- effect. The AR -2, our second model, is a two -way There does not seem to be any ac- speaker system (10 in. acoustic suspension MODEL HF255 cepted method of expressing a lateral - woofer and newly developed tweeter assembly), CGfertj AM -FM TUNER to- vertical sensitivity rating, so until in a cabinet slightly smaller than that of the Provides exceptional AM -FM recep- such time as there is, the best way to AR -1 -131/2"x24 "x113/4". It is suitable for use tion, true high fidelity realism with "space- saver" convenience and beauty check a cartridge for this would be with any high quality amplifier which supplies at remarkably low cost. FM response, to examine and analyze its mechanical 10 or more clean watts over the entire audio ± 0.5 db, 20 to 20,000 cycles; AM, 4 and magnetic system. range. db, 20 to 5,000 cycles. Sensitivity: FM- 5 microvolts for 20 db of quieting; Most cartridges produce their signal AM -20 microvolts for I volt output. output from motion of the stylus rela- Includes AFC, drift -compensated tive to a fixed source of energy. This circuits, FM di -pole antenna, AM ferrite loop, etc. Only 31/2" high. Ideal source of constant energy may be a for use with amplifier below. magnetic field or a constant -frequency oscillator, and it is motion of the stylus toward or away from the fixed energy source which creates the electrical impulses. Any motion of the stylus which does not change its dis- The price of the AR -2 in hardwood veneer tance from the fixed pole pieces will is $96.00, compared to the AR -1's $185.00. not produce any output. Hence the Nevertheless we invite you to judge it directly, popularity of systems so arranged that at your sound dealer's, against conventional MODEL 1512 the pole pieces laterally flank the bass -reflex or horn systems. The design sacri- moving stylus. With these it is fairly fices in the AR -2, comparatively small, have 12 -WATT safe to assume that vertical motion mainly to do with giving up some of the AR -1's HIGH FIDELITY AMPLIFIER will produce no output. Of course, it performance in the nether low-frequency re- True hi -fi performance at moderate is possible to use a generating system gions, performance which is most costly to come cost. Full 12 watts output; response, which prevents any vertical motion; by. The AR -2 can radiate a clean, relatively full ± 0.5 db, 20 to 20,000 cps. Features 5 inputs; separate bass, treble controls; with such there is no possibility of signal at 30 cycles. equalization for EUR, ffrr, RIAA, getting output from a vertical force, The AR -2 speaker was designed as the Quiet ; variable damping control, choice there arises the danger of record of volume control or loudness control. but standard for medium -cost high fidelity systems. way to In compact cabinet, only 31/2" high. wear due to pinch effect. One Our tests have shown it to be so far ahead of its offset this is by mounting the stylus price class that we think it will come to be a which serves on short, trailing shoe, regarded as such a standard within its first year. to provide the needed vertical com- BEAUTIFUL "SPACE SAVER" DESIGN pliance. This and its variants usually RAULAND matching Hi -F1 units are decorator -styled in are visible to your inspection. Makers handsome charcoal black with marbleized gold finish, control of ceramic and crystal cartridges com- panels in soft brushed brass. De- monly use a kindred technique, a signed to fit anywhere -no cabi nets required. (Extension shafts knee -action bend in the stylus bar. available for behind -panel mount.) This effectively insulates the crystalline element inside, which translates stylus motion into electrical impulses, from the vertical component of the motion. Literature, including complete performance The foregoing descriptions of pick- specifications, available on request from: Hear these RAULAND units at your up characteristics tell something of how ACOUSTIC RESEARCH, INC. Hi -Fi dealer, or write for details a cartridge ought to perform when 24 Thorndike St., Cambridge 41, Mass. RAULAND -BORG CORPORATION Pst. pending and cope., Acoustic Research, lnc. 3515 W. Addison St., Dept. F, Chicago 18, III. Continued on next page

DECEMBER 1956 145 A JEWEL Continued from preceding page

new and in prime operating condition. They do not, however, tell how it may be expected to behave after it has been in service for some time. you buy hi -fi equipment This is because the main factor in a cartridge's continuing good behavior Do you want high fidelity on a low budget? is the stability of its stylus damping Can you buy the finest equipment at any price? material. An undamped stylus will Are you improving your present system? resonate at some point in the upper frequency range, introducing an audi- Whichever it is, you need facts-not claims -about equipment performance. ble peak in the response. To eliminate You need the most authoritative source of information on high fidelity this resonance, some form of damping equipment: The Audio League Report. material is inserted between a stra- The Audio League is devoted exclusively to testing and reporting on audio tegic spot on the stylus and the body equipment. It has no advertisers to please, but only its readers to serve. of the cartridge. The amount of Its Reports are complete, accurate, and candid -even when critical damping is quite critical, so any tend- of manufacturers' claims. ency for the damping material to Complete technical data, curves, and measurements are presented in harden or shift in use is reflected in The Audio League Report, together with test methods and the significance of audible deterioration of the sound. findings. The listening evaluations of The Audio League are also clearly stated. The commonest damping materials Your smartest purchase is a subscription to used in cartridges are rubber, ne- THE AUDIO LEAGUE REPORT oprene and viscaloid, all applied in block or pad form, and silicon gel, P. O. BOX 363 MOUNT VERNON, NEW YORK which is contained in the cartridge body and clings to the entire stylus

Two recent issues including a cumulative index only $1 shank. Rubber and most plastics tend Twelve issues $4 Start with current issue to harden with time and use, while Twenty -four issues $7 Start with Vol. 1, No. 12 (Apr. '56) silicon paste may gradually creep and Thirty -six issues $9 Start with Vol. 1, No. 1 (all 16 back issues) Please enclose remittance with order; no billing available work away from the stylus assembly. There is little the user can do to prevent this or to correct the condition when it has taken place, which is why most pickup manufacturers urge users to return cartridges to the factory from time to time for a checkup and re- conditioning if necessary. No doubt future research will produce an indefinitely stable damping material, but there does not seem to be one yet. The preceding suggests that if a high- fidelity enthusiast is not anxious to do without his music for a week or so every few months. it might pay him to keep on hand a second cartridge or ( if removable) a second stylus assembly. The second unit can also serve as a convenient perform- preamplifier with cabinet $168* ance check on the suspected cartridge, for it is not uncommon that a cartridge is blamed for defects that develop in other components in the system. If this comparison is to be foolproof, the second cartridge should be the same as the first, although one of a different type ( and lower price) *slightly higher west of the Mississippi will suffice simply to provide music while the first is away at the factory. The pickups most generally coveted write for literature ma rani company by perfectionists as best performers when working properly are perhaps 44 -15 Vernon Boulevard, Long island City 1. N. Y. - naturally, since extreme precision implies delicacy - also the most vulner-

146 HIGH FIDELITY MAGAZINE able to minor ills, but only a few cartridges are so constructed as to permit any remedial action by the user. In variable -reluctance types with de- FA RCHILD tachable styli, the stylus bar can be P R E C I S I O N checked visually for centering be- The marked similarity between the tween the pole pieces, and can be watchmaker's art and the craftsmanship straightened with tweezers if out of required to produce a precision cartridge alignment. The only FM pickup cur- can be aptly illustrated by an examina- rently on the market is supplied with tion of the famous FAIRCHILD Micrad- complete instructions for trimming up just Cartridge. the oscillator and stylus position. But Actual assembly of a Fairchild cartridge for most other cartridges, there isn't much that can be done outside of Meticulous care and delicate assembly keeping their styli free of dirt and are basic to both products. In addition, dust. adjustments are provided in the finest The factors dealt with thus far are of watch movements to regulate primarily those which affect a pick- performance by compensating for up's performance per se. Tone arms minute differences in manufacturing and the effects of auxiliary equip- tolerances as well as variations in ment on a pickup's performance will material. Similarly the MICRADJUST feature permits regulating the magnetic be dealt with in a subsequent article. gap to precisely fit the moving coil assembly.* The result is uniform flux gap, proper centering of stylus SCULLY arm and correct damping. It assures best possible cartridge performance which Continued from page 64 is immediately apparent to the critical listener. lathe clearly might exceed the capac- Write for details on FAIRCHILD audio products. ities even of a veteran orchestral conductor. There also was the additional FAIRCHILD RECORDING EQUIPMENT COMPANY difficulty of precisely estimating the 10 -40 45th Avenue, Long Island City 1, New York amount of additional groove- spacing desirable for any musical passage forthcoming from the master tape. In an effort to solve these problems Scully got to work, with W. R. Dresser, an 0 electronics engineer, and after long ex- perimentation came up with an INTERESTED IN answer: automation. On the recorder used for mastering playback, a second monitoring head modern music? is mounted before the actual playback head. From the supply wheel the tape is led, via a system of rolls and guides, POPULAR Cln..irol to this monitoring station" set one or record & tape reviews? HIGH FIDELITY two seconds ahead of "cutting time." Here the volumes and frequencies are measured, and by way of a complex available recorded tapes? system of amplifiers, potentiometers, feed motors, and adjusters, the variable pitch control is continuously acti- vated and adjusted to whatever pitch From the west width is needed next. An "excursion coast, Theme brings you articles on new trends H control" and a "return control" ( a music, photo features, musician -of- the -month, music news, taped time -delay network ) see to it that the interviews of musicians, record & tape reviews, features on Hi -F , new pitch is exactly right for the fol- and, a catalog section of recorded tapes. Theme is lowing passage and that it returns to artistically a lower level with a sufficient amount designed with taste in mind. Once you have seen it for yourself of delay to protect the preceding you won't want to miss another issue. groove from being cut into. 1 year Really to appreciate this automatic $3.50 2 years $6.00 3 years $8.00 feature one has to see it in opera- (Foreign add 50c per years tion; it is almost uncanny. Larry THEME MAGAZINE, 4253 Farmdale Ave., No. Hollywood, Cal. Continued on next page

DECEMBER 1956 147 How to bring a little more SCULLY Christmas into your home Continued from preceding page for me the cutting of Christmas is many things to many There's the timeless beauty of the demonstrated men. Gregorian Gloria, or the enduring, al- a "harmless" guitar passage. From the Its kids, up early, opening presents most hackneyed grandeur of Messiah. monitoring speaker came the sound under the tree. There are hordes of familiar, lovely of a softly strummed solo, and the Its families, together for a con- hymns and carols. And there are automatically controlled pitch dial viviality and good feeling that belongs traditional readings that are musical swayed gently and mysteriously to and to this time of year. in concept, if not always in execution. fro somewhere between 32o and 36o It's a church service, where the lines per inch; the disk on the lathe Christmas Story springs to life with Our point is this. If you'd like to revealed an extremely fine and narrow real meaning. enjoy the sounds of this year's Christ- cut in the microscope. Then the guitar Its charity, where man offers fellow- mas a little more through the medium melody began to work toward a cli- man a lift clothes for the needy of hi -fi, we'll be glad to supply any or - max, and suddenly the dial jumped . .. food for the hungry . . . shelter all the fine elements offered below. for the cold. They'll make your Christmas music high, to about 22o lines. Two seconds And through it all there's music. ever the more enjoyable, we promise. later the final tone sounded from the speaker, a beautifully sonorous bass CHRISTMAS MUSIC COMES TO LIFE E, the instrument's lowest tone. The WITH THESE COMPONENTS lathe had cut one single wide -spaced line and then stopped automatically - the piece had ended. Ferrograph Tape Recorder - Superb British - made z -speed instrument for the discrimi- In some awe you stand in front of nating home recordist. Exceptional fre- the machine, realizing that now any quency response. Built -in VU meter. Bass and treble tone controls. high -school youngster can cut a master Net Price $379.50 (33 - 71/2 ips) disk more nearly perfectly than any- $425.00 (71h - 15 ips) one could have done three years ago. The high -priestly art of fine master - Sherwood S -3000 FM Tuner - Less than r micro- cutting, jealously guarded and proudly volt ( 0.95) sensitivity for zo db quieting. Unique "feather -ray" tuning eye. Local - executed so long, now requires little Distant switch, AFC and flywheel tuning. more skill than it takes to operate a Net Price $99.50 TV set. Push one button, and the lathe cuts a clean lead -in spiral; The Turntable Dynamically bal- Connoisseur - button No. 2 will cut a narrow spacing anced hysteresis motor and positive speed adjustment combine to give you the finest band; the next one a somewhat wider 3 -speed turntable at any price. Absolutely band; No. 4 a beautiful lead -out spiral. quiet operation. This is what you can see on the Net Price $110.00 $135.00 (with mahogany base) outside of the machine, but its greatest beauties of workmanship are hidden Fairchild 280A Transcription Arm - A real "best - beneath and behind the shiny sur- buy" arm for custom use. Tangency design faces. Take that turntable, for in- insures perfect tracking. Arm drop limit prevents stylus damage. Provision for stance. It appears to be simply a large variety of cartridges. piece of round polished metal, heavy Net Price $33.95 enough to spin evenly around. But through its surface many tiny holes are Fairchild XP -2 Cartridge - If you'd like to try bored, all of them leading to a system a cartridge that's new and different, this is it! Only limited quantities are available for of canals cast into the bottom of the field research, so if you'd like to be one of table. Air is sucked in at high pres- the testers, order now. sure through the holes and canals. Net Price to (guinea pigs) $60.00 (diamond LP stylus) thus snugging the disk tightly and evenly to the turntable's surface. The idea: to prevent even the slightest vertical sway of the cutting stylus and to avoid any variation in the depth of the cut, both of which may 161 Newbury Street, Boston 16, Mass. show up as minor distortions in the final pressing. Other parts of the Please Ship mechanism cannot be seen at all, but Ferrograph Tape Recorder Sherwood S -3000 FM Tuner Connoisseur Turntable Fairchild 280A Arm Fairchild XP -2 Cartridge Dynakit Amplifier ($69.75) only appreciated from a verbal ac- Brociner Preamp ($88.50) AR- Janszen Speaker System ($329.00, mahogany) count of their functioning. Enclosed is check for $ There is the feed -screw which, after accurate machining, is placed in an Name automatic lapping machine especially Street or P.O. Address City Zone ( ) State Continued on page 150

Tos HIGH FIDELITY MAGAZINE November- December, 1956

The hi -fi sets ought to outnumber the neckties under the Christmas trees this year - if we can judge at all from the phenomenal crowds and the alternately rapt and hungry looks we observed at the recent New York High Fidelity Show. That HARVEY's will be the chief supply depot for Santa's hi -fi- bearing reindeer is another pretty safe prediction. As for specific recommendations in the way of components for yuletide electronic cheer, here is a particularly rich harvest of current 7I , = o developments:

Possibly the biggest news is the appearance of the Ampex A series tape recorders and matching amplifier- speakers -a dramatic bid for the home hi -fi market by the most renowned name in strictly professional tape recording equipment. The A series, featuring two -track stereophonic playback in addition to monaural recording and reproduction, is definitely designed and priced for home music systems, but a lot of the famous engineering finesse of the Ampex professional line has rubbed off on it. The newly developed 71/2 and 33/4 ips tape transport is very rugged, smooth and accurate, despite its simplicity, and there is no audible flutter or wow at either speed. There is a tape position indicator of novel and foolproof design; a volume level meter as on all Ampexes; mixer -fader controls; and a positive record safety button. The amplifier- speakers are of the already celebrated Ampex design that achieves genuinely wide -range, distortion-free response in a little less than 11/2 cubic feet - speaker, tubes, resistors, capacitors, box, air and all . . . The A122 tape recorder (that's the portable, stereophonic model in the A series) sells for $449.50 less microphone. The A692 amplifier. speakers, in two -tone grey portable cases that match the A122, are priced at $199.50 apiece - and you'll need two of them for stereo, alas ... But wait till you hear the sound!

There is great news on the tuner front, too. The two new Sherwood tuners are just about "it" (that elusive "it" pursued by the vanguard of audiophiles and high -fidelity manufacturers) - unless, of course, your quest for quality won't stop short of broadcasting -type equipment, r multiple meters and multiple zeros after the price. Both the new Sherwood S -2000 FM -AM tuner (which has been around for some months but is now even further improved in sensitivity) and the even newer S -3000 FM -only tuner have been designed by sound -conscious engineers with particular attention to audio quality. This is uncommon in the tuner field, where the emphasis has consistently been on RF circuit refinements. It so happens, though, that the S -2000 and S -3000 are just as great RF -wise as they are smooth in sound with an FM - sensitivity of 0.95 pv for 20 db quieting; special 6BS8 cascode RF amplifier stage; balanced FM input transformer (for maximum noise rejection); super-stable FM oscillator circuit using mixer cathode injection; and an advanced extra- wide -band AM circuit in the S -2000. The S -3000 has, in addition, the most accurate and easy -to -read tuning eye we have seen it's an entirely new type and - - a special switch for suppressing cross-modulation images on strong local signals. But we must come back to the sound: The specified intermodulation distortion on FM in either tuner is less than 11/2% at 100% transmitter modulation (most tuner manufacturers are rather vague on this point), and harmonic distortion is less than 1% at 400 cps with 100% modulation. You can hear it, too ... Best of all, the S -2000 costs only $139.50 (slightly more for special decorator styles) and the S -3000 only $99,50.

Speaking of small speaker systems, the brand -new L.E.E. 'Trio' 2 -way system is about the finest thing we could name at the moment in the under -$125 category. It is the fourth in size and price of a new line of five speaker systems headed by an improved version of the already famous 'Catenoid' corner horn. The 'Trio' is definitely your meat if you're looking for a speaker of reasonable but not diminutive size that can approximate that smooth, authoritative sound of the genuinely big systems and will also acquit itself as a handsome piece of furniture in any living room setting. It incorporates a single woofer, partly horn- loaded and partly resistance -controlled by friction loading; two cone -type tweeters (very smooth); and crossover at 6500 cps. It fits nicely into almost any corner, measuring only 19" along the wall and less than 34" from the floor. It covers the 50 to 15,000 cps range without peaks or that cramped, constrained effect -a very rare virtue among smallish systems; handles 20 watts continuous power; is finished in nearly indestructible formica; and costs just $119.95.

The Christmas shopping season is also a particularly good time to remember that you can always save time and avoid the crowds by taking advantage of HARVEY's famous mail order service. Shop from these pages, look up some of our older ads, enclose a postage allowance with your payment (excess will be promptly refunded), and have faith in our recommendations and our money-back guarantee. Between the two, you can't lose .. .

HARVEY RADIO CO., INC. 1123 Avenue of the Americas (6th Ave. at 43rd St.), New York 36, N.Y. JUdson 2 -1500

DECEMBER 1956 149 SCULLY . . . Fi Ili Mr. Ili Continued from page 148 This is It . . . FROM JAPAN designed and built by Scully for this From Japan's famous precision purpose. This automatic mechanism laboratories - superb workman- The BRADFORD continually feels the screw and makes ship and design at less than the in the lap to correct any cost of components of ordinary Perfect BAFFLE* adjustments quality. Serviced and guaranteed minute errors in the screw. The in U.S. lapping process in this machine lasts from twenty to thirty hours. In a similar way all other parts are treated, resulting in a degree of precision found in hardly any other contemporary manufacturing process. One realizes easily why this magnificent instrument with its new automatic features sells at the price it does, and why Scully is not making more than about one piece per month. This furnishes plenty of work for himself Radically new idea in loudspeaker enclosures. nine skilled craftsmen Not a bass reflex or folded horn. and for the of a loudspeaker enclos- working with him in his Bridgeport The primary purpose I/S TP -SO TURNTABLE ure is to prevent destructive sound cancellation machine shop. So far only fourteen that takes place at low frequencies, when the NEW! Magnetic Speed Control front and rear waves, emanating from both sides machines with the automatic variation of the speaker cone, merge. Neon Lighted Stroboscope put into operation Superb Capacity-Type Motor It is obvious that no rear waves can escape feature have been through a totally enclosed cabinet, and it would since manufacture of this latest model Feel the motor! Runs cooler, smoother than be the perfect baffle, except for one reason. The of other turntables. Husky 4 pole air pressure within the cabinet acts as a cushion started in 2955. The production of 90% upon, and therefore restricts, cone movement. capacity-start motor usually costs twice as This causes loss of life and color. twelve, or even twenty, lathes a year much as ordinary 4 pole turntable motors. eddy cur- The BRADFORD Perfect BAFFLE is totally en- is not enough to make anyone rich. 3 Speed positions with magnetic closed, yet It relieves cone pressure by an in- rent speed adjustment. "Observation-win - genious device that operates in unison with cone But Larry Scully now makes a living dow" Stroboscope. Perfectly balanced heavy movement. in moderate comfort and in freedom aluminum turntable, deep well bearing. Since this action conforms to an ultimate Foolproof rim drive. S/N 4o db Exceeds acien'ific principle, the BRADFORD Perfect from worries other than those routine BAFFLE is the only enclosure that can give you professional specifications. the utmost in sourul repro.luc'ion. to any normal business activity. $57. And that, specifically, is ... Relaxed in his pleasant, unpreten- ALL THE BASS, full rich, clean bass, clearly tious home, an admitted family man, distinguishing each contributing instrument, down to the lowest speaker frequency. he enjoys light records; classical mu- NO BOOM. Absolutely no boom. Boom, or sic is not really to his taste although "one note" bass, is not high fidelity. he has done so much to give us the NO FALSE PEAKS. Does not "augment" bass by false peaks that are really distortions. finest classical disks we could hope for. ANY SPEAKER. Accommodates any speaker . . . When Scully is hit by an idea or any size, weight, shape or make. he sits for hours in an NO TUNING. No port tuning or speaker match- inspiration, ing. armchair, or - late at night - even ANY POSITION. Operates in any room position. in bed, with a pad of letter paper on NO RESONANCES. No false cabinet or air reso- on it VELVET TOUCH TA -12 nances. his knees, scratching alternately I/S VISCOUS DAMPED TONE ARM COMPACT. Sizes for 8" 8 10" speakers, 12" x and at his head with a pencil. His 12" x 9 "; 12" & 15" speakers, 17" x 17" x 14 ". creative work is done always at home, Outperforms Arms Prices: finished $39.53 8 $69.50 respectively. Costing Twice as Much! Unfinished Birch $34.50 8 $59.50. never at the factory. For fun and Most remarkable arm value in America! So REAL HARDWOODS. In all popular finishes . . . plays a round mahogany, blond, ebony, walnut. exercise, he occasionally gentle you can safely DROP it on your Hand made, of golf. He claims to have no hobbies; records yet resists vibration better than any INCOMPARABLE CONSTRUCTION. kids can hand finished ... by master craftsmen. All walls he feels he has made both avocation other type arm. Foolproof - %," thick. handle. Fluid silicone damping soaks up enthusi- GUARANTEED. Unconditionally guaranteed to and vocation of his one great arm resonances for cleaner reproduction, bet- out -perform any other enclosure now available asm: conceiving and building beauti- ter tracking. Jeweled bearing. "Slide -in" regardless of size, weight or price. safer, instruments for the shells for all standard cartridges. No If you want the very best speaker en- ful precision gentler arm available. closure and will not be misled as to real making of records. performance by deceptive size or price, see $19.95 your audio dealer at once. A demonstration However, in his house there is a will convince you. Or write for literature. home -assembled hi -fi system, with OTHER I/S PRODUCTS *American and foreign Patents pending. loudspeakers projecting through the SONY STERECORD TAPES Finest Prerecorded Stereo Tapes. living -room wall into the adjoining SONY ELECTROSTATIC PICK -UP pantry. The system is unfinished, of One of the world's S nioothest Pickups BRADFORD course. Every genuine system must be, FINE HI FI CABINETS and this one built by a perfectionist Available at most HI FI Dealers is no exception. In the basement, BAFFLE Guaranteed and Exclusively Imported by PeVe't conversion work has produced an BRADFORD & COMPANY amusing mixture of bar, playroom, INTERSEARCH 27 East 38th Sireet NEW YORK 16, N. Y. and playpen, with all the woodwork, 7 Arcadia, Cincinnati 8, Ohio

150 HIGH FIDELITY MAGAZINE paneling, floor covering and interior decoration by Larry, with the assis- ... tance of the youngsters. The area I JJ . 'Jl;'¡ f .J call the playpen contains a tremendous array of railroad tracks, trestles, : :r.lf . Colber crossings, switches, trains and locomo- tives, with diesel engines, all operated LABORATORY, INC, and steered by remote -control buttons, r;; knobs, and dials. I voiced the opinion subject: that was, J J it possibly, not Judy and A Significant Departure in the Direction of Highest Fidelity Jerry alone who played with the base- featuring: ment railroad, and I delight to report The COLBERT ELECTRONIC 3- CHANNEL FREQUENCY DIVIDER that Larry's feeble attempts to clear specification himself of suspicion were completely summary: Complete Range Controls for three frequency bands unconvincing. For hours I searched Eliminates impedance mismatching grimly for at least one sign of human Complete electronic compensation for unequal speaker efficiencies imperfection in this perfectionist at- Affords optimum damping of individual loudspeakers Provision for use mosphere, and finally I found one. on two or three -way loudspeaker systems Includes 10 watt ultra -linear amplifier for The piano is dreadfully out of tune. use on middle or high range For use with regular or electrostatic loudspeakers, or combinations Three -channel operation results in lowest over -all distortion

TRADER'S MARKETPLACE MODEL 3 -CFD $1 54.50 Decorator style case in blonde os Here's the place to buy, swap, or sell mahogany formica finish... $ 5 audio equipment. Rates are only 3o¢ a word (including address) and your ad- Slightly higher in west and deep south vertisement will reach 6o,000 to ioo,000 For full specifications see your music listeners. ' Remittance must ac- dealer or write to Dept. HF12 company copy and insertion instructions. ASSOCIATE TAPE RECORDERS, topes, hi -fi components at WHOLESALE prices! FREE catalogue. CLARSTON, \1.I MA,yG 215 E. 88 St., New York City 28. LABORATORY INC 160 -09 Hillside Avenue FREE MONTHLY HI FI BULLETIN. Write for quota- Jamaica 32, New York tion on any components. Sound Reproduction, Inc., 34 New St., Newark, N. J. Mitchell 2 -6816.

"TRENDS . . in Leisure Living ". An exciting gift emporium of home entertainment accessories, with the accent on music! Free catalog. Leslie Crea- tions, Dept. C209, Lafayette Hill, Pa.

LEARN WHILE ASLEEP with your recorder. Amaz- ing book gives full instructions. $2.00. Guaran- For the Audio perfectionist teed. Research Association, Box 610, Omaha.

FOR SALE: RCA Theatre Speaker System consisting THE DYNAKIT MARK II 5o watt amplifier of 15" woofer in large folded horn, huge multi - furnishes the finest cellular horn, H.F. ariver unit, 300 -cps network, $275. ALSO double woofers in folded horn possible performance at surprisingly low cost. This unique circuit 3' x 7' mouth, $150. Too I "rge for average home unless you are the dominant personality. design by David Hafler can be easily assembled in less than three Will consider swap for test equipment. Saul White, 3746 Boston Road, Bronx, N.Y. Phone hours by even an inexperienced constructor, TUlip 2 -8099. since most of the parts are prewired in a printed circuit assembly. HI -FI ENTHUSIASTS! Write us for ROCK BOTTOM prices. Complete line. LOOK! Brand new nationally advertised 3 -way speaker system. Net $352.00. price Our $299.00. Prepaid, Guaranteed. DYNAKIT THE SILVER TRUMPET, 406 Walnut, Alexandria, FEATURES Indiana. Power for the full range 6 ELEMENT BROAD BAND FM antennas. All seam- of musical dynamics. less aluminum, $10.95 ppd. Wholesale Supply Co., Lunenburg, Mass. Response far in excess of the audio band. MAGNECORD M -90 -AC professional tape recorder in cases. Less than 25 hours use. Cost $1.365.00, Distortion below the Sell $750.00. Roland S. Bond, Jr., 2600 Republic threshold of perception. National Bank Building, Dallas 1, Texas. Unequalled transient re- TAPE RECORDERS, TAPE. Unusual value. Free sponse for percussive sig- catalog. Dressner, 69 -02K 174 St., Flushing 65, N. Y. nals and complex harmonies. A SPEAKING -SINGING VOICE lesson for every- The consistent body, as demonstrated on Steve Allen Show. reproduci- A 10" double face 33LP record $3.95. Victor Drilea (slightly higher biliry of modern printed School of Voice Culture, First St., Sarasota, Fla. in West) circuitry.

FOR SALE: Heathkit W2M amplifier - WAP1 preamplifier - Electro -Voice 12W - Wharfedale WRITE FOR COMPLETE SPECIFICATIONS OR SEE YOUR AUDIO DEALER 12 /CS /AL. Shaine, Queens, TW. 8 -3134, after 6.

BROCINER Mark 30 -C control unit. Late model, DYNA COMPANY, DEPT. HF, 5142 MASTER ST. PHILA. 31, PA. just fac'ory overhauled. Sell for $60. Box MDM, The Publishing House, Great Barrington.

DECEMBER 1956 '5' Save yourself time and trouble by ordering your books directly from us. Just fill in the coupon below and mail it to us with your remittance.

How to Make GOOD TAPE RECORDINGS "Music bible." New York Times by C. J. LEBEL - Vice President, Audio Devices, Inc. The articles are marvels of concise information and tape recording, by This completely new handbook on authority." Saturday Review Syndicate one of the foremost authorities on the subject, con- magisterial - tains up -to- the-minute practical help for both the experienced tape recordist and the novice. Written in concise nontechnical language, it can be read and easily understood by the most inexperienced. At the GROVE'S Dictionary same time, the professional will find a wealth of useful information which could be supplied only by of Music and Musicians a person of Mr. LeBel's knowledge and experience. All aspects of tape recording are covered. Leading Edited by ERIC BLOM specialists in their respective fields contributed the Recording, Tape Editing, chapters on Microphone and authoritative reference work on and the Use of Sound Effects. The most complete music and musicians. In its more than 8,000 pages you are Cloth -bound Edition, $2.50 227 given: definitions of all musical terms; complete references 229 Paper -bound Edition, $1.5o to composers, musicians, instruments, musical works; a record of all the works of the great masters of music; articles on folk music, criticism, technical advances in film music, radio, ear-training and the understanding of sound; and an un- Maintaining HI -FI equalled quantity of other pertinent facts and information. EQUIPMENT FIFTH EDITION published 1955. The first complete revision since the original publication seventy -five years by JOSEPH MARSHALL ago. Profusely illustrated. book on the specialized approach A much needed 236 necessary to service high -fidelity equipment. The Nine -volume set, jacketed and boxed, $127.50 author discusses not only electronic faults, but the mechanical and acoustical defects which cause a hi -fi system to function less than perfectly. Hard -cover Edition, $5.00 232 Soft-cover Edition, $2.90 233 A brilliant defense of opera as a significant art form. and audio " "For electronics technicians, repairmen, enthusiasts in general, this volume is a veritable OPERA AS DRAMA by Joseph Kerman . . . . it is truly up -to -date audio bible {and} common partial views that There is so much valuable practical information in In this new book Mr. Kerman rejects the this well- indexed work that it should be at the opera is a musical score hoisted on the stage or a play with musical finger tips of everyone who enjoys building or im- adjuncts. He affirms that it is an art form with its own integrity, a proving home sound systems." - Richard D. Keller essential imaginative articulation is pro- Magazine. type of drama in which the in AUDIOCRAFT vided at every step and in the totality by music. Through penetrating musico- dramatic analyses -1 of many central works in the operatic canon, Opera as Drama evaluates the successive solu- Book Department operatic dramaturgy. HIGH FIDELITY Magazine tions to the problems of Great Barrington, Mass. 269 pp. plus index $4.50 235 I enclose $ for which please send me, postpaid, the books indicated by the circled numbers below. (No. C.O.D.s or charge orders, please.) Foreign orders sent at buyer's risk. Add 55¢ for postage on foreign orders. Of this book, Eric Bentley wrote: Binder: 6b, $2.95 each. "I can only say I had dreamed of writing such NAME 227 232 a book myself, and contemplate Mr. Kerman's ADDRESS 229 233 fine work with a sweet, painful blend of envy 235 236 and admiration."

152 HIGH FIDELITY MAGAZINE EASY STAGES FOR HI -FI SIR: recommended by its manufacturer. As I am conter iplating improving The power required to drive a loud- PERFECTIONISTS my present system , I was particularly speaker to a certain volume level de- interested in Cha les Fowler's article pends upon its efficiency, not its size. Another TANNOY speaker triumph ":3efore You Put ).our Money Down," While it will usually he found that a The now world- famous TANNOY DUAL published in the September issue. larger speaker will have a higher CONCENTRIC speakers have established a Fowever, there ai e a few points on power rating, this rating determines standard of reproduction so high as to embarrass those among the perfec- which I would api reciate clarification. only how much power it can handle tionists who must use, or prefer to use, First, it is stati d that an infinite without overload; it has nothing to multiple systems . . . and, of course, baffle should be used only with a do with how much those whose budgets won't stretch in sound the speaker every direction at the same time. They speaker designed for the purpose. will produce when a certain amount need be embarrassed no longer ! The What characteris ics determine a of power is delivered to it (unless. new TANNOY 12" Direct Radiator is their starting point. speaker's suitabilir for this type of of course, No single speaker it is receiving more than can offer a better introduction to the installation? its rated power). As long a.r the am- realm of realism than this product of Second, the old question of power. plifier's power is lower than that of English craftsmanship. The new TANNOY 15" L.F. unit and I the am now using a ten watt amplifier the speaker, the switch to a larger new horn- loaded H.F. unit (both based ard, since my room is small (12' x speaker will not usually make a .signi- on the performance specification of the this seems to be adequate. I ficant difference in the volume capa- DUAL CONCENTRICS) follow - but not necessarily together -to bring the system have been informed by a number of bilities of the system, except insofar as near perfection as human skill can se. f -styled experts, however, that the as the increased radiating area may devise. A specially designed cross -over network ensures optimum performance sa itch from my 12 -in. speaker to a increase efficiency. A higher- powered from a two- speaker set -up until the 15 -in unit will necessitate more ampli- speaker, then, does not require a budget permits adding the final unit. fier power. An equal number inform higher -powered amplifier; it just en- The original 12" Direct Radiator now me achieves its remarkable best as a mid- that the i5 -in speaker will require ables a higher -powered amplifier to range speaker. Here indeed is perfection less, rather than more, power. be used without overloading the in easy stages! I would sincerely appreciate your speaker. opinion concerning these problems. W. A. Wright Garden City, N. Y. SIR: In a new home I am completing, I Us? of the average cone -type am constructing a Hi -Fi Center with 15 INCH woofer in an infinite baffle will cause music "piped to several rooms. A LOW FREQUENCY some loss of low frequencies, because part of my high- fidelity equipment UNIT while the speaker's conversion effi is a German TEFI tape player, pur- cieqcy remains constant over its fre- chased in Mannheim, Germany. This quency range, its transfer of acoustic tape player is designed for operation energy into the air falls off as the on 220 volts, 50 cycle. wave length of the sound approaches Would you advise me how to hook HIGH FREQUENCY the diameter of the speaker opening. it up to operate with other equip- HORN- LOADED Loudspeakers made specifically ment on a no volt 6o cycle AC for use UNIT in infinite baffles generally have low supply? I have an extra 22o volt cir- effi,:iency in their middle and upper cuit which could be used with it if range, with increasing efficiency at necessary. the low end. Thus, as the cone's area R. H. Bassett 12 begins to limit the low -frequency San Diego, Calif. INCH { DIRECT coupling to the air, the speaker's rising RADIATOR efficiency maintains the acoustic out- A step -up transformer or 220 -volt output at a constant level down to the let (as is used for electric f recquency of cone resonance. stoves in mane homes) will allow you to use It should be emphasized that low your German tape recorder in the efficiency alone is no criterion for United States, but the difference in jud ing a speaker's suitability for use frequency will cause the unit to run in an infinite baffle. The low efficiency \TAMMoyi faster than it should, increasing the muet be accompanied by rising effi- pitch and tempo of standard -speed cier, cy at the low end. The best rule Practitioners in Sound tapes, and slightly upsetting the equal - Tannoy (America) Ltd., 38 Pearl Street, New York 4, of I humb to follow in installing any N.Y.. U.S.A. Tannoy (Canada) Ltd., 36 Wellington Street East, Toronto 1, Ontario, Canada. speclker is to use the type of enclosure Continued on next page /// DECEMBER 1956 153 AUDIO FORUM table center pin as specified? Or is there a way to accomplish both? Continued from preceding page H. R. Long Statesville, N. C. ization characteristics of the electronic The distances specified in a pickup section. arm's mounting instructions for stylus If you can obtain a reduction sleeve overhang and arm base location are for the drive motor in your recorder calculated to provide minimum track- it would solve the problem; otherwise ing error over the entire surface of you'll have to accept the inaccuracies the record, and some arms and pick- VINYL COVERS that the higher speed will create. ups have adjustable studs or elongated Custom -Made for Your Tapes made on the recorder here in mounting holes to permit both dis- the United States will, of course, play HI -FI EQUIPMENT tance specifications to be met. back at the proper speed. In those cases where both distances HEAVY sixteen gage clear vinyl plastic cannot be precisely obtained, the posi- covers for all types of phonographs, SIR: tion of the arm base with respect to turn tables and hi -fi equipment. These I have recently purchased a transcrip- the turntable center should be covers are custom made to suit your tion turntable and arm. Instructions changed, in order to obtain the precise specifications. Sold only by mail. for installing the arm specify a certain stylus overhang distance. The reason Money back guarantee. distance from the center of its base for this is that tracking error (the to the center of the turntable center condition where the cartridge is not 2'95 each pin, and then specify that the pickup perfectly tangent to the groove at the stylus must overhang the center pin point of stylus contact) becomes in- For sizes up to 21 ". by a given distance. In installing my creasingly significant as the inner For sizes over 21 ", small additional charge. pickup cartridge, it appears impos- grooves are approached, because the -five cents for postage. Please send twenty sible to satisfy both requirements, groove undulations are sharper, more Free sample of material tent on request. Send complete information pertaining to since the specified base position gives twisted toward the center of the disk. size and depth. the wrong overhang distance. A tracking error of several degrees Which is correct - to have the is not audible in the outer grooves MARVIN CELLAR stylus overhang the center pin by the of a disk, but as the inner grooves 118 Main Street, Poughkeepsie, N. Y. proper distance, or to have the dis- are approached, the same tracking tance from the arm base to the turn- error will produce progressive ANNOUNCEMENT NOW Interelectronics proudly presents its magnificent new VAN- high fidelity GUARD series of matchless High Fidelity equipment. As new and breathtaking as tomorrow -these fabulous High 6'í 9" COAXIAL Fidelity amplifiers and preamplifiers bring you 1960 achievements- today!

Breaking the barrier of time, the Interelectronics VANGUARD series gives you- TOROIDAL Nickel -alloy output transformers, for unparalleled performance and simplicity of design - TOROIDAL Nickel -alloy power transformers, for zero hum field- TOMORROW'S circuitry, found only in ultra -precise computers and guarded military electronic equipment -TRAN- feedback circuitry for zero hum and noise buy SISTOR wide -band -MULTIPLE impedance output transformer winding, for almost speaker matching SEMI -CONDUCTOR ... ideal for original, replacement, or unlimited precision - remote installation plus auto rear completely tubeless power supply, for tremendous breath- deck wherever high quality ex- exhilarating transient tended range speakers are desi red. taking surges of undistorted power and Cinaudagraph offers a superior qual- response, to delight even the most critical perfectionist. ity speaker for every Hi -Fi need backed by the industry's only 5 -year These are but a few of the design achievements found in the warranty. VANGUARD series. Write for the complete brochure describ- 5 YEAR WARRANTY ing this triumphant new High Fidelity series by Interelectronics! ... ask to see it at your dealer -- or write At better High Fidelity distributors soon.

INTERELECTRONICS CORPORATION INC. Dept. H, 2432 Grand Concourse 7334 N. (LARK ST., CHICAGO 26, CABLE ADDRESS -ENOTS New York 58, N. Y.

154 HIGH FIDELITY MAGAZINE amounts of distortion. If the pickup and transmitting equipment that you the manual record player arm is long, its path of travel across a might be better off listening to them your system can't outgrow! disk begins to approach a straight on a narrow range system. line, so if the cartridge is perfectly There are, however, very few of the tangent in the inner grooves, its latter, so it would probably pay you to tracking error will not increase sig- improve your system. The improve- nificantly as it moves outward. A ment in listening quality is likely to short arm, however, moves the stylus be quite significant from most FM through a fairly small arc, so perfect stations. tangency in the inner grooves will 55995 give poor tangency in outer grooves. SIR: Consequently, in any arm shorter than, Until quite recently I thought there 1 say, 3 feet in length, its tracking must was some necessary reason why the represent a slight compromise between lead -in and run -out grooves of micro- perfect inner -groove tangency and groove records were made so very perfect outer -groove tangency. And noisy. In most records the start is because the inner grooves are more like the sound of a buzz -saw, followed rated with costlier turntables critical of tracking error, they must at the end of the record by a grinding, ready for Immediate installation be favored. thumping noise as the stylus rides the No matter how you improve your hi-fi The manufacturer's recommenda- eccentric run -in groove. system, you'll never have to replace your Thorens Manual Player . . . you've got tion for stylus overhang distance in a Today I purchased the Vanguard - the best to begin with I You'll save initial pickup arm of given length will pro- Bach Guild album of Bach's Branden- costs too . . . for you'd have to spend more for a duce optimum tracking in all grooves, burg Concertos, and I am delighted turntable that performs as well as the CB -33P. Has Swiss -precision so it should be followed closely when with the quiet starts and stops of these direct -drive motor; separate gear for installing the arm. The resulting records, as well as with the beautiful each speed. Preassembled tonearm with tracking weight and cartridge change in the arm's outer -groove performances. I hope that other man- alignment adjustment; 2 plug -in shells. tracking angle will be so small as to ufacturers will follow the step that be absolutely negligible, as far as the Vanguard has taken. PREFER A sound and record wear are concerned. W. L. Knaus Mountain Lakes, N. J. record Sm: changer? At the present time I have a Sargent - Much of the rumbling noise that is heard from the lead -in and run -out Rayment tuner, a Heathkit amplifier, THERE'S ONLY ONE YOU CAN USE...AND grooves on a disk is caused by meshing and a 12 -in. University coaxial STILL ENJOY HI -Fl REPRODUCTION! speaker. I get very good reception of the gears on the spiraling mechan- from three FM stations ( two of them ism, which is part of the disk cutter i about ioo miles away) and have en- system. The click in the run -out joyed a lot of good music for my groove represents that point where the investment in equipment. cutting stylus was lifted from the disk The question is, is an FM signal at the completion of the cut. ( considering frequency response, etc.) Since few people devote much at- of sufficiently high quality to warrant tention to listening to lead -in and run - my putting more money into more out grooves, record manufacturers new ambitious equipment? Would the im- have never felt obliged to try to make THORe54 provement in quality from FM broad- them quieter. The fact that some CD-43 5960° casts be noticeably of the newer record releases have very improved? Powered by the big Swiss -precision direct - I have no record player or record quiet lead -in and run -out grooves is drive motor with separate gear for each library. I depend upon the outfit de- probably just the side result of using speed ... performs as well as many fine a different type of cutter mechanism. turntables) scribed above for whatever music we MANY It is doubtful that such noise reduction CONVENIENCE FEATURES TOO hear in the home, so the question I . 3 -speed selector with integral control have posed is important to me. was specifically planned. for exact pitch, intermix for 12 ", 10'' and 7" records, pause and reject, tone - Harold Casiday arm with adjustments for tracking weight Yuba City, Calif. SIR: and cartridge alignment, manual play Does the power of an amplifier govern switch ... and many more features. the dynamic range of the sound it The potential quality of FM broad- Send nie data on: CB -33P C CD -43 is will produce from a given record casts more dependent upon that of transcription turntables record players the individual stations than it is on under given circumstances? Or, to Hi -Fi and Your Budget the FM medium itself. put it a little differently, if my wife Name Some FM stations broadcast signals can't endure the fortissimos from a that are as good as the best obtain- 25 -watt amplifier, would a ro -watt Address able in the home, and for these it is amplifier prove more humane? In City Zone State worthwhile to use the best receiving asking this, I am assuming, of course, Music Boxes and reproducing equipment that you that the soft passages are set at about Swiss HiF, Components THORN, MADE Spnng.Powered Sharers can afford. On the other hand, some the same sound level in each case. Lighters MEW HYDE PARK NEW YORK stations use such poor quality pickups Continued on next page

DECEMBER T956 155 AUDIO FORUM // Continued from preceding page

And if this is true, is the loss of peak O decibels roughly proportional to the MADE IN loss of watts between similarly rated ENGLAND units? If hi -fi addicts gain a reputation for playing everything too loud, it is prob- QUOTE bodied bass ably because they can't help it. Too "Startling, full- mid -range FOR YOU many of my symphony records can't crisp, clear ." ... shimmering .. i95á be played through at a single setting vibrant Magaaves. May A HIGH FIDELITY CHRISTMAS Leading Hi -Fi without someone walking out. Record at the small Christmas -a fitting time to give HI -FI to production must be aimed Att'TR1- CHANNEL your family, your loved one ... or yourself. record player and the five watt com- HI -FI Sound System watt 'ÿ bination, and the buyer of a fifty Frankly, only about 12 people who outfit should realize that he's going read this ad will be interested enough in the majestic sound reproduction to have to hire a hall. to plunk down $795.00 for the unit. Would replacing the 5881s in my You are one of them ... only if you sincerely want the truest depth and amplifier with lower-power types be dimension possible in an audio sys- a satisfactory solution? Or using a tem. This is a radical departure from conventional Hi -Fi ... featur- smaller speaker? Will changing the ing a 3 channel Tone Colour mixer Y; pickup load resistance affect the dy- (preamp) feeding 3 separate amplifiers and driving 4 speakers -all oa namic range? acoustically matched! Flat frequency response from below 25 to Anything you can tell me about above 25,000 cycles. Distortion below this will be very much appreciated. recordable measurement. can B. Davis Don't get excited about it unless you W. afford the price . Have your sound spe- Las Cruces, N. M. cialist arrange a demonstration rite today/ for independent, unbiased performance test reports. A lower-powered amplifier will reduce ERCONA CORPORATION the peak volume that is obtainable (Electronic Division) 551 Fifth Ave., Dept. s i, New York 17 from a reproducing system, but the manner in which it does it prohibits the its application as a compressor of dy- . yooz tn:K" namic range. Magnificent High -powered amplifier proponents claim that, at low volume levels, the Vi i' 64 only audible difference between a ro- errvrap Remember, a home music system is an in- y a 5o -watt one is ' vestment in style, electronic perfection, AND watt amplifier and more important - many happy hours of lis- in the definition and transparency of - tening pleasure. Model 3A /N .round, with the difference favoring (portable) the higher -powered amplifier. With- with built in speaker. in their rated power range. both am- 3%-7'/2 ips plifiers will reproduce accurately what- $379.50 ever dynamic range is recorded onto a disk. At high power levels, however. (particularly when a loin- efficiency speaker is being used) the Io -watt The world's finest x amplifier will overload on crescendos. hi-fi tape recorder producing very unpleasant distortion. Q The ultimate in high- fidelity tape The net result, rather than a uniform recorders for home and professional use. compression of dynamic range, is full Dual -speed, dual -track FERROGRAPH whether you pur- dynamics up to the point of overload, recorders are also available in custom So a word of caution ... decks available, chase a single component or a complete and gross distortion beyond that. The models (tape system, for Christmas or any other time, be from $195.) and with 7% overloading amplifier will clip the and 15 ips speeds. Independent field certain to consult experienced sound techni- Frequency cians - experts in the field - to help you loudest peaks from the program ma- performance tests rate Response at ± 2 db between 50 and choose equipment best suited to your tastes, terial, but it will do so in such a the acoustical characteristics of your home, 10,000 cycles with wow and flutter and your budget. manner that felt listeners could toler- less than 0.2% at 7% ips. ate the sound for any period of time. Quality standards have restricted our Visit us in our special sound studios ... designed production and unforseen demand may delay and created with YOU -the customer -in mind. Since disk recordings already have delivery, write TODAY for literature. some volume compression on them. ERCONA CORPORATION anyone to find further HI- FI -INC Everything in Sound it is unusual for (Electronic Division) compression desirable. Volume com- 551 Fifth Ave., Dept. 3 i. New York 17, N. Y. 10309 SOUTH WESTERN AVENUE In Canada: Astral Electric Co. Ltd. at rather high Danforth Road, Toronto 13 CHICAGO 43, ILL. PRESCOTT 9-3323 pressors are available 44

156 HIGH FIDELITY MAGAZINE cost, from recording and broadcast equipment manufacturers. We would tend to suspect, though, that your complaint about excessive dynamics HI -FI Tape Demagnetizer! on disks is prompted by some defect in your system, which is introducing high distortion on program peaks. N- HF You may, in fact, find that your amplifier is actually under -powered for oiseraser use with your speaker, and is thus introducing the distortion that adds Assures quality unpleasantness to high -volume re- reproduction in tape re -use corded passages. Replacing your 5881 tubes with an- THE N -HF is a bulk magnetic tape de- other type is certainly not the answer. gausser This would produce even greater containing a powerful mag- amounts of distortion at lower volume netic circuit. Recorded and undesirable levels, and might damage your am- signals are removed from entire reels plifier irreparably. The smaller of tape in a few seconds, 4 -6 db below speaker would not be likely to give SIMPLE -q uick- effective standard erase heads. Made by the you better results either, because of operation. Demagnetizes %"'' tape on reels up to 10" the likelihood of response peaks in a diameter. manufacturers of outstanding profes- loudspeaker of lower cost than the 7a/," long x 4%" wide sional and military bulk tape degaus- one you have. Reducing the pickup x 3%" deep. Removable spindle. Weight: sers, the N -HF offers a new dimension loading will reduce the entire volume 8 lbs. in quality to HI -Fl enthusiasts. Attrac- of the sound, rather than its dynamic L range, and will simultaneously cause tively styled in modern home colors. a serious loss of high frequencies. The *NOISERASER is the trademark cartridge should be loaded as recom- of Librascope, Inc. for tape mended by the manufacturer. demagnetizers.

SIR: A SUBSIDIARY OF GENERAL PRECISION EQUIPMENT CORP. I am very puzzled as to why there is BURBANK DIVISION 133 E. SANTA ANITA STREET BURBANK. CALIFORNIA such an audible difference between two good full -range speakers of equal rated frequency response. M. Lane Brooklyn, N. Y. "Designed and Styled in California No two loudspeakers have identical frequency response. transient distor- for Todays Gracious Living "* PDQ tion, harmonic distortion, and spatial distribution characteristics, and these differences between speakers are immediately evident to the listener. The fact that two speakers ma) have identical published characteristics is not necessarily any guarantee that they will be the same, because within the ± 3 or -!- 5 db rating of a speaker over its range there is still much room for audible response variations. There are also many loudspeaker character- Electronically Speaking: "Monterey" C26W $189.50 istics for which ratings are never Presenting the "MONTEREY ", "Hacienda" II Cabinet 13.95 given. Some of these, as a matter of C26W, COMBINATION fact, cannot even be measured in ab- AM -FM TUNER solute terms, but all of these things PRE- AMPILIFIER AUDIO CONSOLE can influence the way a speaker mill 20 WATT AMPLIFIER sound. ALL ON ONE COMPACT CHASSIS 14 %2" x 4'/:' x 8" First of the all -new CALIFORNIA series. Available as shown in the beautiful "HACIENDA" II cabinet, or separately for custom mounting. Featuring: A nine position SELECTOR for; TV /TAPE, AM FM -AFC, FM, AES, COL, RIAA, NAB, MIKE. Satin finished brass front panel. Two position TUNING EYE and sectionalized engineer, ing. Connects a speaker system; add phono later. DEALER INQUIRIES INVITED Lafayette, California Pedersen Denotes Quality

DECEMBER T956 157 HIGH FIDELITY MAGAZINE INDEX -- 1956

Little SEMI -REGULAR Marshall, Margaret: Music For Marsh, R. C.: Walker's REGULAR AND June '56 FEATURES Burning Aug. '56 Wonder Persistent Newitt, John H.: The Adventurers in Sound Misch, Ludwig: The Cuzzoni Sept. '56 Electrostatic Speaker May '56 As the Editors See It Ghost of Signora Russia as It Audio Forum Peerce, Jan: AND BIOGRAPH- Saw Me Nov. '56 PERSONALITIES Books in Review ICAL SKETCHES (Alphabetically by Subject) Building Your Record Library Pleasants, Henry: Bel Canto June '56 Major, Dialing Your Disks Through the Microphone Armstrong, Edwin H.: The A Half - Oct. '56 Discographies (see Music and Records) Schonberg, Harold C.: by L. Lessing Nov. '56 A Encores Million Records Kleiber, Erich: The Passing of Aug. '56 by Rodrigues Sitwell, Sacheverell: The Free Spirit, by J. Barzun Jackets Jan. '56 Letters Miracle of Mozart Orff, Carl: The Orff Hypothesis, with High Fidelity Smith, C. E.: A New Breed of by Henry Pleasants Oct. '56 Living July '56 Living with Music Cats Rubinstein, Artus: A Half Century Oct. '56 Music Makers Stern, John: Ultrasound Without Vitamins, by Harold into Feb. '56 Noted With Interest Villchur, Edgar: What Goes C. Schonberg Feb. '56 On the Counter Your Tutti Scully, Lawrence: He Who Lathes Dec. '56 Records in Review Weaver, William: Whistle Best, by F. A. Kuttner You Work Mar. '56 May '56 Swap -a- Record Vivaldi, While Stern, Isaac, by R. Gelatt Tape Deck Wells, Tilden: That Crazy June '56 LIVING WITH MUSIC Tested in the Home (Indexed in this Mixed -up Muse issue) Windreich, Leland: Album Kinsey, Alfred C. July '56 Antics Aug. '56 Montagu, Ashley Oct. '56 GENERAL ARTICLES AND SPECIAL Wrathall, A. R. P.: Opera on the FEATURES (Listed Alphabetically by Author) Sussex Downs May. '56 POEMS Abraham, Gerald: On First Britton, Christine: Neighbor's Mozart Jan. '56 Lament July '56 Hearing PICTURE AND CARTOON FEA- Ball, John, Jr.: Love Letter to an Miller, Philip L.: Thirteen Ways TURES Old Speed Nov. '56 of Listening to a Record Mar. '56 Bentley, Eric: Poor Richard's A Song for the Open Road, RECORDS Soundtrack Mar. '56 S. W. Plimpton June '56 Berlioz, Hector: Music in As Never Was, Fred Grunfeld & Building Your Record Library England -1851 Mar. '56 Otto Bettmann July '56 Americana, Basic works, Bourgin, Simon: Europe's Mozart First Stereophonic Noel Dec. '56 Fred Grunfeld Feb. '56 Festival Year Jan. '56 Living With High Fidelity - Casals, Pablo, recordings, Bourgin, Simon: The Tapes are Harold Rome, Fred Sass Nov. '56 Paul Affelder Dec. '56 Twirling Jan. '56 Mozart, W. A. -A Pictorial Golden Age Vocal Reprints, Broder, Nathan: Twenty Analysts Essay Jan. '56 Philip L. Miller May '56 in Search of a Soul Jan. '56 Music on Every Level ( Custom Handel, Basic Works, Burke, C. G.: On Modifying the Installation) Sept. '56 C. G. Burke Sept. '56 Senescence and Mortality of Of Serpents, Sackbuts, & Jazz Soloists, Recordings, Disks Feb. '56 Sympathetic Strings, George John S. Wilson Mar. '56 Conly, John M.: A Subway Stop Humphrey & R. D. Darrell Sept. '56 Mozart You May Have Missed, Named Symphony Feb. '56 Rodrigues Updates the Allan Sangster Jan. '56 Copland, Aaron: At the Thought Orchestra June '56 Vivaldi and His Contemporaries, of Mozart Jan. '56 Basic works, Nathan Broder Nov. '56 Darrell, R. D.: Would Mozart REPRO- Have Been a Hi -Fi Fan? Jan. '56 HIGH FIDELITY SOUND DISCOGRAPHIES (By Composer) DUCTION De Schauensee, Max: Opera Taped Americans on Microgroove, Dec. '56 Where It Grew Doschek, Antony: The Art of Part I, Ray Ellsworth July '56 Middle Deane, J. G.: Right in the Baffling Oct. '56 Americans on Microgroove, of Your Pianissimo Apr. '56 Fowler, Charles: Before You Put Part II, Ray Ellsworth Aug. '56 Deutsch, O. E.: Portraits of a Your Money Down Sept. '56 Bach, The Chamber and Jan. '56 Genius Kuttner, F. A.: The Case of the Orchestral Music, Nathan Farberman, Harold: Equal Rights F -Sharp Major Eroica June '56 Broder May '56 Apr. '56 for the Percussionist Kuttner, F. A.: Who Gave Bartók on Microgroove, Forte, Allen: Composing with Brahms the Falling Sickness? July '56 Alfred Frankenstein Oct. '56 Electrons in Cologne Oct. '56 Kuttner, F. A.: Toward the Brahms, Orchestral Music of, B.: Gardner, Richard The Perfect -Pitch Machine Aug. '56 C. G. Burke Apr. '56 Apr. '56 Riverdale Project Shirer, Donald: High Fidelity Brahms, Orchestral Music of, Griffiths, Joan: Summer Music in Lexiconfusion Oct. '56 Part II, C. G. Burke Sept. '56 May '56 Europe - 1956 Jazz, Small -Group Traditional, For the Fi -Man's Amplifiers Holt, J. G.: John S. Wilson June '56 Dec. '56 '56 Stocking Allison, Roy: Why Biamplify? Nov. Mozart on Records, C. G. Burke Jan. '56 In Defense of a Post - Jellinek, George: Watt, Helmholtz A.: The Prokofiev on Microgroove, Mar. '56 Voice Ultimate Amplifier Apr. '56 Alfred Frankenstein Mar. '56 Kerman, Joseph: The Trouble Pickups Russian Opera on Microgroove, With Tosca Sept. '56 Herbert Weinstock Nov. '56 in a Kucera, J. M.: "Sound, sans Holt, J. G.: A Jewel Schumann, Piano Music of, . . Apr. '56 Dec. '56 Crack or Flaw ." Plastic Trough Harold C. Schonberg Sept. '56 Kucera, J. M.: Thunder Overhead July '56 Speakers BOOKS REVIEWED (listed by Authors) Fried, Irving: Those Problematic Marsh, R. C.: Mozart's Beecham Abell, A. M.: Talks with Great Electrostatics Sept. '56 in Action Jan. '56 Composers Feb. '56 Marsh, R. C.: Where do Holt, J. G.: The Haunted 161 Conductors Come From? Aug. '56 Loudspeaker Mar. '56 Continued on page

158 HIGH FIDELITY MAGAZINE a complete music center GENERAL INDEX amplifiers, tuners, speakers, cabinets: Continued from page 158

Anderson, E. (ed.) : The Letters OUR HORN TOOTS, of Mozart and His Family Jan. '56 Bach: Fifth Brandenburg Too 5%ørwzzud Concerto-Penguin Score June '56 HIGH FIDELITY Barricelli, J -P. & Weinstein, L.: Ernest Chausson Feb. '56 THE Barzun, J.: Music in American At the ULTIMATE* Life Aug. '56 Bate, P.: The Oboe Oct. '56 NEW YORK TRADE SHOW, Beckett, W.: Liszt Dec. '56 Beethoven Encyclopedia July '56 during the week of Belknap, S. Y.: Dance Bibliography May '56 September 22nd, 1956, Berlioz ( Barzun) : Evenings With the Orchestra July '56 Bertensson, S. & Leyda, J.: SO VERY MANY PEOPLE Sergei Rachmaninoff Apr. '56 Biancolli, L.: The Mozart VOLUNTEERED EXPRESSIONS Handbook Jan. '56 Blom, E.: Everyman's to the effect that the Dictionary of Music July '56 Blom, E.: Mozart Jan. '56 Pro -Plane PRISMATICS Blom, E.: Mozart Letters May '56 Bory, R. (ed.) : Life and Works offered them the of W. A. Mozart in Pictures Jan. '56 Brion, M. (trans. Barzun) : FINEST LISTENING Schumann and the Romantic Age Dec. '56 to be heard at the exhibit Chotzinoff, S.: Toscanini June '56 Cohen, A. B.: Hi -Fi Loudspeakers and Enclosures Sept. '56 that we feel we must devote Crosland, M.: Ballet Carnival Apr. '56 Cross, M.: Neu, Complete this space to extending Stories of the Great Operas Feb. '56 Crowhurst, N.: No. i- Amplifiers OUR WARMEST THANKS Nov. '56 Crowhurst, No. 2- the all new S -1000II N.: Feedback for their 20 watt amplifier Nov. '56 Crowhurst, N.: No. 3 -The Use of THOUGHTFULNESS A. F. Transformers Nov. '56 *The Ultimate -in simplicity of installa- Crowhurst, N.: No. 4- Public and their tion and operation -in subtlety of dial and Address Nov. '56 push- button Crowhurst, N.: No. 5 -The Quest control -in sound engineer- APPRECIATION. for Quality Sept. '56 ing accuracy -in flexibility; in crisp detail Culver, C. A.: Musical Acoustics Oct. '56 of music reproduction. Davenport, M.: Mozart Jan. '56 We hope that we are Davidson, G.: A Treasury of PRIVILEGED FEATURES: Six cabinet color choices including Opera Biography Feb. '56 gold -tooled leatherette -24 carat gold finished bez- Deakin, I.: At the Ballet Aug. '56 els. Controls are simple, easy -to- handle, yet com- DeMotte, W.: Long Playing to see you all sometime plete- include 6 -db presence -rise switch, equalizer control for 4 record compensation choices or micro- Record Guide July '56 phone and tape -playback equalization, inverse - Dent, E. J.: Mozart's Operas Jan. '56 again, feedback type bass and treble controls, Sherwood DeWitts, S. A.: François Villon Apr. '56 exclusive "center -set" loudness control, loudness Duke, V.: Passport to Paris May '56 compensation switch, 12 db /octave scratch and and meanwhile u hf: for rumble filters, phono level control, tape- monitor Edwards, A. C.: The Art of switch, and selector for 5 inputs (including 2 with Melody Oct. '56 high -gain YOU, preamplifier) -all on front panel. Speaker - Einstein, A.: Mozart: His damping selector switch on rear. Phono preamp features low -noise EF86/Z729 tube. Power output: Character, His Work Jan. '56 20 watts (40 watts peak) at 1% IM Distortion Erickson, R.: The Structure of and (60:7kc%4:1). Outputs: 16, 8, and 4 ohms. Inverse Music Feedback: 23 Mar. '56 db, plus current feedback selection. ALL Frequency Feather, L.: Encyclopedia of OUR READERS, Response at 20w: 20-30,000 cps ± 1 db. Preamp Sensitivity: 3mv. Preamp hum level: 60 db Jazz Mar. '56 below rated output. 105 watts, fused. 6 tubes plus Fischer, F. A.: Fundamentals of a rectifier. Size: 14 x 101/2 e 4 in. high. Electroacoustics Apr. '56 One year warranty Fowler, C.: High Fidelity -A PEACEFUL and JOYOUS Practical Guide net price from $9950 Nov. '56 Gatti, C.: Verdi: The plan and HOLIDAY SEASON Technical literature available on request. His Music July '56 Write Dept. H -12 Girdlestone, C. M.: Mozart's Piano Concertos Jan. '56 Grun, B.: Private Lives of the PRO -PLANE »>>>ih/1/7l/OOÓ Great Composers July '56 SOUND SYSTEMS, INC., FIECTNONIC LABORATORIES, INC. Haggin, B. H.: The Listener's 51st Street 8 A.V.R.R., Musical Companion July '56 Pittsburgh 1, Pennsylvania 2802 WEST CULLOM AVENUE, CHICAGO 18, ILLINOIS Continued on next page MUseum 1 -2905

DECEMBER 1956 161 Continued from preceding page

Haydn : Surprise Symphony - Penguin Score June '56 Hi -Fi Annual 1 June '56 Hi -Fi Year Book Sept. '56 Hickey, H. V. & Vallines, W. M.: Elements of Electronics Feb. '56 Hoefler, D. C.: Basic Audio Course Sept. '56 Hoefler, D. C.: Low -Cost Hi Fi Apr. '56

Hoopes, R. H. (ed.) : Building Your Record Library May '56 Inghelbrecht, D. E.: The Conductors World Mar. '56 ANTENNAE cheaper and quicker James, B.: Hi -Fi for Pleasure June '56 Kenyon, M.: Mozart in Salzburg Jan. '56 07Z! firI tal4 Me det/ ed QL 2 G d& direct from Britain King, A. H.: Mozart in Retrospect May '56 L. F. B. Carini, Ph.D. Kolb, A.: Mozart Nov. '56 You can save yourself time and money by Noted F.M. Authority ordering your Hi -Fi equipment direct from Krokover, R.: New Borzoi Both for optimum sensitivity and quality London. Book of Ballet Aug. '56 of construction, the FM /Q Antennae offer Every day at Imhofs equipment and truly outstanding performance that is un- records are carefully examined and tested Lambert, C.: Music Ho! Aug. '56 surpassedby any other. before packing for despatch to addresses Landon, R. H. C.: Symphonies all over the world. Don't limit your tuner's sensitivity by Imhofs good name gained in more than of Joseph Haydn Dec. '56 using an inefficient antenna. Listen to the 100 years of fair trading is your guarantee Landon & Mitchell: Mozart many other Good Music Stations on the of first class service. air and enjoy the full capabilities now Companion Nov. '56 dormant in your FM tuner. Obtain in- MacKenzie, C.: My Record of creased signal strength and the long Write today for our comprehensive catalogue distance reception that only an "FM /Q" which lists details of the best Hi -Fi equip- Music Nov. '56 System can provide. ment of all makes. Magidoff, R.: Yehudi Menuhin Feb. '56 For advice and information write our con- D.: How to Select and sulting correspondent who will be happy to Mark, advise you regarding the solution of your Use Your Tape Recorder Sept. '56 particular problem. Send twenty -five cents Marsh, R. C.: Toscanini and the for our valuable book, entitled "All About FM Antennae and Their Installation," Art of Orchcstral Performance June '56 which also includes a complete Directory Europe's Hi Fi Centre Marshall, J.: Maintaining of All FM Broadcast Stations. Hi -Fi Equipment Sept. '56 Alfred Imhof Limited Matz, M. J.: Opera Stars in the APPARATUS DEVELOPMENT established 1845 Sun Feb. '56 112 -116 New Oxford Street Mayer, M.: Hi -Fi Apr. '56 COMPANY,INC. London WC1, England Milligan, H. V.: Stories of the WETHERSFIELD 9, CONNECTICUT Famous Operas Feb. '56 Morike, E.: Mozart on the Way to Prague Jan. '56 The New Ed Corner Mount Music Rooms and Equipment Sept. '56 -Say Myers, K. & Hill, R.: LINEAR 3 -UNIT SYSTEM Record Ratings Aug. '56 Newman, W. S.: The Pianist's Problems Oct. '56 Radio Handbook May '56 Redlich, H. F.: Bruckner and Mahler June '56 Rider, J. & Jacobwitz, H.: Basic Vacuum Tubes & Their Uses Feb. '56 An Instrument Rosenthal, H.: Opera Annual Lovers! 1955-6 Feb. '56 for Music Sackville -West & Shawe- BOHN Phonograph- Radios have Taylor: Record Guide July '56 been created for those who demand the Saint -Foix, G. de: The finest performance from both AM -FM Symphonies of Mozart Jan. '56 radio and today's Hi -Fi records. Power- Salter, L.: Going to the Opera Apr. '56 ful Professional Components are fea- Seroff, V.: Debussy: Musician of tured. Yet these sets are among the France Dec. '56 most compact High Fidelity Instru- Sitwell, S.: Liszt (rev. ed.) Dec. '56 A superbly blended unit with expanded ments made: The End Table unit is Stevenson, R: Music Before the projection, clarity, depth, and character. only 25" high! A superb Bohn Loud- Classic Era Apr. '56 As carefully designed for smoothness and speaker System in separate cabinet com- Strauss, R.: Treatise on linearity as the very best amplifiers. pletes the set. Five finishes available. Instrumentation Oct. '56 A sparkling brilliance that only a sensi- Stravinsky, I.: Poetics of Music Nov. '56 tive speaker possesses. The increments of BOHN Phonograph-Radio- $1290 Tischler, H.: The Perceptive sound from pianissimo to fortissimo are (other models: $1075 to $2000) Music Listener Mar. '56 natural in degree, never inaudibly soft nor -mounted R. P.: Basic Electronics painfully loud. Uniquely corner Expertly Crated, Shipment Worldwide Turner, eliminating costly cabinetry bass boom and Test Instruments Sept. '56 Ask Your Dealer or Write: floor space. See TITH September '56. Van Valkenburgh, Nooger, and Neville: Basic Electronics Feb. '56 Specifications: Corner- mounted, 15" - 19" from TRUE HIGH FIDELITY ceiling, 1 hook. 3 units -12" woofer. 8" mid- Weiler, H. D.: Tape Recorders range horn. 3" tweeter. 16 ohmns. 25 watt June '56 35 peak. freq. range 50- 17500, substantially and Tape Recording flat. 35%" high. 35%" wide, natural Birch. Bohne Sept. '56 sealed, hand- rubbed, and waxed. Westcott, C.: Tape Recorders: CO. MUSIC SYSTEMS COMPANY How They Work June '56 Ed-Kay SPEAKER 550 Fifth Ave., New York Sept. '56 429A Park Ave., Worcester 10, Mass.

162 HIGH FIDELITY MAGAZINE