Hi 111 Stereo Review JULY 1967 75 CENTS Arturo Toscanini: a New Look at the Recorded Legacy the Basic Repertoire: Forty-Seven Best Performances

TEST REPORTS ON STEREO CARTRIDGES Hi 111 Stereo review JULY 1967 75 CENTS Arturo Toscanini: A New Look at the Recorded Legacy The Basic Repertoire: Forty-seven Best Performances

1 III J===.0===:41C=:==4)0C===4, intheere S TheninthinstallmentCOMPOSER AMERICAN THEGREAT -- 401111Pall? CANADIAN PRICE HIGHER

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Hifi Stereo Review

JUIN 1967 VOLUNIE 19 NUNIIIER I

THE MUSIC THE FEAR OF GOD-AND TOSCANINI A critic re-examines a conductorial legend ERIC SALZMAN 31. JOHN PHILIP SOUSA The March King was "an original [and] important composer"... RICHARD FRANKO GOLDMAN 35 THE BASIC REPERTOIRE Updatings and Second Thoughts, Part Two MARTIN BOOKSPAN 48 BEST OF THE MONTH Reviews of outstanding new record releases 61 EVEREST/CETRA: A HARVEST OF REISSUES FOR OPERA LOVERS - The fabled Cetra-Soria opeia recordings are again available GEORGE JELLINEK 80

THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 16 HI-FI Q Sc A Answers to your technical questions LARRY KLEIN 24 AUDIO BASICS Audio Specifications XI: Amplifier Power HANS H. FANTEL 28 LABORATORY TESTS OF ELEVEN STEREO CARTRIDGES Full reports on a number of top -rated models.- . JULIAN D. HIRSCH AND GLADDENB. HOUCK 52 -THE DOLBY" AUDIO NOISE REDUCTION SYSTEM Two new discs introduce a breakthrough in recording technique JOHN MILDER 76 TAPE HORIZONS Tapes for Troops DRUNIMOND MCINNIS 103

THE REVIEWS CLASSICAL 67 ENTERTAINMENT 87 TAPE 99

THE REGULARS EDITORIALLY SPEAKING 4 LETTERS TO THE EDITOR 6 ADVERTISERS' INDEX; PRODUCT INDEX 106

cOVER: DESIGN BY BORYS PATCHOWSKY; PHOTO BY BRUCE PENDLETON

1967 by Ziff.Davis Publishing Compare):. All rigida reserved. HIFI/Stereo Review, July1967, Volume 19, Number 1.Published monthlyCopyright at 307 North Michigan Avenue. Chicago. Illinois 60601. by Ziff.11itvia Publishing Company-also the publishers of Airline Manage:nen: and Marketing. Boating. Wildness & Commercial Aviation, Car and Driver,Cycle.Electronics World.Flying,Modern Bride.Popular Aviation. Popular Electronics, Popular Photography. Skiing, Skiing Area News. and Skiing Trade News. (Travel Weekly la nubliahed by Robinson Publica. lions,Inc.. a subsIdiary of Ziff-Davi. Publishing Company.) One year subscription rate for U.S., U.S. Powsession, and Canada. 56.00: all other ountries. 57.00. Second Class postage paid at Chicago, Illinois and at additional mailing offices. Authorised as second-class mail by the Post Office Department, Ottawa, Canada and for payment of postage In cash. SUBSCRIPTION SERVICE: All subscription correspondence should be addressed to HIFI/Stereo Review. Circulation Department, Portland Place. Boulder. Colorado 60302. Please allow at least six weeks for change of address. Include your old address, as well as new-enclosing If possible an address label from a recent 155(10. .4-CIRCLE NO. 103 ON READER SERVICE CARD 3 EDITORIALLY Hifi/Stereo Review SPEAKING PUBLISHER PHILLIP T. HEFFERNAN EDITOR By William Anderson WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE ALTHOUGH Mother Nature somewhere along the line MUSIC EDITOR saw fit to make JAMES GOODFRIEND man the most adaptable of her creatures, it begins to appear that she also set some limits to that adaptability. The TECHNICAL EDITOR press, the public, and even LARRY KLEIN our legislatures are starting to pay belated attention to what might be rather generally referred to as eye, ASSOCIATE EDITOR ear, nose, and throat disturbances- ROBERT S. CLARK visual outrages, unbearable noise, and polluted air-thatare direct results of our indefatigable and ingenious exploitation of the world around ART DIRECTOR us. BORYS PATCHOWSKY As a resident of a city mightily afflicted with air and noise problems, I CONTRIBUTING EDITORS must admit that I am fast reaching the limits of my adaptability, and there- MARTIN BOOKSPAN fore side with the militant angels. HANS H. FANTEL WILLIAM FLANAGAN On the visual front, however, I still haveone resource-I can selectively DAVID HALL ignore what I don't wish to see. Although it givesme great pleasure to NAT HENTOFF JULIAN D. HIRSCH know that there is one county in upstate New York which, by local option, GEORGE JELLINEK forbids billboard advertising, the tireless onslaught of the pitchman- IGOR KIPNIS PAUL KRESH whether he writes large in the sky or smallon the inside of matchbook DRUMMOND McINNIS covers-leaves me largely unaffected. In this, REX REED I suspect, I am like most PETER REILLY Americans: we have been the target, for most ofour lives, of the mightiest ERIC SALZMAN propaganda barrage ever mounted anywhere;we have been shouted at and EUROPEAN EDITOR whispered to,cajoled, amused, kidded, and pampered-and we have FREDERIC GRUNFELD somehow learned to ignore itall. Advertising is, of course, one of the LONDON EDITOR larger gears in our economic machine, andwe would have to sacrifice HENRY PLEASANTS many other delightful things (this magazine included) if we proposed ADVERTISING SALES MANAGER to do without it. But we have, in fact, developed a large LAWRENCE SPORN measure of immunity, and itis therefore not surprising that important advertising ADVERTISING messages sometimes fail to get through, that someone actually has made SERVICE MANAGER ARDYS C. MORAN that better mousetrap you have been waiting for-andyou missed the Editorial and Executive Offices news. Ziff -Davis Publishing Company One Park Avenue. New York, New York 10016 21J 679-7200 I must confess, adaptable and selective observer that Iam, that I had ERobastert ern )Advertising Manager: Jerry Sweeney Midwestern Office missed a bit of news until recently, and it took the first draft of Julian 312307 726-0892North Michigan Avenue, Chicago. Illinois 60801 Advertising Manager: Jerry Sweeney Hirsch's reports on the new phono cartridges in this issue to bringme Western OuIce 9025 Nil.hire Boulevard up to date. Mine, in all candor and humble honesty, is probably one of Beverly Hills. California 90211 213 CRestsiew 4-0265: BRadehaw 2.1161 Western Advertising Manager: Bud Dean the busiest turntables in this country, and it has been running without J.m.in: James Yagi Ishikawa Mansion 4. Sakuragaoka, ShibuyiPkU complaint for the past year and a half witha cartridge-a very good Tokyo, Japan Telephone: 482-2911-3 cartridge-with which I could find no fault. A well-founded confidence in Circulation Office Portland Place. Boulder, Colorado 80303 Julian Hirsch's judgment sent me scurrying home nonethelessto try a EDITORIAL CONTRIBUTIONS must be accompanied by trio of the new cartridges myself. I don't know whether the advertising P=Veranutighe7 handled VothrereptIrsT Wily for return or safety of art work. photographs. or manuscripts. fashion right now is to shout or whisper, but themessage is clear, and I Member Audit Bureau of Circulations hope you're reading: there is a new generation of phono cartridges, and they are a definite, distinct, and immediately audible improvementover those of only two years ago. Small as it is, it is difficult to overestimate the importance of the phono cartridge in the total audio system. It is the first transducer (changing mechanical to electrical energy) your music encounterson its journey from

ZIFF-DAVIS PUBLISHING COMPANY the disc to your ear, and no amplifier or speaker, however expensive,can William B. ZIP. Chairman of the Board (1946.195£) William ZiP. President W. Bradford Briggs, Executive Vice President do any more than amplify and reproduce whatever comes to it. For this Hershel B. Sarbin. Senior Vice President Philip Sine Financial Vice President Walter S. Mills. Jr.. Vice President. Circulation reason, the cartridge is the least expensive (prices these days range from Stanley R. Greenfield. Vice President. Marketing Phi1110 T. Heffernan. Vice President. Electronics Division $10 to $80) means of significantly upgrading the quality ofyour record- Frank Pomerantz. Vice President, Creative Services Arthur W. Butsow, Vice President. Production Edward D. MullMeld, Vice President. Aviation Division playing system. If you are presently using a cartridge more than twoor Irwin Robinson. Vice President. Travel Division three years old, you owe it to yourself and your record collection to make the switch: cartridges are better than ever.

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LETTERS TO THE EDITOR

FM-In Decline? casts good music of uncompromised quality. Iagree one hundred per cent withthe Operated solely by students at Harvard Uni- jeWSof John Milder ("Editorially Speak- versity, yet independent in all respects of the ing," April) concerning the creeping medioc- university, WHRB-FM has fortenyears rity in the FM medium as a whole. How- maintained foritsBoston and Cambridge ever, there areexceptions to everyrule and listeners a high standard of excellence. Station KMMK-FM hereinLittleRock, This factis borne out by our program. Arkansas, is one of them, I believe. KNINEK- ming alone. WHRB broadcasts about sixty FM was the first FM radio station in central hours of classical music every week, classi- Arkansas, and since the very beginning the cal music which never includes the semi- Arkansas Power and Light Company has classicalfavoritesor numerous warhorses sponsored a two-hour classical program every that are featured on other stations. in addi- evening from eight to ten o'clock. I've been tion, V'HRB is the principal forum for real doing theannouncingfor this program for jazz in Boston, with almost thirty hours of over four years now, and I have an excellent knowledgeable programming ranging from opportunity to provide an interesting and the traditional to the avant-garde and includ- varied program. In the two-hour period there ing live jazz performances every week. are only six commercials, and these are re- BARRY M. SCHNEIDER, Station Manager served ones, with no hard sell. A musical Station WHRB-FNI Well, hereare piece is played without interruption, even Cambridge, Mass. though the composition may last anywhere a few somethings from thirty minutes to one and a half hours. Saint Cecilia There are Baroque, Classical, and contem- II. . RobbinsLandon's article entitled

Unique vertical throw lever controls assure porary compositions. As afurtherservice "Music'sSaintCecilia" (April), identifying positive, finger-tip switching. KMMK-FMhas afive -hour classicalpro- the saintandsome of the more important Separate compensation for 33/4 and 71/2 ips gram that features a complete opera each music inspired by or dedicated to her, is intape speeds. Saturday from one until six in the afternoon. teresting and informative, andit suggests con- Special DIN socket accommodates connecting plugs to the outputs of European re- WILHURN THOMAS siderable research ona subject that has left corders. Little Rock. Ark. only the vaguest trace across the last sixteen

Separate input jacks provide for two mag- centuries. As Mr. Robbins Landon suggests, netic phono and for ceramic/crystal cart- I have just read John Milder's statement her influence was particularly strong on ear- ridges. on the deterioration of the quality of FM ly English composers, who through her found Matched grain, oiled walnut cabinet in cluded at no extra charge ($360). radio.Ifully agree. I personally love Baroque inspiration for some of their most profound

Plug-in Speaker Connectors instead of con- and Classicalmusic, but IfeelI have been music. ventionalterminalstripsinsurepositive robbed, for there is hardly a single FM sta- There is one notable contribution of this contact.Plugs arecovered withflexible tion that broadcasts this type of music.I small but select group of worshipers at her Neoprene to insure against shorts. plan to follow your suggestion and write to shrine that Mr. Robbins Landon failsto Operates at 115 volts or 230 volts, A.C. 50- 60 cps. The utmost in line voltage flexibility. several FM stations and also to the FCC to mention. I refer to Alessandro Scarlatti'sMess complain. .a di Santa Cecilia,which is considered by The SX-1000TA is the kind of receiver you'd WERNER K. Os-rNtANr4 design for yourself. Happily, Pioneer has done many to be one of this composer's finest itfor you. In one handsome unit it incorpo- Boston. Mass. works. Ifeel that it was deserving of men- ratesmorefeatures,moreflexibilityplus tion in the treatment of this subject. quality. John Nlilder's point concerning the cur- E.R. BADF.AUX You should see and listen to the SX-1000TA. If rent state of FM isfairly accurate. Even Houston, Tex. you desire complete specifications, fill in the publication's reader service card. However, for though the FCC decision about AM/FM pro- dealer listings, please write us direct. gramming can be said to contribute to FM's Mr.Landon limited his discussion of St. deplorable condition, the search for a larger Cecilia works to those current!) blessed by PIONEER ELECTRONICS U.S.A. CORP. audience and increased revenue must be con- recorded representations. As he noted in his 140 Smith St., Farmingdale, L.I., N. Y. 11735 (516) 694.7720 sidered the principal factor in FM's decline. article, his list is "representative, though by Butthe details about the state of FM in no means comprehensive." Boston are quite inaccurate, and I would like to defend at least one of those "commercial Gas CD PIONEER stations [that] are all playing stereo lulla- I would like to thank Paul Kresh for his Manufacturers of bies." Aside from the principally classical intriguing article on Gilbert and Sullivan Quality High Fidelity Receivers Turntables Station WCRB, WHRB-FM is the only com- (February). When I read it at firstI wasn't Speaker Systems Loudspeakers Headsets mercial FM station that continually broad- (Continued on page8) CIRCLE NO. 40 ON READER SERVICE CARD HIFI/STEREO REVIEW COLUMBIA STEREO TAPE CLUB ANYnow offers 5 you STEREO TAPES

3159. ANDY WILLIAMS-In The Arms Of Love. Remember. Sand And Sea,All Through The Night, 7 more FREE if you begin your membership by purchasing 3728. FRANK SINATRA - That's Life. just one tape now, and agree to purchase as Plus: Winchester Cathedral, What Now few as five additional selections in the next 12 My Love, Somewhere My Love, 10 in all months, from the more than 200 to be offered THE MAMAS THE SUPREMES & THE PAPAS sing FREE- if you join now HOLLAND OOZIER HOLLAND REVOLUTIONARY SELF - You Keep Me Hangin' On THREADING TAKE-UP REEL Love Is Here and Just drop the end of the tape over this No. You're Gone reel, start your recorder, and watch it 'MOIOWRI10 MOPE thread itself! Urique Scotch® process automatically threads up tape of any 3244. Plus: That 3790Plus: Remove 3443.Also: I Wish 3684. HERB ALPERT aTH.: TIJUANA This Doubt, I'll Turn You Love, Free Again, BRASS-S.R.O. Plus, Our Day Will Come, thickness, releases freely on rewind. Kind Of Girl, Words To Stone, 8 more Le Mur, Martina, etc. The Work Song, Mame, Flamingo, etc. Of Love, 9 more

ORMANDY: THE HAPPY HANG ON RAMSEY SERGIO MENDES & Beethoven ROGER WILLIAMS WONDERLAND RAMSEY LEWIS I'll Remember You AO: BRASIL '66 PHILADELPHIA TRIO 1(413E1.1 Fifth OF BERT KAEMPFERT PLUS ORCHESTRA'S Mang On 5100er EQUINOX Symphony CABARET GREATEST HITS Nerd Sae's Wahl Constant Rain e MORE .iii . all lack Berl §Clare de Lune Haworth DUPE Comy ,,Sabre Dance As. hJt(chh:i;C BERNSTEIN svit=CLs. 4 Pot nDOR N.Y. PIIIILNAIHNIONIC 1325 3628Also: Cancan, 3734.Plus:AllBy 2436.Plus: And I -Wonderfully 2535. Also: A Taste 3675. ''Stunning mu- 3832. Plus: Cinnamon 3202. TwinPack convincing." - H gh Of Honey, Yesterday, sical. Brilliantly con And Clove, BimBom, Greensleeves, Blue Counts As Only One Myself, What'll IDo, Love Her, Bill, Boy, Dulcinea.12 inall Night And Day, etc. Danube Waltz, etc. Selection. Ceastin', etc. Satin Doll, etc. Fidelity ceived."-N.Y. Times

"I started HOROWITZ GERSHWIN JOHNNY Andre Kostelaneta SINATRA out as IN CONCERT Rhapsody In Blue and he Orchestra AT THE Re, order, 1,.,tths An American In Paris TWIN - a child" , SINGS THE KOSTELANE17 SANDS C. PACK Sunny SOUND OF TODAY with Counts As COUNT BASIC Not %so bill GROPE . OMATHISSomewhere, Born free Atha Grand Canyon Suite Only ONE My Love Games Taut Lows Play BAIA MARIMBA BANE cosby e Hoer 1 OrchestradIke LEONARD BERNSTEIN Selection! ----, In MORI Cast Your Fate to the Weld ' Wwwww, Yours s mOel wv,i1 lvv----- CI=1 1721. A childhood re 3767.3768. Twin 3789. Also:I Wish 3798Als0Summer 7 4 1 4 . 3 4 1 . Tw in 3618. Plus- Ghost 2644. Leonard Bernstein conducts three Sky, captured through a Pack Counts As Two American favorites.Thisspecial Twin - You Love, Whc Can I Wind, Guantananlera, Pack Counts As Two Ridersinthe wacky looking glass Selections. Pack counts as only one selection! Turn To, 8 more Cabaret, etc. Selections. Gay Ranchero, etc.

THE BOOTS RANDOLPH RAY CONNIFF'S SABRE THE DAVE BRUBECK MILES DAVIS DANCE DEAN Boots With Stitt S WORLD OF ilTS QUARTET plays TWIN - COLE PORTER MARTIN The I I Plus QUINTET It... pm 1 rape EUGENE SHOW Shadow Winchester PACK of Your Miles Smiles Counts As ORMANDY ANYTHING GOES! I've Grown Cathedral SOMEWHERE Smile Cherish Footprints Orbits MY LOVE Only ONE Ph.ladelphm plus Night and Day Accustomed Ott hestte Michelle MORE Freedom tau Dance 23 Songs Selection! You're the Top 5 MORE To Her Face Vitni .,,i 9 MORE 10 MORE :taohtim1h1. ststinl 3 MORE t i,ii raiii.741k 13111=11 3769. Also: Love For 3707. Also:If I Had 3747. Plus: Dear 3735. Also: England 3719. Also: Circle, 3335.Thisspecial Twin -Packincludes 3792Also: Russian You, Just Friends, Heart, Yesterday, Un Swings, Color My Dolores Ginger two great Ray Conniff albums. Coasts as Sailors' Dance, Polo Sale, I Get A Kick Home, S'posin', etc. chained Melody, etc. World, 12 in all Bread Boy etc. only one selcc ion! naise, 6 more Out Of You, etc.

YES, IT'S TRUE! By joining the Columbia After purchasing your first tape Stereo Tape Club right now, you maythrough this advertisement, your only SEND NO MONEY - JUST MAIL COUPON! have ANY FIVE of the magnificently re-membership obligation is to purchase 5 I AM BUYING corded 4 -track stereo tapes describedadditional tapes from the more than 200 COLUMBIA STEREO TAPE CLUB THIS TAPE NOW here - sold regularly by the Club for upto be offered in the coming 12 months. Terre Haute, Indiana 47808 (fill in number) to $47.75 - ALL FIVE FREE! Thereafter, you have no further obliga Please enroll me as a member of the Club. I've TO RECEIVE YOUR 5 PRE-RECORDEDtion to buy any additional tapes...and indicated at the right the five tapes I wish to STEREO TAPES FREE - simply write inyou may discontinue your membership receive FREE. I've also Indicated the tape I am at any time. ALSO SEND THESE the numbers of the 5 tapes you wish in buying now as my first selection, for which I am 5 TAPES - FREE! the coupon at the right. Then chooseFREE TAPES GIVEN REGULARLY.If you to be billed $7.95, plus postage end handling. In- another tape as your first selection, forwish to continue as a member after ful- cludetheself -threading take-upreelFREE. My main musical interest is (check one): which you willbebilled$7.95,plusfilling your enrollment agreement, you postage and handling. At the same time,will receive - FREE - a 4 -track stereo 0 CLASSICAL 0 POPULAR be sure to indicate the type of music intape of your choice for every two additional tapes you buy from the Club. In addition to the first selectionI am buying which you are mainly interested: Classi- now. I agree to purchase five additional selections cal or Popular. The tapes you want are mailed and during the next year ...and I may cancel mem- billed to you at the regular Club price bership at any time thereafter. Is I continue, I HOW THE CLUB OPERATES: Each month of $7.95 (occasional Original Cast re- am to receive a stereo tape of my choice FREE the Club's staff of music experts choosescordings somewhat higher), plus a small for every two additioaal selections I accept. a wide variety of outstanding selections.mailing and handling charge. These selections are describedin the SEND NO MONEY - Just mail the coupon Name entertaining and informative Club maga- (Please Print) First Name Initial Last Name zine which you receive free each month.today to receive your six stereo tapes and your FREE take-up reel! You may accept the monthly selec- Address tion for the field of music in which you Note: All tapes offered by the are primarily interested...or take any Club must be played back on Zip of the wide variety of other tapes of- 4.track stereo equipment. City State Code fered by the Club...or take NO tape in any particular month. APO, FPO addressees: write for special off e 4152/49 COLUMBIA STEREO TAPE CLUB Terre Haute, Indiana L .1, 1967 Can Direct Marketing ServiteS TIA F67 CIRCLE NO. 13 ON R7ADZ:"! :LERVICE CARD 7 ,11 I1 I967 sure whether he was just being silly or not, and I'm still not too sure thathe didn't exaggerate. But I started listening to Gilbert and Sullivan, and reading the librettos to

find out what was so great about them. . . a fatal mistake. By this time I'm convinced that therewas ninety-nine percent absolute truth in his description of the symptoms of the Gilbert and Sullivan malady. I hope he is filled with remorse at the thought ofcreating another Savoyard. I hope sincerely and earnestly that he is unable to sleep at night after reeding this letter and meditating on his sins. There is no one in my freshman class at school who understands my feelings about G & S. Ihave no one to talk to-and it'sall Mr. Kresh's fault! BARBARA ALICE \VEDYcK Westchester, Ill. Dear Reviewer:... See Peter Reilly. He has a hi-fi stereo. He gets alot of free records each month. He is supposed totell people ifthe records are good records or bad records. Peter tries to be funny. Peter tries to be Take cute. Peter likes Peter, Paul and Mar . He also likes very pretty girls. He likes Linda Ronstadt of the Stone Ponevs (May). Does this ad the very pretty girl have talent? Does the very pretty girl sing well? Peter did not tell with you people this about the very pretty girl. I do not know Linda Ronstadt, nor have I ever heard her sing. But I assume Capitol when you look Records must feelthe groupistalented. BERTKIENER for the best Tape Rochester, N. Y. Peter Reilly's reviews have become my Recorder you can get. favorite part of Elln/STEREo His style of independent sincerityisobjective and at the same time quite enjoyable.I am waiting for him to apply his talents to my pet Then you know what to look for. sound: Paul Revere and the Raiders. LOCK FOR -he ex: usive of 14 db before any distortion. You J. E. RAUER pliCrosensit ve cutcff switch cal monitor continuously by using Iowa City, Iowa This transistor-a-iplified sensing separate heads for record and play. sd-it:h straps the ReVox recorder auto- -latcally at ore -selected points on the LCOK FOR tape tension controls I think you have on your staff one of the .upe. either oetwee- selections or be- Whatever your needs are, simple ad- best music reviewers in the business. His in- fxe the erc of ff.:-eel. The switch justment for playing 101/2" or 7" reels. sight and his delightful sense of humorare also acts as 3n automatic cutoff in the e.ert of a ta:e-break or after a reel LCOK FOR built-in mixing facilities a rare combination. Even when he pans a has been re-vound. Any two signals may be mixed and re- recordIlike,Istill get a kick from his deco-ded in the mono mode. Additionally scription of his personal reaction.I am re- LOCK FOR 1C1/2" tape reels on= channel can be set to playback ferring, of course, to Peter Reilly. Dther tape raco-cer at this price wh-i c the other is recording and all has them. --ley :ake uo to 4,800 feet foams of sound -on -sound and sound- DAVID FLETCHER ct LP tape. Enough fcr 41/2 hours of wi h -sound are possible. Mill Valley, Cal. Ftra ght err:ainment or recording. F!avinds at ar accae-ated speed. LCOK FOR "Freedom -of -Installation" I must fling down the gauntlet of protest choice and Speeds L)CK FOR :hee Papst motors for to Rex Reed for his venomous review of Jane Yccr ReVox Mark Ill comes ina melts and czpstan matched grain hand -polished walnut Morgan's latest recording (May). He did not 1-b pelts _ no let's ... no gears caoinet, portable case and for rack really review the record, but rather lambasted . . no ncise.cr :rc_ble makers. Sepa- mounting. Various tape speeds provide a great performer who has great popularity rate moto-s. individual requirement satisfaction. because she earns it. Teach Miss Morgan to IDCK FOR sepzrata VU -Meters LCOK NO FURTHER phrase? Well, the teacher will certainly not rice each channel With all these features, no wonder the be Mr. Reed. Mr. Reed must be a longhair 'hese are prEd.S.10/1 instruments with Revcx MarkIIItape recorder is the like Simon and Garfunkel. Isuggest that c-namic cia-acte-istics as required first choice of amateur and profes- Mr. Reed review something in his league, la- the A.S.F. They -ielo you maintain sicnaalike. accurate control of the recorder level The ReVox Mark Ill G-36 Tape Re - like the Beatles or the Monkees. at all times. co -der, from $535. If you want more D. D.SKOW LOOK FOR !eparate record and play - details on the ReVox and a free copy Charleston, S. C. of'The Tape Recording Omnibook" 113c< amplifiers fcr both channels look for it at franchised dealers every- -le record am Dlifie- has a reserve gain where ty write direct to: Rex Reed continues to amuse me. In his recent worshipful review of Liza Minnelli's latest offering (March), he waxes eloquent and long on the subject of her patrician musical taste. Miss Minnelli, we are told, has G-36 TAPE RECORDER never "succumbed to singing rock-and-roll E_PA MARrETING NDUSTRIES, INC. DEPT. R NEW HYDE PARK, N. V 11040 trash." Later in the review he especially sin- (Coniinued on page 10) CI LCLE NO. 21 ON READER SERVICE CARD 8 HIFI/STEREO REVIEW Why did Y1 million record collectorspay=5 to join RecordClub

DISCOUNTS TO77%-PRICESAS of America. U. LOW AS 940 PER RECORD! Compare when any other record club TYPICAL ALL LABEL "EXTRA DISCOUNT"SALE thee"c0011%4" would have accepted them free? BUDGET SERIES AT 1/2 PRICE $ .94 Ella Fitzgerald Frank Sinatra John Gary Stan Getz aClubs COLUMBIA CAPITOL RCA VICTOR Record Club Record Club Record Club Nat ColeJack Jones Ferrante & Teicher and see , as advertised (as advertised (as advertised and more ... n TV GUIDE in TV GUIDE in PLAYBOY RECORD CLUB OF AMERICA eb. 25, 1967) Feb. 11, 1967) Mar., 1967) BEST SELLERS AT 1/2 PRICE $1.89 Choose any LP on any label! Roger Williams Johnny Rivers Bill Cosby CAN YOU .No exceptions! Over 300 di.. includ- CHOOSE FROM YES! ferentmanufacturers Ray Charles Eddy Arnold The Monkees

NO NO ALL LABELS? NO ing CAPITOL, COLUMBIA, RCA VICTOR. ANGEL, LONDON, etc Lawrence Welk and others ...

MUST YOU BUY A Noobligations!Noyear -y BEST SELLERS AT 1/2 PRICE $2.39 -MINIMUM" 'I Tkea as y, a NUMBER 12 10 4 NONE! f-eqwu,otoar' no records atman allif Dr. Zhivago Rubinstein George Szell OF RECORDS? you so decide! HOW MANY? Jimmy Smith Born Free Ramsey Lewis You don't have to sp?nd Van Cliburn Wes Montgomery and others ... HOW MUCH $47.76 $39.80 $15.92 a penny-because you're MUST YOU SPEND ZERO TO TO TO not "legally obligated" 77% discount 10 FULFILL YOUR DOLLARS to buy even a single plus . . . from 50% to as high as LEGAL OBLIGATION' $59.72 $49.80 $19.92 record ! on famous labels: Roulette, Westminster, Vox, Decca, Atlant c, Monument, and others. Your discount up to 77% CAN YOU BUY ANY RECORD ?eFsFs-gaUnA Ra Atri rEdE,ONnoeveecr. YOU WANT AT NO NO NO ALWAYS! A DISCOUNT? ceptions! * Choose any LP on any * No "hold -back" on ex- label!Mono andStereo! citing new records! There are no cards which DO YOU EVER you must return. Only the No exceptions! * All orders processed RECEIVE records you want are sent YES YES NEVER! same day received-no long UNORDERED YES -and only when you ask * No"quotas 'tobuy. RECORDS? waits! us to send them. Take 0 records-or 100! * Every record brand new, HOW LONG MUST NO LONG Your order processed * SAYE! Discounts up to first quality, factory fresh YOU WAIT FOR 5 to 6 5 to 6 5 to 6 same day received. SELECTIONS WAITS! 77%! Prices as low as 94s - and guaranteed fully re- ,r),,PR'VF' weeks weeks weeks per LP! turnable!

AT LAST A RECORD CLUB WITH 3p Oi clik-.pyafoguer NO "OBLIGATIONS"-ONLY BENEFITS! oin Record America This is the way YOU want it-a record club with Look What You Get GIANT CATALOG lists all records of all manufac- no strings attached! Ordinary record clubs make Lifetime Membership Card guarantees you brand turers. Over 300 labels. More than 25,000 al- you choose from just a few labels-usually their new LPs at dealer cost. Discounts up to 77%! bums. Classical - Popular - Jazz - Folk - own labels! They make you buy up to 10 or more Free 300 -Page Schwann Catalog listsall LPs Broadway & Hollywood soundtracks - Spoken records a year-at full price-to fulfill your "ob- available. Ward - Rock -N -Roll -Comedy - Rhythm & Blues ligation." And if you forget to return their month- -Country & Western - Dancing - Listening - ly card-they send you a record you don't want Disc', the Club's FREE magazine, and special Mood! Prices as low as 94g. No exceptions! and a bill for $5.00 or $6.00! In effect, you are Club Sales Announcements which update charged almost double for your records! "Schwann" and list extra discount specials. X 917E I But Record Club of America Ends All That! Guaranteed Same -Day Service RECORD CLUB OF AMERICA The Club's own computer system, located on our Now choose any LP . . . on any label. Everything Club Headquarters York, Pennsylvania 17405 premises,processes your order same dayre-I 0 fromBernsteinandBaeztoSinatraand the Monkees-including new releases. No exceptions! ceived!Every record brand new, factory fresh YLS - rush me LIFETIME MEMBERSHIP CARD, FREE 300 -page Take as many, or as few, or no records at allif (never"clubpressings"or"seconds")!You Schwann Catalog, DISC., and Special Sales Announcements. must be completelysatisfiedoreveryrecord you so decide. Discounts are NEVER LESS THAN Enclosed is $5 membership fee (never another club fee for the ONE THIRD, and GUARANTEED AS HIGH AS 77% fully returnable! OFF! You never pay full price-and never pay $1 rest of my life) wh ch entitles me to buy any LPs at discounts Money Back Guarantee I am not extra for stereo! You get best-sellers for as low If you aren't absolutely delighted with our d.s- up to 77%, plus a small handling and mailing charge. as 94c, plus a small handling and mailing charge. counts (up to 77%), or our selection (larger. in obligated to buy any records-no yearly "quota." If not com- I may return items above within 10 days for How Can We Break All The Record Club "Rules"? the world!)-or evenifyou've simply changed pletely delighted We are the only major record club NOT OWNED your mind - return.tems within 10 days and immediate refund of membership fee. membership fee will be refunded AT ONCE! . . NOT CONTROLLED ... NOT "SUBSIDIZED" by L; Also send Gift Memberships at $2.50 each to names anyrecordmanufacturer anywhere. (Noother Over 750,000 music lovers, schools, libraries, I I join with one friend and major club can make that claim!) Therefore we and other budget -wise institutions now get brand on attached sheet. Alonepay $5; if are never obliged by "company policy" to push new LPs for as little as 94v-through the only split the total, cost is only $3.75 each; with two friends, $3.33 any one label, or honor the list price of any man- major record club not dominated by the record each; with three friends, $3.13 each; with four friends only ufacturers. Nor are we prevented by distribution manufacturers! Join now and save. Mail coupon S3 each. commitments, as are other major record clubs, or Record Club of America, Club Headquarters, from offering the very newest records. So we can York, Pa. 17405. I ENCLOSE TOTAL OF $ covering one $5 Lifetime Membership plus any Gift Memberships at $2.50 each. -and do-offer all records and cut prices to the Your membership entitles you to buy or offer bone! Only Record Club of America offers records gift memberships to friends, relatives, neighbors as low as 94c! (You can't expect "conventional" for only $2.50 each with full privileges. You can Print Name clubs to be interested in keeping record prices splitthe total between you: Your membership down - when they are manipulated by the very and one gift membership divided equally brings manufacturers who want to keep record prices cost down to $3.75 each. The more gift members Address up!) you get-the more you save! See coupon for your To join, mail coupon with check or money order big savings. for $5. This entitles you to LIFETIME MEMBER LEty State Zip SHIP-and you never pay another club fee! 1213 © 1367 Record Club of America - - - - CIRCLE NO. 43 ON READER SERVICE CARD JULY1967 9 Imik.ft Introducing...3 ALL SOLID STATE gles out for praise her performance of a "magnificent" song, I 11"ho Am Nothing. I hate to break the news to Mr. Reed, but STEREO TAPE RECORDERS that particular song was written for and is identified with a well known rock-and-roll performer, Ben. E. King, and only recently was ahitfor arock group called Terry fromROBE RTS Knight and the Pack. ABRAM TURNER at New Low Popular Prices! Hackensack, N. J. I never cease to marvel at your rock-and- roll reviews. The latest to come to my un- believing attention was one by Rex Reed on ROBERTS 1119 the Beach Boys' "Pet Sounds" (May). For this reviewer, the merit of a group's work is directly related to the degree of resemblance COMPLETE it shows to a musical standard for "popular" music which has become an idee fixe-here, we are referred back to Stan Kenton, the Hi- STEREO TAPE Lo's, and the Four Freshmen of the mid -Fif- ties. The resemblance to these older musical RECORDER groups,accordingto Mr. Reed,iswhat makes the Beach Boys "...so far ahead of with... their other scraggly contemporaries...." In addition to being illogical, this state- BUILT-IN SPEAKERS, ment shows an utter misunderstanding of rock-and-roll as an "art" form. Rock-and-roll SOUND ADDING, and groups do not grow up and become Baja Marimba bands, background musicians, or INCLUDING MIKE. big bands playing standards. True rock-and- roll neither evolves nor matures into music that "adults" such as Mr. Reed understand, Less than $199 95 hum, tap their foot to, etc. Perhaps its most general features are involvement with youth and rapid obsolescence of style and person- nel, and it must be judged in these terms, or not at all. When someone musically fixated at the "sha-boom" stage attempts to do a rock-and- roll review, he is saying in effect, "See, Fm not an old fuddy-duddy; I listen to this rock- and-roll stuff, and by golly, Ilike some of it!" He then assumes he is a competent critic. Well, Mr. Reed, I say sha-boom to you. You don't know what you're talking about. JILLNASH Cambridge, Mass.

In the words of the preacher, thereit ROBERTS 1121 ROBERTS 112 0 nothing new under the sun, and rock-and- roll does have a musical history pre -dating STEREO TAPE STEREO TAPE even the oldest living teen-ager. If we understand where our popular music comes DECK RECORDERfeaturing from, then we have some chance of knowing Ideal Component to Complete Detachable Matching Speakers where itis going. Old fuddy-duddy Reed. by the way, is a fart twenty-eight. your Stereo System... FOR FULL STEREO SEPARATION Features Sound Adding ...Sound Adding, and 2 Mikes After having read Eric Salzman's descrip- Less than $119.95 Less than $219.95 tion of Toshiro Mayuzumi's score for "The Bible" (February), I can only assume that he must not have examined the contents of Above models fully featured even at these the album cover very well. He states that the economy prices: orchestra and chorus are unidentified. If he

15,000 CPS response 10 Watts stereo output Twin VU meters looks on the front of the album, he will see,

3 Speed option Stereo Headphone Jack for private listening near the bottom, that the work is performed FM Multiplex Ready 3 Digit Counter in conjunction with simple by the Orchestra Cinefonica Italiana and the Chorus Carapellucci conducted by Franco Fast Forward/Fast Rewind for rapid and precise position locating Ferrara. Automatic Shutoff Monitor Pause/Edit Lever Control Equalized CHARLES W. GILBERT, JR. preamp outputs for connecting to high powered external amplifier Phoenix, Ariz.

Mr. Salzman replier: "Mr. Gilbert is right - -the credits are there on the album cover. But the type is so small and the position so inconspicuous that they fairly beg to be over- the Pro Line looked. And does'OrchestraCinefonica ROB E RTS Italiana' really make us any wiser?" Division of Rheem Manufacturing Company (Continued on page 12) 5922 Bowcroft Street, Los Angeles, California 90016 CIRCLE NO. 45 ON READER SERVICE CARD 10 HIFI/ STEREO REVIEW We put one of our bestideas on the shelf.

Over the past 30 years, we've had a a free -suspension phase inverter. precise frequency separation. lot of good ideas about speaker So? We didn't stint on the styling, systems. Some of them ended up in So it's tuned to work in precise either. The cabinet is hand -rubbed Cinerama, in the Houston Astro- phase with the woofer. And as a walnut, finished on all 4 sides so you dome, in Todd A -O, and places like result, you get a bass response that can show off the Bolero any way you that. few large systems could match. want to. And, just to please the This one ended up on a shelf. (Or The true woofer is a full 10", with hard -to -please, we made the grille a a lot of shelves, matter of fact.) a massive 10 -lb. magnetic structure snap -on, so you can change the Which is where you'd expect to that makes the Bolero as efficient as grille cloth to suit your mood or find a 2 cubic foot speaker. Only the a big speaker. With one watt of input, decor. Any time. Bolero isn't 'just another small -size you get a rousing 92 dB of sound. The Bolero fits almost anywhere. speaker, with a small -size sound. Clean sound, no matter how loud (141/2" x 253/4" x 12".) It's different. you play it. Powerful sound, even It also fits almost any budget at What makes it different is that with a medium -power amplifier. just $169.50. part of this speaker isn't what it Then Altec's 3000H multicellular Give it a listen at your Altec seems to be. There appear to be two horn and driver handles the highs dealer's. And while you're there, as' woofers, but one of them is act,ially without shrillness, shriek or quaver. for your free 1967 Altec Stereo cata- In addition, a built-in 3000 Hz dual log. Or write us for one. You can element crossover network with keep it on the shelf next to your variable shelving control gives you Bolero speaker. ALTEE

A Division of Ling Altec, Inc., Anaheim, Californix92803

CIRCLE NO. 3 ON READER SERVICE CARD JULY 1967 11 I wish to know exactly what Eric Salz- Mr. Salzman replies: "All I meant to say ties are invited to apply to Mr. David Kush- man means when he says, reviewing the fifth was that, in performance, the Schoenberg or- ner, Associate Professor of Music, Gradu- albuminColumbia's "Music of Arnold chestration ought to be treated exactly as if ate Division, Radford College, Radford, Vir- Schoenberg"series(March),that"what it were an actual Brahms s3mphony." ginia 24141. Schoenberg once called Brahms' Fifth RICHARD W. MAssA,Treasurer [Schoenberg's orchestration of Brahms' G American Liszt Society American Liszt Society Minor Quartet] needs exactly what the first At the suggestion of the Honorable Sec- Chickasha, Okla. four need -big scale and big gesture." Does retary of theLisztSociety,London, the he mean that the symphonies lack "big scale American Liszt Society has been organized. Piano Rolls and big gesture"? The purpose of the Society is to develop in- Frankly, I have been disturbed by the re- Brahms stands as the greatest composer terest in the works of Franz Liszt through views in general, not necessarily just Igor of Western music. If Mr. Salzman means to performance, recording, and publication, as Kipnis' (February), of recent piano -roll re- deride the work of Brahms, let him point to well as by providing a forum for the pre- cordings.I am thinking particularly of the alater composer of equal developmental sentation of scholarly papers. Plans for a logic, intensity, orrationalemotional expres- festival, to be held at Radford College, Rad- sion -not the neurotic, frenzied noise per- ford, Virginia, are currently in the making. petrated as music today. Application for basic membership is now RICHARD H. MITCHELL, A1C, USAF being accepted. Membership is not restricted APO, San Francisco, Cal. to professional musicians; all interested par-

uniCLIM Inc_ Argo records, which everybody praises, and the Everest records, which everyone seems to pan. saves you plenty on IheardRachmaninoff,Hofmann, and Paderewski many times. I own most of their phonograph records, and I have a fairly vivid RECORDS TAPES STEREO GEAR BOOKS recollection of how they played. In light of this, an Argo recordIpurchased was not as good as I expected, and the Everest records, judging by the three I have now acquired, are infinitely better than the reviews would have led me to expect. Incidentally, Here are 10 facts about uniCLUB. uniCLUB supplies hi -fidelity equipment of vir- I am also fairly familiar with how the Duo - They are 10 reasons to clip the cou-tually every manufacturer at tremendous sav- pon and join now! ings. This month's "Hi-Fi Special" is a Garrard Art,Ampico, and Welte-Mignonrolls Lab 80 turntable; List $100.00, to members sounded when they were new. only $59.95. Let's not kid ourselves: all these transfers 9. BOOKS OF ALL PUBLISHERS sound a little bit like piano rolls, even the 1. Any LP or tape on every U.S. or foreign The Book Division -only uniCLUB has it -of- much -praised Argo. And some sound more label available. Columbia -Capitol - RCA -fers members at least 25% off on any book in London & 350 more. No exceptions. print.* You get only original publishers' edi- lifelike than others -wasn't this true of all 2. You save a minimum of 35% on LP's; 33%tions. uniGUIDE listsbest-sellers,just -pub- phonograph records until just lately? on tapes and 25% on books. lished works and book "Specials." However, the Everest Grainger -and I *Texts are reduced 10%. heard him many times -stands up tothe 10. FOUR CLUBS IN ONE measure of memory, and also when com- LP's LIST uniCLUB uniCLUB is really a time-saver. It makes join- $1.98 $1.23 ing many clubs unnecessary. Now you can buy pared to his Columbia records. The Everest 2.98 1.85 all your records, tapes, auto -cartridges, books Hofmann Beethoven Sonata, Opus 2, No. 3, 3.79/98 2.39 and stereo -gear from one convenient source. seems to me a realroll -recording achieve- 4.79/98 2.99 We hope you'll join today! ment. I've listened toitseveral times now SAVE MONEY EVEN ON YOUR 5.79/98 3.69 MEMBERSHIP FEE and am most impressed. And just now, Ilis- Give gift memberships with full lifetime privi- tened to a third Everest record, the Paderew- 3. You can save even more by taking advan- leges for only $2.50 each. Splitting the cost with ski Chopin. It's Paderewski, there's just no tage of the regular extra discount "Specials."one other person lowers cost to $3.75; enrolling doubt about it -slightly limited by piano -roll Save up to 80% off list price. Right now, forfive at a time brings cost down to only $3 each. example, the entire RCA Red -Seal catalog is techniques, but still there in essence. As time goes on,I am more and more $2.75 mono; $3.25 stereo. The Vox $4.98 series rSendmy Free Schwann catalog;ordeal is $1.75 mono and stereo. blanks & uniGUIDE by return mail. impressed by what this purely mechanical 4. Never a requirement to buy. No monthly $5 enclosed guarantees me: recording technique accomplished.Ihope "stop -order" forms to return. You receive just both Everest and Argo go on with their what you order. 1. LIFETIME MEMBERSHIP inuni- 5. LIFETIME MEMBERSHIP CLUB good work! 2. 35%-80% savings on LP albums, 1/2 off FRANKLIN W. BARTLE The club membership fee is $5. This is for life- on tapes, 25% on books. time privileges which are increasing all the time. 3. No requirements ever to buy anything. Martinsville, N. J. 6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. Members regularly receive "uniGU1DE" advis- I must be delighted with uniCLUB or within Sara Carter's Records ing them of the latest releases, recommended 10 days I will let you know and receive a Regarding the album "Sara and Maybelle best -buys and extra discount "Specials." When full refund. you join you receive a free 300 -page Schwann Carter: The Original Carters" reviewed by record catalog listing every available record Peter Reilly in the February issue: someone and its price. You receive a free Harrison tape uniCLUB goofed, and it appears that it is not Mr. Reil- 255 West I2nd Street DEPT. HS767 catalog if you specify. New York, N. Y. 10036 ly. "Uncle" Johnny Cash states, in the liner 7. FASTEST SERVICE ANYWHERE notes to the album, that this is Sara's first re- Your orders are not only processed but shipped cording in over twenty-six years. He's wrong. the same day we receive them. This unique serv- NAME ice is possible because your orders are picked In 1952 and 1956, the Carters (minus May - from an inventory of over 250,000 LP's & tapes. ADDRESS belle, but with the addition of Sara and You get factory -new sealed albums and tapes CITY STATE ZIP A.P.'s children Joe and Janette) recorded only. Defects are fully returnable at no charge. Send gift memberships at $2.50 each to names some seventy-one tunes for Acme Records. 8. SAVE UP TO 50% ON and addresses listed on attached sheet. At least half of these were released. STEREO GEAR O I am alsointerested in pre-recorded tapes. j Individual components or complete systems-- KATHY KAPLAN CIRCLE NO. 56 ON READER SERVICE CARD Oceanside, N. Y. 12 HIFI/STEREO REVIEW °Sony Corp. of America, 47-47 Van Dam St.. L.I.C.. N.Y. 11101 Souped-up

All -siliconstereo transistors. Goes from 20-50,000 cps.+0-1db. Moving coil cartridge. 2 dual 5" speakers. Extra inputs and outputs.

The new Sony HP -450A proves once get by with tie moving magnet or ce- Turn the set on full blast and it gives and for all that big sounds can come in ramic type.) enough power to fill up a 50' x 50' room. small packages. Because in spite of its Our power amplifier picks up frequen- Or turn it down low. Get into the headset. size, we've managed to give it the guts of cies you can't hear (20.50,000 cps.) just And no one will have to put up with your a great big stereo system. to give truer sound to the frequencies jazz at one o'clock in the morning. Our solid state, for instance, means you can hear (20.22,000 cps.). Besides the headset jack there are all (not some) silicon transistors. Sure It's set into a solid walnut cabinet and enough inputs and outputs in the new they're more expensive, but they're topped off with the big name in little dis- HP -450A to build a do-it-yourself record. more reliable than germaniums, so we tortion, Garrard's. newest 60MKII turning studic (8 in all). use them. table. (The anp, by the way, would run That's our souped -up stereo. We don't try to get off cheap when it $150 and up as a separate unit.) Even with all its extras, it'll fit into the comes to cartridges either. We use the There's even more speaker to our tightest parking !.pots. And the tightest moving coil type. Like the kind used in speakers. 2 dual 5" jobs (instead of 4") budgEls The new Sony broadcast equipment. (We don't try to with a full 30 watts of music power. HP -450A stereo music system.

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CIRCLE NO. 51 C N READER SERVICE CARD 13 Want to take full advantageof all thatnew AM and FMprogramming?

FM AUTO AM

PHONO , AUX

U.S. PAT. #3290443 T.sm[A A0I0 CORP.. INC.. 11.33 4310 AOAU, LONG ISLNC CITY. N.V. 11101. OTTIISTAS ANO CANADIAN NESICENTS PLEASE WAI1C ro r.s.c. 000IO INT[SN*T10NAL, INC.. LONG ISLANDCITY. N.Y. 1110I. 14 HIFI/STEREO REVIEW Fisher hasasystem.

With all the new stations, and with the 1 system shown here, you can listen to Fisher Mail this coupon for your quality AM, FM and FM -Stereo at the lowest free copy of the Fisher Hand- cost -per -station in history. book, 1967 Edition. This 80 - The 220-T is Fisher's medium priced re- page reference guide to hi-fi and stereo also includes ceiver that makes AM sound hi-fi enough to detailed information on all move in with FM -Stereo. And with 55 watts of Fisher components. music power, it can drive just about any speaker Fisher Radio Corporation system. 11-35 45th Road, Long 1 sland City, N.Y. 11101 The two XP -55 compact speaker systems shown are a logical complement to the 220-T. Name They put forth many times their size in clean, Address undistorted stereo sound. As is, the 220-T receiver and XP -55 speak- City State Zip_ ers make beautiful stereo music together. And, of course, they'll graciously lend their Fisher quality to a turntable or tapedeck - or both - The Fisher whenever you say the word.

The 220T AMFMStereo receiver. 55 watts music power. Fully transistorized.Utilizes FieldEffect Transistorsfor extremely selective front-end with high sensitivity. Illuminated tuning meter. Patented Stereo Beacon. Transist-OGard1T°t' overload protection circuit. Many other Fisher exclusives. 8329.50 (cabinet 524.95). The XP -55 compact speaker system. Cleanly reproduces the entire audible spectrum and beyond. Woofer utilizes a totally new suspension system. Special low -mass treble speaker. 10" x 20" x 9" deep. $5930. CIRCLE NO. 26 ON READER SERVICE CARD JULY1967 15 NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

Harman-Kardon line of two hundred electronic kits and factory -assembled is producing the Model instruments in the fields of high fidelity, amateur radio, and SC6, a new AM/stereo test equipment. Featured in the catalog are the new Cortina FM receiver -turntable series of hi-fi instruments. The catalog is available free of combination. The SC6 charge. incorporates a BSR/ Circle 175 on reader service card McDonald four -speed recordchanger Rectilinear Sound has designed a equipped with an Empo 808 stereo magnetic phono pickup. three-way speaker system, the Rectilinear The receiver has automatic stereo switching on FM, a III, that employs six separate drivers. The stereo -indicator light, a front -panel stereo headphone jack, low -frequency reproducer has a 10 -pound a tuning meter for AM and FM, and a switchable loudness magnetic structure and a butylized cone control. surround that permits 1 -inch cone excur- Specifications of the amplifier section include a power sions. The fundamentalresonantfre- bandwidth of 17 to 23,000 Hz and a music -power output of quency of the low -frequency speaker is 20 50 watts (25 watts per channel), both at less than 1 per cent Hz. At 250 Hz, the woofer crosses over to distortion. Specifications of the tuner section include an FM the mid -range driver which is sealed in a sensitivity (IHF) of 2.9 microvolts and stereo separation of non -resonant fiber chamber. The mid -range unit has a sec- 30 db. AM bandwidth is 10 kHz. Price: $329.50. A plastic ondary dispersion cone that provides a wide diffusion pat- dust cover is $19.95 additional. tern without mid -range peaks. Crossover to the four high - Circle 172 on reader service card frequency drivers (consisting of two tweeters and two super tweeters) takes place at 3,000 and 11,000 Hz. The high - Olsonhasavailablean octagonal frequency membranes are fabricated for wide dispersion three-way speaker system, Model S-879. characteristics, and all six speakers are bonded to the front The system employs a 12 -inch high -com- panel with an epoxy resin. System impedance is 8 ohms, and pliance woofer, a cellular -horn mid -range, overall frequency response is 22 to 18,500 Hz, ±4 db. The and a pair of 21/2 -inch super tweeters op- amplifier power required is 20 watts, and the maximum erating through an inductance -capacitance power capacity of the speaker is 100 watts. The oiled walnut crossover network. The mid -range and enclosure measures 35 x 18 x 12 inches. Price: $269. tweeters are equipped with level controls Circle 176 on reader service card to permit adjustment of their relative output levels. The cabinet is finished in oiled Aiwa's Model 719 is one walnut and is accented with fretwork grilles. Power -han- of the few battery -powered dling capacity is 30 watts, frequency response is 40 to 20,000 (eight D -type cells), 7 -inch - Hz, and nominal impedance is 8 ohms. The cabinet mea- reel tape recorders available. sures 181/2 inches in diameter and stands 251/2 incheshigh. The three -speed machine Price: $200. (71/2, 33/4, and 17/8 ips) will Circle 173 on reader service card also operate from a car battery, and has a built-in con- Furn-a-Kit's Model S -2700 -MC console cabinet kit is 84 verter fora.c. operation. A separate motor is used in the inches long and approximately 32 inches high. It comes with 719 to achieve fast wind and rewind. Other features include panels cut out and fittedto accommodate the builder's a built-in 5 x 3 inch speaker, a digital tape counter with choice of components, including a tape recorder. The cab- pushbutton reset, an automatic volume control (AVC) cir- inet also contains room for record and tape storage. Cabinets cuit to prevent recording -level overload, a playback tone of other sizes and styles are available plus a variety of control, and a microphone with a remote -control switch. Equalization conforms to NAB standards, and wow and flutter are less than 0.25 per cent at 71/2 ips. When closed, the 719 has the appearance of a standard 161/2 x 13 x 31/2 inch attaché case. It weighs 161/2 pounds. Price is $139.95. Circle 177 on reader service card

Audio Magnetics has published a free six -page illustrated booklet, "Magnetism and the Critical Dimensions," that discusses the manufacturing procedure and technical matching hutches. The kits are available in sixteen different properties of high-grade magnetic tape. A special prere- wood finishes to match any decor. All clamps, glue, hard- corded demonstration tape is offered in the booklet. ware, and finishing materials are supplied; only a screw- Circle 178 on reader service card driver is needed for assembly. All units have an unconditional money -back guarantee. Price for a kit of the unit Channel Master is producing a semi -automatic anten- shown is $200. na rotator in several styles in addition to the standard man- Circle 174 on reader service card ual models. The drive units for all new models havebeen given increased torque to handle heaviest fringe -area anten- Eico has announced the publication of a new fully illus- nas and stackedarrays. The semi -automatic Colorotor, trated thirty -six -page catalog that includes their complete (Continued on page 20) 16 HIFI/ STEREO REVIEW This will bring out theworst inyourhigh fidelitysystem

Shure development engineers have created a unique recording that authoritative high fidelity critics call the most significant new test record in years. It enables you to identify certain prevalent distortions that you may have blamed on speaker break-up, pressings, or amplifier overloading for what they really are: tracking distortions brought about by the stylus parting company with the record groove. Comprehensive notes and a working "score chart" guide you through the entire recording. Your own ears are the only diagnosis "instrument" necessary. It will conclusively prove to you the importance of the new specification called "Trackability", and demonstrate the clear-cut superiority of the revolutionary Shure V-15 Type II Super -Track' cartridge in achieving maximum trackability. Recording TTR 101, "An Audio Obstacle Course" is available directly from Shure for only $3.95. (Residents of Illinois must include Illinois State Sales Tax.) Send your check or money order to Shure Brothers, Inc., Dept. 63, 222 Hartrey Avenue, Evanston, Ill. 60204.

P.S.Incidentally, purchasers of the Shure V-15 Type II cartridge automatically get the record free.

0 1967 Shure Brothers. Inc. CIRCLE NO. 411 ON READER SERVICE CARD ttiv 967 19 NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITYEQUIPMENT

Model 9513, incorporates a servomotor instead of a meter tortion'The 8 -ohm load power rating is 100 watts. The in the control box. This motor, driving the position indicator S-78004ET has afield-effect transistor front-end tuning dial, is synchronized with the rotator drive motor to provide section that achieves a cross modulation (overload) rejec- more precise aiming and relocation of stations than is pos- tion of -95 db. It has an FM sensitivity of 1.8 microvolts sible with the usual meter indicators. Connection of the new (IHF). The S-7800 incorporates automatic noise -gated FM semi -automatic model is simplified through the use of three- stereo/mono switching;a stereo -indicator light;a zero - conductor wire that carries the antenna signal and the rota- center tuning meter; a front -panel stereo -headphone jack; tor -control signal. Suggested list prices are $39.95 for the manual model, $44.95 for the semi -automatic, $49.95 for the automatic, and $59.95 for the automatic model with wood cabinet control console. Circle 182 on reader service card

Dual'snew Model

1015 automatic turnta- and rocker switches for selection of the tape -monitor, noise- ble has a number of the filter,loudness -contour, and speaker -switching functions. same features as Dual's Front -panel controls also permit adjustment of interstation more expensive models, muting and phono-preamplifier gain. including a dynamical- Other specifications include an IM distortion of 0.1 per ly balanced tone arm, cent or less at normal listening levels and a power band- four speeds, direct -dial width of 12 to 35,000 Hz. Sensitivity at the auxiliary input skatingcompensation, is 0.2 volt; at the phono input, 1.8 millivolts. The hum and and a tone -arm cueing noise level (below rated output) is -75 db at the high-level system that can be used with either manual or automatic inputs and -63 db at the magnetic-phono input. FM signal- start. In addition to raising and lowering the tone arm at to-noise ratio is 70 db, capture ratio is 2.4 db, and FM dis- any point on the record, Dual's cueing device allows the tortion is 0.3 per cent at 100 per cent modulation. The slow arm descent of the damped cueing to be used during S-7800-FET carries a three-year parts and labor warranty. automatic start. Chassis size is 161/2 x 14 x 41/2 inches. Price: $409.50 for the The low -mass, low -friction tone arm of the 1015 can custom -mount chassis, $418.50 in walnut -grained leather- track with a stylus force as low as 0.5 gram. The tone -arm ette case. counterbalance is controlled by a geared adjustment knob Circle 185 on reader service card that can be locked in position when the tone -arm is balanced. Both tracking force and anti -skating are applied at Ampexhas an- the pivot of the tone arm by direct -reading numerical dials, nounced a new series of each calibrated to the other. compact professional The 1015 has adjustable stylus overhang for minimum tape recorders, the AG - tracking error, and its motor holds constant speed within 500 series, designed for 0.1 per cent even when a.c. line voltage varies ±10per cent. nigh reliability and in- Two spindles are provided: a short spindle for single -play tendedforradiosta- operation and a long changer spindle that will accommodate tions,smallrecording up to ten discs. The width and depth of the Model 1015are studios, and other criti- 121/2 x 103/4 inches. Price: $89.50. A variety of basesare cal users. The AG -500 available, including some with dust covers, ranging in price replacestheprevious from $6.95 to $29.50. model PR -10 and has completely solid-state electronics and Circle 183 on reader service card a new drive motor designed for long running time between lubrications and other service procedures. is Lafayette introducing avoice -activated The recorderisavailableinaone -channelversion six -transistor microphone designed foruse with (shown), a two -channel half-track stereo version, and a any battery -operated transistor tape recorder that two -channel quarter -track stereo version. Four heads can be is equipped with a jack for remote microphone accommodated. All three configurations have two inputs control. An electronically controlled relay in the with built-in mixing facilities for each channel. The one- microphone automatically starts the recorder when channel portable model is 20 inches wide, 14 inches high, 9 sound is picked up and stops the recorder when inches deep, and weighs 42 pounds. The stereo unit (two- the sound stops. The microphoneisequipped or four -track) weighs 10 pounds more. The AG -500 is also with a three -position switch for voice-control/off/- available for rack mounting and with remote control. remote-manual functions. There is an additional control A choice of two speeds is offered -15 and 71/2 ips or 71/2 for adjusting the sensitivity of the microphoneto com- and 33/4ips. Overall frequency response, at the fastest pensate for background -noise levels. The microphone comes speed,is 30 to 18,000 Hz ±2 db. Signal-to-noise ratio complete with cord, plugs, and instructions. Price: $14.95. ranges from 50 to 60 db, depending on speed and track Circle 184 on reader service card width. Flutter and wow range from 0.15 per cent to 0.25per cent (at the slowest speed). Timing accuracy is ±0.25 per Sherwood'snew Model S-7800-FET all -silicon transis- cent at 71/2 ips. Cost of the AG -500 ranges from $1,202 to tor AM/stereo FM receiver is rated at 140 watts musicpow- $1,524, depending upon head and channel configurations. er (with 4 -ohm speaker loads) at 0.6 per cent harmonic dis- Circle 186 on reader service card 20 HIFI/STEREO REVIEW What makes a loudspeaker a bargain?

According to quite a The new KLH* Model and expensive magnetic much rather have you enjoy few marketing experts, a Twenty -Two is a case in assemblies, and the same the Model Twenty -Two -- bargain -priced product point. We used every designfour -layer voice -coil design and tell a friend about it. ought to have a little technique in our experiencefor its eight -inch woofer Quite a few people something missing. Just to make it sound better that we have employed in allalready seem to be enough to leave you vaguelythan you expect. And since of our more expensive spreading the word on our dissatisfied after a while, our experience in speaker speakers. And we designed new speaker. Before this and get you thinking about manufacture is deeper thana new two-inch high - first public announcement, trading up to something any other company's frequency speaker that we have already sold better. (we make every critical partcombines high efficiency over three thousand We don't agree. in our speakers ourselves), with the ability to handle Twenty -Two's. We think We are in business to we were able to design a power at low mid -range that says a good deal about make products that are at low-priced system with frequencies. it-and about your ability least as much of a bargain virtually the same char- We produced a speaker to recognize value when as their price says they acteristic sound as a 5200 system that not only soundsyou see and hear it. are-and, hopefully, a speaker. expensive, but does so For more information on lot more. We also took pains to without the help of the Model Twenty -Two, make sure that the Model expens_ve equipment. please write to KLH, Twenty -Two would sound If you buy a Model 30 Cross Street, Cambridge, its best with moderately - Twenty -Two, you almost Massachusetts 02139, priced, moderately -poweredcertainly won't be tempted Dept. 1-11. equipment. We used heavy to trade up next year to one of our more expensive Suggested systems. That doesn't Retail Price:$54.95 disturb us at all. We would Slightly higher in the West

1111111111111J11111111111111111111111111.

CIRCLE NO. 32 ON READER SERVICE CARD Surround Yourself with SONY Sound!

Imagine yourself at the podium, surrounded by a 20 watts of pure music power. Certainly a per- fullsymphonyorchestra.Hearingeverything. formance to please the audiophile.Yet the 530 Missing nothing. Imagine that, and you will have achieves its remarkable performance with a sim- begun to appreciate the exhilarating experience of plicity that will delight the entire family. From the totally enveloping presence of the Sony 530's Retractomatic Pinch Roller for almost automatic XL -4 Quadradial Sound System. This four -speaker threading to Automatic Sentinel shut-off, Sony de- system, two in the 530's case and two in its designed the 530 to make professional -quality tape tachable split -lid, produces a virtual curtain of recording and playback a marvelously uncompli- stereophonic sound. And only speakers this mag- cated pleasure. The 530's features include 4 -track nificent could complement a recording and play- stereo or mono modes, three speeds, separate bass back instrument as superb as the Sony solid-state and treble controls, pause control and two famous 530. Sensitive to virtually the entire audible range, F-96 dynamic mikes. Truly, the 530 is a complete the 530 captures exactly what it hears from 40 stereo entertainment system for the home, any to 15,000 cps, and dramatically reproduces it with home.It's yours to enjoy for under $399.50. AMERICA'S FIRST CHOICE IN TAPE RECORDERS SONY SUPERSCOPE The Toperroy to Stereo SONY'S PROOF OF QUALITY - A FULL ONE YEAR WARRANTY For descriptive literature on the 530 or the rest of the best from Sony, write Superscope, Inc., Sun Valley, California,Dept. H-18

SONYMAKES THE WORLD'S MOSTCOMPLETE LINE OF TAPERECORDERS, INCLUDING THIS SOLID-STATE STEREO TRIO

t."

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MODEL 250-A PERFECT PLAYMATE STEREO MODEL 660 ESP -REVERSE SOLID-STATE MODEL 260 RADIAL SOUND STEREO TAPE DECK RECORDER. UNDER $149.50 STEREO TAPE SYSTEM. UNDER $575. TAPE SYSTEM. UNDER $249.50 CIRCLE NO. 52 ON READER SERVICE CARD 1-) HIFI/S I FRED REVIEW Perfect Playmates

Sony adds an exciting new dimension to home entertainment for less than $149 SO

Now, from World-famous Sony, the perfect play-is handsomely mounted in a low -profile walnut mate for your record player-the new Sony modelcabinet, complete with built-in stereo recording 250 solid state stereo tape recorder. With a sim-amplifiers and playback pre -amps, dual V.U. ple, instant connection to your record player youmeters, automatic sentinel switch and all the other add the amazing versatility of four track stereosuperb features you can always expect with a recording and playback to complete your homeSony. A II the best from Sony for less than $ 149.50. entertainment center and create your own tapesSend today for our informative booklet on Sony from records, AM or FM Stereo receivers, orPR -150, a sensational new development in mag- live from microphones -61/4 hours of listeningnetic recording tape. Write: Sony/Superscope, pleasure on one tape! This beautiful instrumentMagnetic Tape, Sun Valley, California. AMERICA'S FIRST CHOICE IN TAPE RECORDERS SONY, SONY'S PROOF OF QUALITY - A FULL ONE YEAR WARRANTY CIRCLE NO. 53 ON READER SERVICE CARD .1 LA.)* 1967 23 By LARRY 201Hi Fi Q&A inKLEIN

Video Tape Incompatibility Adding a Headphone Jack

7HI5' QI have been thinking about buying QI have a 50 -watt stereo amplifier .a video tape recorder, but con- . that does not have a headphone STEREO sideringtheincompatibilitiesbetween jas and I would like to install one on the various makes of machines, it would its tront panel. How do I go about do- tape decks seem to make little sense at the present ing this? time when one can not exchange per- Ross AMATO sonal tapes among friends and family or Cleveland, Ohio by AMPEX! purchase prerecordedtapeswith any assurance that they will be playable on AInstalling a headphone jack is not other machines. Why haven't the manu- as simple a matter asit might $199.95!Buys you facturers standardized tape speed, tape appear. You will want some provision the famous Ampex #850 width, and so forth, with a view toward for cutting out the speakers when listen- stereo deck with 3 speeds, assuring compatibility among the vari- ing tothe headphones, and you may die-cast construction, dual ous brands such as now existswith need to place some attenuator resistors audio tape recorders? Are there problems in series with each earphone in order to capstan drive, deep gap not apparent to the casual observer? heads, solid state circuits, reduce the output level of the amplifier MARK S. ELGIN sufficiently to avoid hum and noise. Un- VU meters and more! Or, for New Canaan, Conn. less you have the electronic know-how to do all of this, your best bet is to pur- AUnfortunately, one cannot draw chase a ready-made headphone adapter $299.95!get our . a parallel between the develop- box, such as is available from a number feature -packed # 1150 stereo ment of audio tape recorders and their of manufacturers (wired or in kit form), deck with all the above plus standardization, and the development of and use it installed adjacent to your am- automatic threading and video tape recorders. It is quite difficult plifier or in some other convenient place. to make a good, reliable,andinexpen- automatic reversing! sive video tape recorder. When a manu- DIN Symbols facturer discovers an "easy" way to do QA number of amplifiers and tape it, he patents his technique and wants . recorders have appeared that use SPECIAL TAPE OFFER! to he paid by anyone who uses the same silia,1symbols to represent some con- approach. A potential competitor may trol functions or the purpose of an input Buy either of the above feel that he can develop a video recorder or output jack. What is the significance decks, and get $100 worth using different techniques that work just of the symbols and where do they come of tape for S39.95: any 10 as well, and thereby save himself a con- from? of more than 75 of our top siderable amount of money by avoiding ARTHUR GOLDEN stereo tapes, plus two reels royalty payments. He therefore develops Oak Ridge, Tenn. of blank tape. (Special tape his own non -compatible technique for video recording. and itis used in ma- AThe symbols have been more or offer and prices good only in chines produced by his company. In the less standardized internationally the U.S.A.) next several years a shake -out should by a German group known asthe take place, probably when new manufac- Deutsche Industrie Norm, which corre- Get true Ampex turers come into the field and choose to spondstoour own ASA (American payroyaltiestouseexisting systems StandardsAssociation).The symbols quality at rock rather than develop their own. Once this shown below are the most common and happens-and it has already started-are used throughout Europe and the there trill he a certain pressure toward BritishIsles. They can be used either inter -brand compatibility.It is not im- horizontally or vertically and indicate probable, however, that at least two or either an input or output jack or a con- three mutually incompatible home video trol for some particular function. systems will be with us for the next (10 four or fire years. (Continued on page 26)

PHONO COSTEREO 0 0TAPE RECORDER PRICES' MICROPHONE See your dealer today. FYI RADIO 1=1- HEADPHONE DETECTOR OUTPUT ask anyone who knows AMPEX

At.. L.uki I WN, MICROPHONE TEST POINT LOUDSPEAKER :2ni LUNT AVE., ELK (MOVE VILLAGE. ILL60( 0 CIRCLE NO. 4 ON READER SERVICE CARD CIRCLE NO. 57 ON READER SERVICE CARD -41. Several interesting facts about the design of the new Dual 1015: after you read them, you may wonder why other automatic turntables aren't made this way.

You've probably noticed that manya dead weight to the outside of the arm. of the new automatic turntables, in several Okay, now for our cueing control. pride ranges, offer features like anti -skating The purpose of cueing is to lower a devices, levers for raising and lowering thestylus to a predetermined spot on a record. tonearm (cueing devices), interesting motors Accurately and gently. If it does neither, or just of one kind or another, plus some pretty fancy one of these things, it s not cueing. It's simply designs for overall appearance. doing what you could do by hand (that in- Well, the new Dual 1015 has thesecludes damaging a high -compliance stylus). things too. Even the fancy design for overall Dual's cue -control is accurate and appearance. gentle. Rate of descent is .5cm/ second and is But our features are different. Dif-controlled by silicon damping and piston ac- ferent because we don't offer them just to offer tion (which also prevent side -thrust from anti - them. They are there to perform a real func- skating). And the cue -control works on auto- tion. With precision and accuracy. matic as well as manual start. Take our anti -skating control. Here are a few more things that It's there because, quite simply, ourshould interest you: low -mass tonearm skates. No, that isn't some- Our hi -torque motor is a constant thing to be ashamed of. In fact, it indicatesspeed motor. It's quieter and more powerful bearing friction so low (less than 40 milligrams, than a synchronous motor, and turns the rec- always) that there's no internal resistance toord accurately. Not just itself.(It maintains skating. Even at1/2 -gram. (You'll note that record speed within 0.1% even if voltage varies other arms offering anti -skating devices don't -±-1C%.) Our counterbalance has practically mention bearing friction. It's understandable. no overhang (for compactness), and locks in If bearing friction is high, skating never occursposition to prevent accidental shifting. in the first place.) By the way, about that fancy de- And that's not all. sign for overall appearance: Our anti -skating control is continu- We know that a lot of you wouldn't ously variable and dead -accurate. It doesn'teven consider a top, precision product ifit under -compensate or over -compensate. Thisdidn't look good. means the stylus will track with equal force With all that precision, and a price on both walls of the stereo groove. Also, our of only $89.50, the Dual 1315 gets better look- anti -skating control applies force internally, at ing all the time. the pivot, keeping the force constant through- United Audio Products, Inc., 535 out the record. You can't do this by applying Madison Ave., New Ycrk, N.Y. 10022. Dual1015 H i-Fi Storage The Perspicacious Germans Rate It QI ha N e recently been ordered to an . overseas assignment, and since my hi -ticonsole system is far from portable, I was considering putting it in storage with the rest of my furniture.I have been told, however, that such "dead storage" can prove harmful to the equipment. Is this true? 1ST LT. ALVIN THOMAS 4unktoOlin APO SanFrancisco, Calif. AAssuming that the equipment is "That the JansZen Z-600 is in first place is, no doubt, being stored in a reasonably dry area, and not in someone's damp base- due to its extremely pure reproduction over the whole- ment, no harm should come to the elec- and by no means short-frequency range." tronic parts, speakers, and wiring; however, the electrolytic capacitors in your Hifi-Stereophonie- .vet may, after a long period of disuse, undergoanelectrochemicalchange. Competitive tests of 49 speaker systems Ir hen this occurs, the capacitors have to be "reformed." That is best done by plugging in the amplifier to a variable source of a.c. power, such as a l'ariac, and slowly(over a5 -minute period) bringing up the a.c. line voltage from 0 to 120 volts. This will prevent blow- outs when the set is first turned on after a long period of disuse. Automobile FM Antennas QSince my car did not come equipped with an FM radio,I bought a portabletransistor radio to use init.Is there any particular type of wire antenna I could rig outside or inside the car to improve reception? CLIFTONL.GANIJS III Denton, Texas

AMost FM broadcast stations have . gone over to, or are contemplat- ing the use of, vertically polarized antennas, or at least antennas with a vertically polarized element. This means that ordinary automobile whip antennas now are quite effective in picking up FM. You Technical specs alone aren't what led a German Hi-fi journal need only rig some sort of jack or con- to rate the Z-600 speaker system tops in its class.Hifi-Stereo- nection on your FM radio so that it will phonie also comparatively tested speakers from around the world accept the particular type of plug used on the basis of musical quality.The practiced ears of hi-fi on automobile antennas. (A number of experts, audio engineers, record critics, and musicians judged FM radios already have such jacks.) the Z-600 best in its price -size category (which included some If your car does not have an automo- of the best known American and European speakers). bile antenna, simply install one. How- ever, there are two points to watch out The Z-600 performance that earned their votes starts with the for. First, avoid any antenna that has a unique twin element JansZen Model 130 Electrostatic radiator. spring or a coil in its base; although this Its clean, transparent mid -high range reproduction is perfectly may enhance or make no difference in complemented by the Model 350 dynamic woofer specifically- AM reception, it could choke off the FM designed to match the low -distortion characteristics of the frequencies. Second, unlike the situation Electrostatic. With its low -mass cone and flexible foam -treated with AM, where the longer the antenna suspension, the 350 does just as beautifully at 30 cps as the the better, an FM antenna will pick up JansZen Electrostatic does at 22,000. most efficiently when it is adjusted to a specific length. In general this twill be Just $208.95 buys the speaker system that the discriminating about 30 inches (or 1/4 the wavelength Germans rated best. And a postcard gets you free literature plus of a mid -band 98 -MHz FM signal). but a reprint of the full comparative test. See your dealer, or write: local conditions and the capacity of the antenna lead-in may require a slightly different length. In any case, adjust the antenna to some length around 30 inches NESHAMINY ELECTRONIC CORP. that provides the best reception on the 1/1,011SAfe FURLONG, PENNSYLVANIA stations you wish to receive. CIRCLE NO. 39 ON READER SERVICE CARD 26 HIFI/STEREO REVIEW WE DON'T GUARANTEE THAT THE DYNATUNER WILL OUTPERFORM ALL

OTHERS.. Dynaco Inc. Humboldt, 3912 Powelton Iowa Philadelphia,Avenue Pa. Gentlemen:

In January from Hollandof 1966 who assembledStandards,I Purchased Inc., an FM -3 it mostly it from Cedar Dynatuner station for fine kit. WhilePapids, is over music listening I have Iowa, KIT 99.95 multiplex for 60 miles used ASSEMBLED 154.95 X do with away and (my principal some FM an ERF broadcasts JFD 10 DXing of only element for fun. 16,000 in on a tower logperiodic The tuner do not But we can be confident that you can live FM antenna abyss,wt wise, in a 40 feet for there good receptionabove h rotor spend far, far more for an FM Stereo than are low g a mile hills area, level. away inall fours (about(about altitude tuner and not receive more stations As of 100 feet) this date less (listattached)I nave than you can get with a Dynatuner. received received plus 3 Its low distortion and superior quiet- most distantat about TV stations93 FMstations multiplex reception87.7 Mcdial on Channe/ signal calibratio. 6 ing will give complete listening satis- Florida from was afully August - distance WFSU-FM -separatedMy faction in comparison with the most verifiedof 1966. of over in Tallahassee, by stationAll stations1000miles expensive competitive units. ID's. listed - in I believe havebeen is unusual,thatthis Perhaps our specifications are some- there number are only of stations radius when received what confusing. How can our modest of my two FMstationsyou consider home. wlthin that 4 Or IHF sensitivity compare with / am a 50 mile Dynatuner.very pleased with the advertised claims which superficially performance appear to offer far greater sensitivity? of my Well, the answer is rather complex Yours because effective sensitivityis not very truly, fully described by one measurement. Robert It is the actual in -the -home perform- H. Baker ance which counts, though, and Mr. Baker's letter is just one of many examples of the Dynatuner's outstanding capability. Because specifications measured under laboratory conditions do not relate directly to the reception prob- A list of the stations Mr. Baker receiveds obtainable from Dvnaco on request, along witi two similar tabulations from other users: lems encountered in the home, only 125 stations received on a mono Dynatuner in northern New Jersey, an on -the -scene comparison can and more than 60 stations received in Baltimore, Maryland on a establish relative performance. Since simple indoor folded dipole antenna. All rere logged on Dynatuners this is not always possible, follow the which were built and aligned from kits. Not all stations were received lead of tens of thousands of satisfied regularly, of course, nor all at the same t me. Antenna position and design as well as atmospheric conditions affect reception, and it is users, and not unlikely that another topflight !Liner might possibly match this TRY A DYNATUNER performance. If you are spending more tgan $300, you migh, well More Dynatuners are in happy own- expect such results, but under $100 it is unique. ers' homes than any other brand. It's Complete specifications and a compreheisive report on the Dyna- tuner is available on request, providing detailed test reports on just as easy to use as it looks. Tuning several different samples for objective evaluation. indication is precise, it automatically switches to stereo operation when you tune to a stereo broadcast, and drift is a thing of the past. Dynaco concentrates on performance. ...Shouldn't you? dyNaCCI INC_ 3p9h,:d:lopzealtopria.A1v9e1nou4e IN EUROPE WRITE: Dynaco A/S Christian X's Vej 42 Aarhus C, Denmark CIRCLE NO. IS ON READER SERVICE CARD JULY1967 27 AUDIO BASICS

SPECIFICATIONS XI: AMPLIFIER POWER

IN THEwhole realm of audio, there isno question more certain to in - spire argument, and no argumentmore likely to generate heat than this one: How much power is enough power? Thisis understandable, because there is no standard answer. It is allvery well to say "the bigger the better," but an amplifier's costgoes up along with its power rating, and for a given purpose ina given situation, an amplifier with an output of 25 watts per channel may fill the billas well as one with 60. If he is not to be caught up in a numbers game that treats wattsas Detroit treats horsepower, what the buyer needs are rational guidelines thatwill relate amplifier wattage to his specific needs. Reputable audio manufacturers of course know better, butothers spread confusion with grandiloquent claims typified bya recent newspaper ad that came to my attention: an inexpensive console with "300 wattssuperpower stereo." Even if such a rating were an honest one-and it surelyis not- the obvious question is, "Is all thatpower necessary ?" The best way of answering this is to examine the meaning of audiopower in mrhical terms. Contrary to all -too -prevalent notions,a lot of watts doesn't necessarily don't mean a lot of sound. A 100 -watt amplifier at full volume, for example, can not play ten times as loud as a 10 -watt amplifier, because the human just stand ear doesn't translate power output into a directly proportionalsense of loudness. What, then, is the reason for those extrawatts, and why pay there. for them? The answer is that the difference made bygreater amplifier power is yuallialive rather than quantitative, showing up only in certain do something! musical passages-a sharply attacked form,a deeply resonant sostenuto in the lower strings, or a hugely swelling orchestral crescendo.Greater power such as: improves reproduction in such passages not by increasing loudness, butby cue automatically, precisely reducing distortion. Sudden strong accents, low bassnotes, massed sonori- play all 4 speeds ( with contin- ties, and rip-roaring orchestral fireworks demand uously variable range from great surges of acoustical 29 to 86 rpm) power. The larger amplifier, with its great power potential, has ample reserves that enable it to accommodate itself to the most strenuous de- track flawlessly at 1'A grams mands of program material without strain. boast a 12", 7:) 11). platter A small amplifier, on the other hand,may sound perfectly fine most of the time, but then falter when the musical demands madeon it become Bogen B-62 excessive. The resultis distortion-blurs, crackups, and loss of clarity. does it all...and all This often happens within a fraction ofa second-during the instant the piano hammer hits the strings or the stick crashes against thedrumhead- for 867.95 so fast that the listener may not be aware that he is hearing distortion. Yet And it does it all on its handsome new the overall impression of the music becomes clouded, losing its immediacy, oiled walnut tapered base. Says High and the result over any extended period is listening fatigue. Fidelity: "A turntable and arm com- This does not, of course, answer the "how much bination of fine design and high qual- power ?" question in any but the most general way-in other words, "as much power as is nec- ity performance... Well suited for any high fidelityinstallation". See essary." What is "necessary" will be governed also by such other impor- your dealer or write Bogen for fur- tant factors as room size, the sound level at which you customarily listen ther details. to your music, and the music itself-a recording of a string quartet, for example, seldom makes excessive demands on the amplifier. BOGEN Having described the meaning of amplifier wattage interms of subjec- COMMUNICATIONS DIV. LEAR SIEGLER. INC. tive listening,Iwill next month consider some objective criteria for Paramus. New Jersey picking the power rating you need for your particular circumstances. CIRCLE NO. 7 ON READER SERVICE CARD 28 CIRCLE NO. 50 ON READER SERVICE CARD --)11. NEW TA -108

The new TA -1080 employs 30 Sony saicoi transistors, some of them built specially 'or this new integrated stereo ampl if er. The result: clean, natural per-

formance over a wi* trequenzy range. . The TA -1080, mocestly-ixrwerml heir to the highly -regarded Soiy TA-1120.deliwrs 90 watts IHF power to 8 ohms, both c:rannets operating. Distortion is virtually non -ex sten- at all power levels- less than 0J% .t 1/2 watt and 0.15 E.t rated output. Overall frequency responseEat from 30 to 100,000 Hz (+0 db/-2 dbl. Damp ng factor.Erc signEl-to-noise rat o areexoel:mt. The control faci ities are ewervthing ',oriel expect from -he most deluxe units: quick -action switch for selec-iig tke program sources nos: of _en used: a tone -control cancel switch 3-1J tape source mon:tor switch. Separate and independent tcne controls for each chaniel provide better than 10db bass and trejle boost anc attenuation. The TA -1080 at 529930 is impressive n every way. Youl be most impressed when you hear it. The more powerful TP-1120, accorded i p ace in the top rank of stereo amplifiers by :eading high fidelity editors. costs S399.50. Herr them at your Sony high fidelity dealer. Sony Corporation of Americwept. H 47-47 Van Din Street. Long Island City. N.Y. :1101 Prices suggested list Buildingourowntransistors has its advantages...Listen. Marantz componentsare too good for most people.

P"N - N 01'N PAN 0.1 r

Are you one of the exceptions?For the most astonishing set of specifications you've ever read, write "Exceptions," Marantz, Inc., 37-04 57th St., Woodside, New York 11377, Department A-18. maranI Ar A SUBSIDIARY OF SUPERSCOPE. INC. The Marantz components illustrated, top to bottom: SLT-12 Straight -Line Tracking Playback System Model 15 solid-state 120 -watt Stereo Power Amplifier Model 7T solid-state Stereo Pre -amplifier Console Model 10B Stereo FM Tuner CIRCLE NO. 35 ON READER SERVICE CARD 30 HIFI/STEREO REVIEW - THE FEAR OF GOD AND TOSCANINI A CRITIC RE-EXAMINES A CONDUCTORIAL LEGEND IN 7HE LIGHT OF RECENTLY ISSiJED RECORDINGS

,.....- Ily ERIC SALZMAN

MHE Toscanini centenary goes on apace: and setting the crisp modem style now al- greatest orchestra the world has ever known,' reissues of recordings, recollections, edi- most totally dominant in our orchestras (see, theItalianwith the terrible temper who torials, Sunday articles, and magazine pieces. for example, Szell, Karajan, Solti, Leinsdorf smashed to bits the watch his musicians had No single musical interpreter-in his own -in the younger generation only Bernstein, just given him, the great classicist who wor- lifetime, let alone years after his death-has a Koussevitzky pupil, is a stylistic hold -out). shiped Verdi, the past master and the torch continued to evoke such consistent admira- Toscanini and his orchestra set new high bearer. I am old enough to have heard Tos- tion not only from the big public (a la Ca- levels for orchestral performance; American canini in person and young enough not to ruso), but from the cognoscenti as well. standards have, in part owing to his in- quite remember what those performances At hand at the moment, for the centenary - fluence; become the highest in the world. I were really like. Now I have tried to pick my minded, are (1) a batch of reissues stem- am not sure that he was the very first non - way through the recordings, those listed here ming from Toscanini's famous 1937 B.B.C. Central European to invade the German- and others, with great care and attention, fol- performances (Seraphim) and (2) a selec- speaking countries with German repertoire lowing even the most familiar pieces with tion of N.B.C. broadcast performances rang- (he was a great success at Bayreuth and score in hand. I have, in a sense, tried to listen ing over more than a decade and never be- Salzburg), but he was certainly the only one freshly and with open ears-as a young fore commercially available in recorded form toleave alasting impression.(Ironically, student might today.I have reached a few (RCA Victor). Allof the many N.B.C. along with expatriate Bruno Walter, this conclusions and, with all respect, I offer them broadcasts have been preserved, so RCA's Italian did more than anyone else for the for what they are worth. set of five discs is a mere sampler, although best ideals of Germanic culture during its The most obvious thing about these per- a perfectly welcome one. I think every one of darkest days.) formances is that, despite the written reports thebroadcastsandrecordingsToscanini Although Toscanini professed not to be of ToKanini's willingnesstochange his (and, for that matter, anybody else) ever terribly fond of recordings, he became the mind, they are all remarkably similar. In the made ought to be available in dubbings from first major conductor to work for great peri- case of works recorded on two different oc- master -tape archives-on payment of a rea- ods of time within the orbit of mechanical casions separated by a number of years (as sonable fee, of course. reproduction processes, and this may have with the Beethoven works recorded with the Okay.Toscanini was borna hundred influenced his style. At any rate, ear wit- B.B.C. orchestra in 1937 and again in the late years ago, and some sort of commemoration nesses have suggested that his familiar, clean, Forties and early Fifties with the N.B.C.), is in order. But so is a revaluation of the fast, high-powered approach was character- the conceptions remain the same and many continuing and extraordinary phenomenon of istic primarily of his later years. This may interpretive details are identical. And there Toscaniniolatry,therenewed admonitions have been a response to the pitiless demands is no real modification of approach from one to the faithful to come to the shrine and of the microphone (and of N.B.C.'s Studio work to the next, from one composer to the worship. Should we kneel and adore? Or 8-H), or it may have been a consciousness- next, or, for that matter, from one style or should we stop and listen first? something new in musical performance-of period to the next. By the late Thirties, Tos- Toscanini was a great man, without a working for posterity. Toscanini, the per- canini had made up his mind. doubt. He was a fiery, temperamental Italian, fectionist, unable to bear the (to him) glar- What is this approach? It has been defined a musical genius, and all the other things the ing imperfections mercilessly revealed by the by many writers in many different terms. I journalistic adjectives said he was. He was microphone and pressed into shellac or plas- would describe it, in a brief phrase, as maxi- already famous by 1900, when he had more tic for all time, would come back again and mum clarity within the greatest feasible for- than fifty years of life and musical activity again to drive his charges harder and harder ward impulse. This is by no means merely a before him. And in those fifty years this little toward the never -to -be -achieved goal of per- matter of fast tempos. Clarity and precision man bestrode the narrow world of music like fection. What a responsibility; what a set of in matters of articulation and a remarkable a colossus. He was an autocrat in music and fears and obsessions! The results make up, feeling for phrase and phrase motion ac- a democratic anti -fascist in life. He demand- no doubt about it, a recorded legacy of ex- count for a good deal. Toscanini was, after ed and received a higher quality of orchestral traordinary documentary value. But are these all, an Italian and (by birth, so to speak) an playing than anyone had before him. He models for all time, for future generations operatic conductor. In later years, he nearly ended his career with a personal court or- to marvel at, to study, to imitate? Are these strangled his singers, not merely by putting chestra put totallyathis disposal with a invariablyidealand probing communica- the fear of God and Toscanini into them full week-long rehearsal schedule to prepare tions of a great cultural heritage clarified during rehearsal, but by squeezing the breath a mere hour of music, most ofitalready and made meaningful for us through the out of them in performance-through driv- familiar to his players. (Compare this with deepest and most universal insight? ing, whiplash tempos that had long since Haydn's orchestra at Estzrhaza or the mod- I do not believe so. ceased to make sense for real voices. Even ern European radio orchestras playing new so, them was always that old theatrical im- repertoire every week-or with the hectic IHAVEjust spent the better part of a week pulse (more common in Italian operatic tra- schedules of other American orchestras.) Tos- with Arturo Toscanini-or, at any rate, with dition thanis often realized)to build up canini revolutionized conducting, taking the the Toscanini most of us knew: the man in drive and excitement and to sustain tension play away from the old romantic virtuosos his seventies and eighties, conductor of "the (Continued overleaf) JULY1967 31 canini's shoulders, but that puts us higher a lack of contact with thecreative side of the up nonetheless. (These recordings are, by musical art. The latter point is not anew the way, very poor even for their day- one; Toscanini has been criticized for this close-miked, dial -diddled, and ugly in their before-by Virgil Thomson, among others- unbelievably unbalanced acoustic.) and not without considerable justice. This Aside from all the other problems, there was not merely a result of the fact that Tos- is the fact that the one obsessive approach canini performed little new music, that he was applied to many different kinds of mus- was out of touch (why, at the age of eighty. ic. There is the impression that Toscanini should he have beenintouch?), or that he never for a moment thought about music as did this piece and not that. He wasone of a Schnabel did-in a probing, analytic way; the first of the modern virtuosos to be purely he worked simply, directly, and not a little and essentially a performer, the prototype. naively from his single-minded aural vision. infact,of the new performer -interpreter Sometimes, of course, the piece is right and specialist. The profession of conductingwas the men really catch fire. And the fire comes invented and brought to its first high estate in unexpected places: who, for example, re- by composers, and the tradition has beencon- members Toscanini as a Shostakovich continued by a distinct line of conductor-com- ductor? And yet the tension, the drive, the posers from Mahler to Bernstein and Boulez. nervous, edgy quality of the sound are ex- Men like Weingartner,Furtwiingler,and tremely effective for the Russian composer's Arturo Toscanini(1867-1957) Klemperer may not be remembered by pos- music. terity as composers, but they were actually over long periods-in symphonic as well as In the Classical repertoire the case is more trained as such and wrote a good deal of vocal music. And, in spite of Toscanini's complex. Toscanini certainly performed a music. Even a Stokowski or a Mitropoulos, famous ability to "clarify the inner voices," great service in clearing out alot of the not creators in the usual sense. always re- this is always really top -line conducting, tak- thick underbrush that had grown up around mained close to sources of creative ideals. ing shape from a tremendous forward pro- these works, obscuring many of their es- But Toscanini was an interpreter pure and jection of the dominant melody or rhythm. sentials. But again we are standing on Tos- simple, and he deliberately eschewed any at- (Compare this with a Klemperer, desperate- canini's shoulders. In our terms, he was not tempt to be "creative." The score was his ly trying to hear not only inner voices, but a great Classicalstylistand, infact,his only authority-the score and his own force harmonic motion as well, and hence con- much -vaunted fidelity to the score turns out of character. Toscanini, the non -creative instantly trying to slow things down.) I don't to be a purely relative matter. Toscanini very terpreter, claimed that he was establishing mean to imply by this that Toscanini neg- definitelydidfollow many traditionalal- the unique authority of the composer and the lected everything but the tune; I am talking terations and fiddled with details himself, score, but in the process he sternly imposed about the way these pieces are basicallycon- and we now know that playing Classical his own brilliant, single-minded, devastating ceived and projected. A Toscanini perfor- music in a fast, strict tempo is not invariably personality on everything he ever did. mance is like a relief map, structured on the a demonstration offidelityto eighteenth - big lines and showing contour in precise de- century ideals. On the other hand, some of (:) TOSCANINI TREASURY OF HIS- the lively, Italianate tail and proportion. buffawriting that ap- TORIC BROADCASTS: Haydn:Sym- This and, one feels, this alone is the un- pearssooftenintheeighteenth -century phony No.99.in E -fiat; Symphonic Con- failing ideal of these performances. There symphony comes off very well indeed, and rertante, in B -fiat, Op. 84.L. Mozart:"Toy" is, for each score. a total and perfectly ideal of Beethoven Symphony.Brahms: sound image, infact unrealizable, but al- (the Fourth Symphony, for example) are Op. 16; Gesang der Parzen. Op. 89; Lie- most palpable. Each actual performance is a eminently successful. Perhaps the most im- beslieder Valk:es, Op. 52.Sibelius:Sym- kind of constant, unremitting, intense,un- portant and meaningful performances are phony No.2,in D, Op. 43:Pohjola's Daugh- real striving toward this goal. The qualities those ofactualoperaticbuffa-fromthe ter, Op. 49.Shostakovich:Symphony No. 7, of excitement, drive, and tension thatre- Rossini Overtures toFalstaff.He must have Op. 60 ("Leningrad"); Symphony No. 1. in sulted (often through the famous head-on been an effective Wagner conductor; it's hard F Minor. Op. 10,N.B.C. Symphony Orches- collisions in rehearsal between the men and now to judge. I have very mixed reactions to tra, Arturo Toscanini cond. RCAVICTOR themaestro)must have produced a tremen- most of his non -operatic "Romantic" rep- LM 6711 five discs $23.99. dous effect on an audience, and some of this ertoire; he misses both the poetry and the comes through even now in the distant medi- unique structural qualities of the northern Q BEETHOVEN: Symphonies Nos. 1, 4. um of these old recordings. Musically speak- Romantic symphonists, substituting vigor and and 6: Leonore Overture No.1. MO- ing, this expresses itself not only in speed and a sense of linear motion which often seems ZART: Overture to "The Magic Flute." crispness, but also as a kind of leaning into to be imposed from the outside. BRAHMS: Tragic Overture, Op. 81. B.B.C. the phrase (often with an infinitesimal but Toscanini'slimitations were, I believe, Symphony Orchestra, Arturo Toscanini cond. regular anticipation of the beat), the music both a matter of temperament and a result of SERAPHIMIC 6015 three discs $7..17. being constantly urged forward ina great flow of energy. But, perhaps inevitably, much Although Toscanini first came to America in1908 to conduct at the Metropolitan Opera, be of thelive excitement that these perfor- returned to Italy for a time. Here be ,,,m1m.tc a hand on the Italian front inrorldliar I. mances generated eluded the microphone. What we have. objectively, are very fast, across -the -top readings, performed with more crackling tension and greater precision than anyone ever achieved before, but not necessarily with any great profundity. There is no quality of reflection. Without a second thought, Toscanini drives his men brillianth inexorably, and mercilessly toward thatun- questioned sound image, that unrealizable goal long since fixed in his imagination (he could remember perfectly music he had not seen in forthy years). No doubt some of these performances be gin to approach the goal. But-one must sa\ it-in terms of sheer perfection of ensemble. many orchestral performances nowadays surpass these. This is not only a matter of improved recorded sound andtape-splicin& techniques; itis true of live performances av well. Of course we are all standing on Tos- 32 HIFI/STEREO REVIEW COMPARE THESE NEW SHERWOOD S.7800.FET FEATURES AND SPECS! ALL -SILICON RELIABILITY. INSTAMATI: OUTPUT OVERLOAD PROTECTION CIRCUITRY. NOISE -THRESHOLD -GATED AUTOMATIC FM STEREO; MONO SWITCHING, FM STEREO LIGHT, ZERO -CENTER TUNING METER. FRONT -PANEL FM INTERCHANNEL HUSH ADJUSTMENT.. MONO/STEREO SWITCH AND STEREO HEADPHONE JACK. ROCKER- ACTICN SWITCHES FOR TAPE MONITOR. NOISE -FILTER. MAIN AND REMOTE SPEAKERS DISCONNECT. MUSIC POWER 140 WATTS 14 OHMS) fe 0 6% HARM DISTORTION. IM DISTORDONO1%F. 10 WATTS OR LESS. POWER BANDWIDTH 12-35.000 CPS.PHONO SENS. 1.8 MV. HUM AND NOISE (PHONO) -70 DB. FM SENS. 11HF) 1.8 AV FOR 30 DE QUIETING. FM SIGNAL-TO-NOISE. 70 DB. FM CAPTURERATIO: 2.4 DB. FM CROSS -MODULATION REJECTION -9508. DRIFT .01%. AM SENS. 2 OAV. AM BANDWIDTH 7.5 KC. 45 SILICON TRANSISTORS PLUS 16 SILICON 0100ES ANDRECTIFIERS SIZE 165514 IN. DP.

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March 26, 1966&ilunicy Review suggest a cure by mail. At leastone manufacturer (Acoustic Research)pays shippingcosts to and from the factory on units repaired under their five-year warranty.Andmany manufacturers

We have hearda rumor that AR's five-year speaker designed shipping cartons, and a quality control at guarantee*(coveringallrepaircostsincluding AR which borders on the fanatical. freight and a new carton when necessary) doesn't The superior quality of AR speakers and turntables, cost us anything because AR speakers never fail. attested toin almost every review of AR equip- It isn't true. ment,** is not likely to change after years of use. For example, the return rate of AR-2a's and AR- If the unlikely does occur we take care of it-free 2ak's over the five-year guarantee period has been during the guarantee period,at moderate cost more than eight -tenths of one per cent. During the afterward. two years that we have been shipping AR -4's and AR speakers are $51 to $225; the AR 2 -speed turn- AR -4;'s we have had to repair a full nine -tenths of table is $78. Literature will be sent on request. one per cent of them at the AR plant (or at one of our repair depots in New York, Philadelphia, Chicago, Los Angeles and San Francisco). * AR turntables are guaranteed for three years under the same conditions. These return percentages are actually lower than ** Lists of the top equipment choices of four magazines the figures projected by many carton manufacturers are available on request. All four chose the AR turntable, for shipping damage alone. They reflect heavy, over- and three of the four chose AR -3 speakers.

ACOUSTIC RESEARCH, INC., 24 THORNDIKE ST., CAMBRIDGE, MASS. 02141 CIRCLE NO. 2 ON READER SERVICE CARD 34 HIFI/STEREO REVII-\\ HIFI/STEREO REVIEW presents the ninth article in the series THE GREAT AMERICAN COMPOSERS JOHN PHILIP SOUSA "Any composer who is gloriously conscious that he is a composer must believe that he receives his inspirationfrom

a source higherthan himself....Sincere composers believe in God." -John Philip Sousa By RICHARD FRANKO GOLDMAN

NOT MANYyears ago, if one asked casually anywhere Aaron Copland or George Gershwin or Elliott Carter or in the world for the name of the most famous Richard Rodgers instead. This is an interesting sidelight American composer, it is likely that the answer on the change of tone in American music: thereis at would have been John Philip Sousa. Of course, times least a chance today that the names of some "serious" have changed, and today the answer might very well be composers might turn up in casual talk under almost any In 1892 Sousa secured his release from the Marine Corpsto form his own band, soon the most popular musical organization of its time. It toured everywhere, and the photo above, from the Nineties,may derive from the World's Columbian Exposition of 1893. kind of circumstances. But, on the other hand, it is only they elevate a minor form of the dance to the level ofart, in 1967, in our own time, that it is really possibleto in- and they transcend with the completest success-and clude Sousa quite seriously, without condescensionor apparently with the greatest of ease-the merely func- embarrassment, in a series devoted to "great" American tional or the exclusively national. For Sousa's marches, composers. uniquely American as the Strauss waltzesare Viennese, Sousa obviously does not qualifyas a "serious" com- are also international in appeal, and speak in all tongues. poser any more than Johann Strauss does-rather less so, They are great American music, but theyare also great in fact. But it is on the level best represented by Strauss music. that Sousa has his secure and honorable place. Any music The march, like the waltz, is a kind of dance,as highly lover knows that Strauss was the best in his field, with formal as the minuet. This is a fact too often forgotten, sense enough not to wish or attempt to write symphonies, perhaps because the steps of the march are so simple, and that what he accomplished in his own limited musi- being, in effect, nothing more than walking in time toa cal world earned him the admiration of serious musicians regular beat. But the fundamental appeal of the march is as well as the affection of an enormous public. And so nevertheless based on its character as dance. Beyond that, with Sousa. Itis reported that Paul Hindemith once we judge the lasting musical values of any genre by the called Sousa the greatest Americancomposer; whether viability of the music in concert form, and here Sousa's the report is true or not,itis at least believable, and marches, like Strauss' waltzes, speak for themselves. They everyone can see why it might have been said. For, like are part of the concert repertoire, as well as of the march- Strauss, Sousa was not only the greatest in hisown field, ing repertoire, throughout the world. but was by and large quite satisfied to be what hewas, and-again like Strauss-his name will always beasso- JOHN PHILIP SOUSA was born on November 6, 1854, ciated with the undisputed mastery of a minor musical in Washington, D.C., in the southeast sectionnear the form which in a sense was his own creation. Hewas, so Navy Yard, then known as "Pipetown." His father, An- far as the march is concerned, an originalas well as an tonio, who was born in Seville, Spain, of Portuguese important composer. parents, had lived brieflyin England and arrivedin The marches of Sousa are part of the great heritage of Washington, via Brooklyn, in the 1840's. His mother, the world's immortal music. Like the waltzes of Strauss, née Elizabeth Trinkhaus, was a native of Bavaria. An-

36 HIFI/STEREO REVIEW tonio Sousa played trombone in the Marine Band, although not, apparently, as a full-time occupation; he also Sousa on the March worked occasionally as a cabinetmaker. According to John Philip's account, as given inhis autobiography "Marches; of course, are well known to have a pecnlia, appeal for me. . . . (they) are, in a sense, my musical Marching Along (1928), Antonio was a kindly, intelli- children. I think Americans (and many other national gent, well-read man, fluent in several languages, but not a for that matter) brighten at the tempo of a stirring mare/ technically proficient musician. His mother was totally because it appeals to their fighting instincts. Like the heal especially from the of an African war dum, the march speaks to a fundamental unmusical. But many musicians, rhythm in the human organization and is answered. A Marine Band, were among the family's friends, and march stimulates every center ofvitality,wakens lb, John Philip began the study of solfeggio at an early age imagination and spurs patriotic impulses which may hat< been dormant for years. I can speak with confidence b< - with one of these, a Spanish orchestral player named cause I bare seen men profoundly moved by a few mea- Esputa. At the age of seven, young Sousa began the sures of a really inspired march." study of the violin with Esputa's son, who had organized a music school in the neighborhood. Sousastated that he was "passionately fond of music" from earliestchildhood and never entertained the idea of becoming anything but June 9, 1868, as an "apprentice boy" in the Marine Band. a musician. He was also fascinated by militarybands, of Here John Philip's duties were fairly light-he passed which there were many-good, bad, and indifferent-in out music, ran errands, and played the cymbals-and he Washington in those days. And so, while studying violin had plenty of time for further study and for outside en- and "orchestration and sight-reading" at Esputa's school, gagements as a performer. In his autobiography, Sousa he also found time to learn the trombone, baritone horn, notes that "the first time I heard really fine music (apart and, apparently, the cornet and E -flat alto. His principal from the ordinary orchestra or band programmes) was instrument, however, was and remained the violin. when the Franko family of five wonderfully talented By the time John Philip was thirteen, he was earning children came to Washington for a concert." This was in moneyasamusician,havingorganizedasmall 1869, and Esputa insisted that every student in his school "quadrille band" of which he was violinist and leader. attend the concert. Sousa notes further that this "was the Shortly afterward, he was offered a job playing baritone first time I had heard real violin playing." with a touring circus band, but to prevent the boy's run- Sousa was evidently what we would call a "quick ning off with the group, his father had him enlisted, on study"; in any case, his musical progress was rapid. He joined the Washington Orchestral Union as a first violin- Sousa profited from the example of bandmaster Patrick Gilmore ist, and studied harmony and violin with its conductor, (1829-1892), whose band was widely famed for its concert tours. George Felix Benkert, a solid musician who introduced him to the sonatas of Mozart and Beethoven, and who encouraged him inhisearlyeffortsatcomposition. Benkert, from all accounts, must have been an excellent teacher as well as a fine pianist and competent conductor, and Sousa was fortunate to have found him. Sousa himself was well aware of this, and wrote of Benkert with great affection and admiration in later years. He never studied piano with Benkert; when he asked for some instruction on that instrument, he quotes Benkert as reply- ing: "You seem to have a gift of knowing a composition by looking at it, and you may develop into a very original composer if you follow that line of procedure; whereas, if you become a good pianist you would probably want to compose on the instrument and, if you are not careful, your fingers will fall into pleasant places where some- body's else's have fallen before." Sousa composed a great deal of music while he was still in his teens. His first published work was a set of waltzes entitled Moonlight on the Potomac, brought out by J. F. Ellis in Washington in 1872. In the following year appeared a galop, The Cuckoo, and a march called The Review, the latter listed as Opus 5. These were published by the firm of Lee and Walker in Philadelphia,

JULY1967 37 and Sousa's remuneration consisted of one hundredcop- business, then as now, the production was ofcourse billed ies of each piece. Within the next few years Sousa wrote as "artistic": the females posed in such edifying tableaux and published a considerable number of songs, salon as The Christian Martyr, Phryne before the Tribunal, pieces, and dance -tunes; by 1881, his catalog had reached The Destruction of Pompeii, and other classics ofthe Opus 135! After attaining that impressive total at the sort. The girls were nevertheless arrested in Pittsburgh,a age of twenty-seven, he abandoned the practice of using city, in those days, apparently impervious to culture. And, opus numbers. as Sousa later related, the crowds grew bigger than ever What is interesting in retrospect is that Sousa's early as soon as the show, undraped female figures and all, compositions did not include many marches. He seems went on again. to have been primarily interested in writing songs, for All of this was the direct method of learning the busi- many of which he wrote his own verses. These songs ness. By 1876, Sousa had written and arranged a great range from the humorous to the sentimental, and it must deal of light theater music, andwas beginning to look be admitted that they are not distinguished. But itis about for an operetta libretto for hisown use. In that typical of composers to love their least -favored works, same year, he joined the orchestra conducted by Offen- and even in his later years Sousa was farmore delighted bach at the Philadelphia Centennial Exposition. Thiswas when he heard one of his songs performed than heever an important experience for Sousa, for there can beno was to hear one of his marches. One wonders whether question but that the style of Offenbach madea real and he ever heard a performance of the Te Deum hecom- lasting impression on the young violinist-perhaps the posed in about 1877, but of which no traces seem to have greatest single influence in the formation of Sousa'sown survived. style. In any event, the Te Denm appears to be Sousa's only The Philadelphia Exposition also gave Sousa his first attempt at serious "art" composition. He seems to have chance to hear Patrick Gilmore's famous band. Gilmore been clearly aware that his real interests and talentswere was the first great American band leader and a well- in commercial music for entertainment, and in theprac- known entrepreneur and entertainer. His bandwas far tical problems of earning a living as a performer. There superior to anything of its kind that had been heardup is no evidence that at any time in hiscareer he deeply to that time. Gilmore had fine musicians, well trained cared for, or understood, the great music of the pastor of and well directed, and he playeda broad repertoire in his own time. But such an indifference is probablyan generally Sousa was again at- asset to a popular composer; it prevents his becoming inhibited and precludes confusion about his musical aims. As evidenced by this smokingjacket photo attributedto portrait- It must be remembered, too, that Washington in the ist John Singer Sargent. Sousa wore his phenomenalsuccess well. 1870's was not exactly a cultural paradise, and that the opportunities for a serious musician, whether performer or composer, were pretty much limited to a choice between starvation and exile.

S°us/. re -enlisted in the Marine Band on July 8, 1872, to serve for five years as a principal musician, playing trombone. But he soon saw that there was little professional future for him with the band, and hewas lucky enough to secure an early discharge through the good offices of an assistant secretary of state. When free of his Marine Band obligation, he seized an opportunity to conduct the orchestra at Kernan's Theatre Comique,a local variety hall, from which he wenton to Ford's Theater, where Offenbach operettas were beingper - performed. His first important experience as conductor came when he was chosen to direct the road company of Bohemians and Detectives, a very popular show written by Milton Nobles, who was also the star. On his return to Washington, Sousa was engaged as conductor for a production known as Matt Morgan's Living Pictures. This was considered a rather immoral entertainment, for in it appeared, for the first time on an American stage, the "undraped female figure." Show business being show

38 HIFI/STEREO REVIEW I o VOCAL \ ND INSTRUMENTAL gELECTIONS ANYISTI. if0 ANHATTAN Ai)]1/11 3EACH " :THE NEW- MARCH ()MIC OPEPZ lijeinfmtck iht

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600K BK- ,-- (77/AkZE6 A2EN, I Sousa's publishers lost 4Io&C /3K t little time in making sheet -music copies of his latest compositions Argkefiqt byJOHN PHIUP 50US/V, available in a wonderful 440.- 1up.-01 1.1, lirloa variety of arrangements: P.A.. MA., SO ;TO, AosGt CIA* ;boa 40 5,..retbrort IYu k'ufltrs. IHr. It I:I Capilairs Sons. 3. a. piano (two-, four-, and Mon it Pm NI Solr, 5 )7.. 7,- even six -hand), mandolin, Will1/halo, - - zither. guitar, and banjo. )11,. 1,14411.4 uH 14:11144-eS. Pliln41 ti 11ould today's equivalent 1/4E 4101-1N CHURCH COMPANY VOCAL SCORE U1nn+i 1200 be a rash of LP's? CINICIHNATI. He. HHO. CHICAGO THE CJOH N CHURCH COMPANY

tracted to the wind hand as a performing medium, and Sousa apparently had some hesitation aboutaccepting when, a few years later, he started on his own sensational this post. The Marine Band was then interrible shape, and had career as a bandmaster, the example of Gilmore wasof and the pay was small. He had recently married, found the considerable importance to him. just seen his first operetta launched. But he appeal of bands and of band music irresistible,and, on 1880, he became the Marine Band's new THEpreparation for his future success as composer and October 1, conductor was, however, still continuing. Remaining in leader. Having literally grown up with theband, and Philadelphia afterthe close of the exposition, Sousa having acquired considerable and varied professional ex- played in various theaters, did some proofreading for a perience, he was completely aware of what had tobe music publisher, and acquired a few pupils. In 1878, he done and how to go about it. He proposed to create a trained and directed a group of Philadelphia amateurs band as good as Gilmore's or better; fortunately,he had in a series of performances of Gilbert and Sullivan's Pin- a commandant who was incomplete sympathy with his afore. Innumerable companies were touring the country aims. with this extraordinarily successful operetta, and Sousa Sousa was then just short of his twenty-sixthbirthday, soon found himself conducting a professional group per- and, like many young men, felt that a beard wouldmake forming the piece in New York and elsewhere. It was him appear older and give him a moreconvincing air terrifying one Pinaforethat made operetta or musical comedy "respect- of authority. He managed to grow a truly able" in the United States; an editorial in the Philadel- which he kept, trimmed to various styles andsizes, for beard of the early Marine phiaPublic Ledgerwent so far as to point out the inno- a good part of his life. But the cence, cleanliness, and purity of the piece, in contrast to Band period was far and away the most luxuriant. the vulgar and improper theatrical entertainments to Whether it helped to establish his authority or not,it cer- which no decent person could possibly go. tainly helped to establish an image for its wearer;and The experience with Offenbach, followed by that with the authority, in any case, was clearly proved bythe very Gilbert and Sullivan, made Sousa all the more anxious to rapid reformation of the hand in terms not only of reper- do an operetta of his own, and early in 1880 he started toire and musical performance, but also of discipline, work on OurFlirtation,to a libretto by James B. Wilson. morale, and working conditions. Within a remarkably The music was written quickly, and Sousa's first operetta short time, Sousa accomplished a complete reorganization was produced that summer in Philadelphia. It was a and made the Marine Bandatop-notch performing group moderate success, and Sousa took the company on tour for the first time in its history. following the Philadelphia run. It was while in St. Louis During his first years with the Marine Band, Sousa with OurFlirtationthat he received the invitation that continued to compose, and as might be expected, more was to change his career once and for all: to returnto marches began to appear among his compositions, al- Washington as leader of the Marine Band. though they were still outnumbered by songs and salon

39 JULY1967 pieces. Two more operettas also appeared: The Smugglers Sousa touches. It is a glorious march andwell deserves in 1881, and Desiree in 1884. The first was a complete its immense popularity, but it is surpassed,in my opin- failure, but the second enjoyed a moderate success, and ion, by The Rifle Regiment, which is muchless familiar. was notable for providing the vehicle for DeWolf Hop- There are of course goodreasons for this, and these rea- per's debut as a musical -comedy star. Sousa noted that sons bear on the basic nature and uses of the march itself. Desiree was "not exactly a 'knockout'," but that "itwas The Rifle Regiment, to begin with,is more difficult to more or less kindly received as one of the pioneers in play, a good bit more subtle, andcannot be done effective- American comic operas." ly by a band on the march. The Gladiator,on the other By 1884 or thereabouts, Sousa was able to note with hand, is almost ideal for the marching band;it is straight- satisfaction that his marches were well received, being forward, jaunty, and bold, and not technicallyimpossible played frequently by bands other than his own. These to play while parading. It is, however, difficult-asare early marches included Across the Danube(1879), nearly all of Sousa's marches-to play well! written in commemoration of the Russian victoryover the The Gladiator was sold outrightto a Philadelphia Turks, Res/imp/ion (1879), composedto celebrate the publisher for thirty-five dollars, and thisremained the Treasury's return to specie payment, and Our Flirtation, price the composer received for most of his famousmarch- taken from the operetta of the same name. Of these, Our es until 1893. Several very lucky publishers thus securedat Flirtation is the only one still played occasionally. Wilfrid bargain rates such masterpieces of their kindas Semper Metiers, the English music historian, in his bookMusic in Fidelis (1888), The Thunderer (1889), TheWashing - a New Found Land, professes to see a touch of Johann Strauss in the Our Flirtation march, but I shouldbe inclined to think Offenbach In this ,enand-ink drawing (1905) by J. T. Lemon,the March a more likely influence. At any King needs no identi firntion beyond the titles ofsome of his works. rate, it is one of the best of the early marches. 14%4' Across the Danube is one of thevery few Sousa marches I have never seen or heard; there isno copyright entry for it in the Library of Congress, andit is quite possible that it was never published, although thiswould seem to make it unlikely that bands other thanSousa's played it, unless they did so from legallyor illegally copied manuscripts. The Revival march,one of the very earliest (1876), is a curious but very jolly piece, usingas its trio the hymn tune In the Sweet Bye andBye. Whether or not this was composed for some special occasion is unknown, but Sousa occasionally followedthe same procedure in later marches, usingparts or the whole of well-known tunes-as, for example, OnwardChristian Soldiers in Power and Glory (1922),or Rule Brittania in Imperial Edward (1902).

TE connection between songs and marches in Sousa's work is always very clear. It isno longer generally remembered that many of the best marchescame from operettas, in which they were, of course,sung. But still other marches were adapted from previouslycomposed vocal pieces-The Free Lunch Cadets (1877),We Are Coming (1918), or The White Plume (1884), which derived from a choral piece entitled We'll FollowWhere the White Plume Waves, to words by EdwardM. Ta- ber. For many of these pieces,as we have noted, Sousa wrote his own verses. Sousa's first great "hit," a piece that isstill familiar to anyone who has ever heard a band, was The Gladiator, composed in 1886. With this march and The RifleRegi- ment, written in the same year, the authentic Sousa style became established. The Gladiatoropens in a minor key, and is rather like a pasodoble, but it is full of original

40 HIFI/ STEREO REVIEW ton Post (1889), and The High SchoolCadets (1890). realized, in 1892, that he was being grossly underpaid. All of these were published in piano arrangements as One can hardly wonder that in that year he arrived at the well as band arrangements (and many of them in or- decision that the time was ripeto launch his own chestra arrangements), and piano copies of The High independent "business" band, bearing his own name. School Cadets, for example, were ordered by dealersin He secured his release from the Marine Corps in July, lots of 20,000! (The piece, Sousa recalled, was often re- 1892, and on September 26 of the same year Sousa's new ferred to as "The Ice -Cold Cadets.") The marches made band gave its first concert, in Plainfield, New Jersey. Sousa's name a household word, but they didnot The forty -year history of the Sousa Band, from its make him rich. In 1890, a friend of Sousa's was able to founding in 1892 to the death of its conductor in 1932, report to him that he had heard no fewer than seventeen needs little recounting. It was, as every reader knows, different bands playing The Gladiator during a single the most popular and successful hand in history. It num- parade in Philadephia. bered among its members some of the greatest wind - The most famous of the early marches was unques- instrument players of its time, and it created an enduring tionably The Washington Post, named for the well-known image of what a concert wind band ought to be. The newspaper and composed for a ceremonysponsored by band was never idle:it not only played in every part that paper on June 15, 1889, "to encourage learning of the United States-lengthy engagements at fairs and and literary expression in the public schools." The fifti- expositions, and one-night stands at whistle-stops-hut eth anniversary edition of the newspaper recalled that made four tours around the world. It was easily the best- the march "was an instantaneous hit, and soon all the known musical organization of its time. Sousa was for- bands in town were playing it." More important, perhaps, tunate to have as his manager in the early years of hisband for the composer, it was selected by the Dancing Mas- David Blakely, who had been manager of the Theodore ters of America at their annual convention tointroduce Thomas Orchestra for a number of years, and who had al- their new dance, the "two-step." When Sousalater so managed Patrick Gilmore's Band. Blakelyhad become went abroad, he found that the two-stepitself was known acquainted with Sousa when he managed the Marine Band as a "Washington Post." during the two tours that band had been permitted to The Washington Post soon was being played not only make during the administration of President Benjamin all over Europe, but also in places as remote as Borneo. Harrison. Blakely was also a music publisher, but in Pirated editions rolled off the presses this field his judgment seems tries, and when, at that time, a piece of Americanmusic it was in concert management. In Marching Along, Sousa was requestedalmost anywhereintheworld,the recounts the following anecdote: chances were that the request would be answered with Ihad understood from Mr. Blakely that he would The Washington Post. Present-day march enthusiasts undertake the publication of my compositions, since he have forgotten that in the 1890's the march was notonly had a large printing establishment in Chicago, so my first -band repertoire, but piece written after I went with Blakely was offered to him. a staple of the parade- and concert This was the well-known Belle of Chicago March. Blakely often a topical song was also a ballroom dance and very rejectedit and when I questioned his decision, he wrote as well. Sousa thus arrived atprecisely the right time to me: become a "hit" composer, for the circulation and popu- "My dear Sousa, a man usually makes one hit in his larity of his marches was vastly increased by the variety life. You have made two, The Washington Port and The of their uses. At this time, it should be noted, when Sousa High School Cadets. It is not reasonable to expect you to make another, soI am willing to let Coleman publish sold a march to a publisher, he was required to submit it The Belle of Chicago." in a version for piano and also to make arrangementsfor both band and orchestra. All this was included in the Despite the fact that conducting his own band kept munificent purchase price! him as busy as any two ordinary men, Sousa was still anxious to make his mark as a composer of operettas. In BY 1893, Sousa realized that he hadgiven away a 1895, a libretto was submitted to him by the managerof fortune, and in that year he reached an agreement with DeWolf Hopper's "Opera" Company, who reminded the John Church Company of Cincinnati and elsewhere Sousa of Hopper's "happy recollection" of Desiree. The for the publication of his works on a royalty basis. The libretto, by Charles Klein. was that of El Capitan, and firstmarches published by Church were Manhattan Sousa found it much to his liking. Klein was not, how- Beach and The Liberty Bell. The Liberty Bell brought ever, very apt at lyrics, and so Sousa,with the collabora- Sousa a return of some $35,000 within a comparatively tion of a writer named Tom Frost, also provided these. short time. (And, dear reader, remember that these were Among the verses composed by Sousa were those for the pre -1900dollars,with no income tax!)This sum show's most popular selections: Sweetheart, I'm Waiting; amounted to about twenty times what Sousa's annual sal- A Typical Tune of Zanzibar; and, needless to say, the ary had been as leader of theMarine Band before he two songs that were combined to formthat everlasting

41 JULY 1967 The sound of America is somewhat different now, but the time was not long ago that the Sunday band concert in the park was a significant part of it. Many Americans can still remember the Sousa Band, shown here in one of its numberless appearances, which set the (usually unattainable) standard for others.

favorite among all Sousa works, themarch El Capitan. a memorable tune that was not a march. On the The operetta opened in Boston other on April 13, 1896, hand, it seemed impossible for himto write a march that with DeWolf Hopper and his wife EdnaWallace Hop- was not memorable. per in the leading roles. It enjoyed a moderate success, It should be noted that Sousa's marches donot all fol- and was played on the usual touringcircuit of those days; low one pattern, as but it did not, as Sousa hoped, is often assumed and frequently compete in popularity stated, apparently by people who do with the Gilbert and Sullivan not listen to them. operettas or with that It is true that all marchesare in a two -to -a -bar rhythm, greatest success among American operettas, ReginaldDe and consist for the most part of sixteen- Koven's Robin Hood, which had appeared or thirty -two -bar in 1890. El sections which are repeated. But withinthese patterns Capitan was revived a fewyears ago by Howard Shanet considerable variety is possible. Thetwo -to -a -bar beat at Columbia University and proved amusing as a period can be expressed as 2/4, 2/2 (alla breve),or 6/8 time, piece. But its tunes, aside from the marches,simply are indicating that there are two quarter not in a class with those of Sullivan notes, two half notes, or of Victor Her- or two triplets to a measure. Sousa is truly the only bert, whose first operetta, Prince Ananias, great was produced master of the 6/8 march, and this is the rhythm of two years before El Capitan. many of his most effectiveones: Sem per Fidelis, The Liberty The careers of Sousa and Herbert overlapped almost Bell, King Cotton, The WashingtonPost, and Sabre and exactly, both in time and in variety of activities. It is not Spurs, among others. The 6/8 march hasa special swing, generally remembered that Herbert assumed the leader- but in the hands of an untalentedcomposer it can become ship of the Twenty Second Regiment Band in 1892 (a post a clumsy sort of trot. Sousa is certainly not the only he held for seven years) com- or that he also wrote some of the poser to write delightful 6/8 marches (approximately finest marches of all time. Herbert is today remembered half of all his marchesare of the 6/8 type), but he is almost exclusively for the charming tunes from his oper- unquestionably the best and the most prolific. ettas and Sousa only for his marches. Both might have The operetta marches, including El Capitan,The Bride wished it to be otherwise. Atany rate, during the 1890's, Elect, The Man Behind the Gun (from Chris both men wrote both marches and and the operettas, and estab- Wonderful Lamp), and The Free Lance,are unusual lished enduring places for themselves in American musi- in that they combine the 6/8 and the 2/4.They are, cal history. Herbert's early operettas includedThe Ser- in a sense, composites, but they all work enade (1896), T he Fortune Teller beautifully, (1898), and Babes in and the transition fromone rhythm to another provides Toyland (1903), to mention onlya few of the best- a mild musical shock that adds to their appeal. In each known. Sousa followed El Capitan with The Bride of these instances, Sousa took twoseparate numbers from Elect (1897), The Charlatan (1898), and Chris and the operetta and put them together for theconcert ver- the Wonderful Lamp (1899). sion of the march. In El Capitan the openingstrain is All that remain from any of the Sousaoperettas are the song sung on his entrance by Don Medigua (who the marches. It is a curious thing that, is despite constant also "El Capitan") in the first act. The words, bySousa, production of operettas, Sousawas never able to write are as follows:

42 HIFI/STEREO REVIEW You see in me, my friends, The El Capitan March can thus be seen to consist of A man of consummate bravery, foursections(orstrains)of equallength,sixteen 1st strain My inmost nature tends bars each, with a four -bar introduction and a four -bar 16 bars To free the world from all slavery. "break" or connecting section leading into the final chorus. 6/8 This thought then cherish, Though you perish Properly speaking, this is not a march with trio, but a Crush out Spanish knavery. song with chorus. Sousa used this four -strain form occa- Behold El Capitan. sionally,asin The High School Cadets (which like 2nd strain Gaze on his misanthropic stare, many others has an eight -bar introduction), but his 16 bars Notice his penetrating glare; marches were more usually constructed of "A" and "B" 6/8 Come match him, if you can, sections,the "B" section being the Trio. Normally He is the champion beyond compare! the "A" section consists of an introduction of four The secondpart of the march is taken from the Finale or eight bars, followed by two strains of sixteen bars of Act II, andis in 2/4 time. The lyrics: each, and each repeated. In most marches Sousa then Against the Spanish army proceeds directly to the trio, the key of which is almost I must lead them, which is tough invariably an interval of a fourth higher. The trio will (Chorus): BOOM BOOM consist as a rule of a sixteen- or thirty -two -bar tune, I'll certainly get hurt, repeated once or twice, with a "break strain" between BOOM BOOM the repetitions. In many marches, notably The Stars and 16 bars Unless I can desert, 2/4 BOOM BOOM Stripes Forever, the break strain is developed into a sec- Although in this deception tion of considerable importance, and is one of the high- I have dabbled quite enough lights of the piece. BOOM BOOM This most famous of all marches was composed in I'll execute another little bluff refers BOOM BOOM BOOM 1897, and according to the composer was what one to as an "inspiration." Sousa was in Europe whenhe (Chorus) He'll lead them to the fray, They say they'll win the day, heard the news of the sudden death of Blakely, his man- break strain back to New 4 bars He'll lead them to the gory fray- ager. He took the first available steamer York, and tells this story in his autobiography: (Chorus): Unsheath the sword and the banners Ay, 16 bars When duty calls we will win or die; Here came one of the most vivid incidents of my career. 2/4 The trumpet note and the roll of drum As the vessel steamed out of the harbor I was pacing Shall tell the foe the victors come. the deck, absorbed in thoughts of my manager's death (twice) and the many duties and decisions that awaited me in New York. Suddenly I began to sense the rhythmic beat Sousa was active musically until his death in 1932, and radio of a band playing within my brain. It kept on ceaselessly, was thus important in bringing his music to another generation. playing, playing, playing. Throughout the whole tense voyage, that imaginary band continued to unfoldthe same themes, echoing and re-echoing the most distinct melody. I did not transfer a note of that music to paper while I was on the steamer, but when we reached shore,Iset down the measures that my brain -band had been playing for me, and not a note of it has ever been changed. The composition is known the world over as The Stars and Stripes Forever and is probably my most popular march. Probably everyone who has ever heard a note of anything has heard The Stars and Stripes, and even knows how it goes. Some are also aware that Sousa himself wrotewords for it. But there is no question that the best-known lyrics to the tune are not Sousa's ("Hurrah for the flag of the free! ..." ), but those of an unknown parodist ("Be kind to your web-footed friends ..."). The Stars and Stripes Forever is one of the more characteristic Sousa marches. It consists of a four -bar introduction,twosixteen -barstrains,atwenty -four -bar break strain, and a thirty -two -bar trio, which is played three times. In this trio, the band plays softly the first time through, while on the repetition the piccolos play their famous counter melody, and for the grand finale the trombones thunder out stillanother counterpoint

43 against the full force of the rest of the band. But of movement was not confined to the obvious. The inner course the march is familiar to everyone, and needs no voicings in most of his marchesare lively and interest- description. Sousa himself considered it his best, and the ing, and this is what is most often lackingin popular fact that it brought him (reportedly) over $300,000 in music in small forms. His bass linesare always solid and royalties must have added to his satisfaction. quite a bit more imaginative than the usualtonic -domi- Whether The Stars and Stripes is indeed Sousa's best nant oom-pah. But one of the most remarkable things march is a subject for debate among band buffs. Sousa about Sousa's style, almost unique in the marchgenre, composed about one hundred and forty marches, andnot is his telling use of rests. The Rifle Regiment andHands more than two dozen are now familiar to the public. Across the Sea are two fine examples of how effectivea This is a pity, for the quality of the marches is uniformly complete silence can be. Sousamay have admired and high, from The Gladiator and The RifleRegiment of learned something from a famous earlier march, The 1886, to The Kansas Wildcats of 1931. The latteris, Washington Greys, by Claudio Grafulla (d. 1880),who as a matter of fact, a rip-roaring, rowdy piece, withan was bandmaster of the Seventh Regiment, N.Y. National intricate and technically challenging obbligato forthe Guard, during the Civil War and after. The Washington clarinets (in the second strain), and it is guaranteedto Greys is in a minor key and alsouses rests with great send any audience home whistling and in goodhumor. effect; it is one of the few truly greatpre -Sousa American Thereare,inall,perhapstwentyoftheSousa marches. But if Sousa knew and admired it, which is marches that I prefer to The Stars and Stripes, andthis probable, he soon surpassed it many timesover. number would certainly include such magnificentexam- Sousa had definite ideas as to what a march should be, ples as The Fairest of the Fair (1908), HandsAcross and set them forth in Marching Along: the Sea (1899), The Invincible Eagle(1901), The Gallant Seventh (1922), and of . . . a march must be good. It must be as free from course such beauties as padding as a marble statue. Every line must he carved The Washington Post and others of the earlyyears. with unerring skill. Once padded, itceases to be a march. There is no form of musical composition where the har- ONE of the reasons for the general lack of familiarity monic structure must be more clean-cut. The wholepro- with so many of the great marches is,as I have suggested cessis an exacting one. There must bea melody which above, that they are difficult. Many of them appeals to the musical and unmusical alike. Theremust are too diffi- be no confusion in counterpoints. Thecomposer must, to cult to play on parade, and, in fact,most of them are be sure, follow accepted harmonization; but thatis not too difficult to be played at all, as theywere originally enough. He must be gifted with the abilityto pick and written, by the average high school band,which is now choose here and there, to throw off the domination ofany one tendency. If he is the average American idea ofa band. They can, of course, a so-called purist in music, that tendency will rule his marches and will limit their be hacked at; but as every good bandmasterknows-and appeal. Sousa most definitely did !-one of the hardest thingsa Three Sousa generations: the March King seated betweenhis son band can be asked to do is to playa march well. None of John Philip .Sousa, Jr., and his grandson John PhilipSousa Sousa's marches are simple-minded; theyare forthright, which is not the same thing, but theyare also full of ingenious touches, and many of themare extremely sophisticated within their self-imposed limits. The characteristics of the Sousa march thatare most immediately apparent are a strong and almost irresistible rhythmic propulsion and a wealth of jaunty andmem- orable tunes. But there is a good dealmore: there is real invention and daring. Sousa's harmony is considerably more wide-ranging than that normally found in marches; he often makes surprising modulations andnever confines himself to the simple chordal vocabulary of tonic,dominant, and sub -dominant that forms the basis of most other marches. He uses "color" chords effectively, andis very fond of excursions into the minor keys. All of these technical devices, even when they are not recognizedas such by the people who whistle the tunes, contribute enormously to the effectiveness of the marches, and help to make them as interesting as theyare. Sousa also wrote good counterpoint, or, in the popular vocabulary, counter -melodies, but hissense of melodic

44 Several ofSousa'smost famous marches were arranged by Hershy Kay as the score Jar George Balanchine's popular ballet Stars and Stripes. Patricia McBride and Jacques d'Amboise are shown here with the corps of the New Fork City Ballet in the final scene.

To go from Sousa's marches to his other compositions More interesting,atleast from the standpoint of is a considerable letdown. The operettas and songs have Americana, are the pieces that Sousa wrote fox specific been mentioned briefly, and that mention is sufficient. social or historical occasions, the grand march for the One should note that Sousa wrote ten operettas in all, inauguration of President Garfield, for example,or The and that he had hopes of one day writing a grand opera Presidential Polonaise, written at the request of President on an American subject. The last two of his operettas were Chester A. Arthur for use at indoor ceremonies at the The Free Lance, produced in 1906, with a ridiculous White House. President Garfield's Inauguration March book by Harry B. Smith, the prolific operetta librettist was published in1881as Opus 131(!), and clearly who did Robin Hood for De Koven and a number of belongs to the days before processions down Pennsylvania books forVictor Herbert; and The Glass Blowers Avenue were motorized. The Polonaire, too, evokes a (1909), with a book by Leonard Liebling. A study of picture of another day, and the idea of seeing it choreo- the scores does not encourage one to think that either graphed is one to dwell on. could be successfully revived ;they are period pieces, Like most successful men, Sousa had immenseenergy. but not yet quaint enough to be amusing. Tours with his band kept him on the road for a great Much the same must be said of the dozen suites and part of each year, and must have been extremely taxing. the variety of miscellaneous compositions that Sousa Yet he found time and strength not only to compose con- featured on his band programs. Many of these had a stantly-the complete list of his musical works is quite considerable vogue, and one or two are still occasionally lengthy-but alsoto write three novels, anautobi- heard. But such works as The Chariot Race front Be,, ography, miscellaneous magazine articles, and an incredi- Hur (describedrather ambitiouslyasa "symphonic ble amount of light verse, including lyrics for some of poem") or the "Scene Historical," Sheridan's Ride, are the operettas. The most successful of the novels is actu- better thought about as belonging to the history of Ameri- ally no more than a long short story. Entitled The Fifth can popular taste than acually heard in concert. The suites, String,it was published in 1902 by the Bobbs-Merrill the hest known and most popular of which was The Last Company, with illustrations by Howard Chandler Chris- Dar of Pompeii, are essentially old-fashioned silent -mov- ty. The prose is a very deep purple, appropriate to the tale ie music. Sousa himself thought highly of The Law it unfolds of a great Italian violin virtuoso languishing Days of Pompeii, which he wrote in 1893, but which he for love of a haughty American society girl, and it is deliberately withheld from publication until 1912. Inan a bit hard to reconcile this with the style of the man who interview of about 1898, Sousa said that he considered it wrote The Washington Post. The meeting of hero and his best work and preferred it to anything else he had heroine will give an idea: done. I have heard it performed as recently asa dozen During one of those sudden and inexplicable lulls that years ago; it is almost unbelievably naive, but its success alwaysoccuringeneraldrawing -roomconversations, in its time, and with the audiences for which it was per- Diotti turned to Mrs. Llewellyn and whispered: "Who formed, is quite understandable. It could conceivably be is the charming young woman just entering?" done today for a more sophisticated audience as a first- "The beauty in white?" class specimen of musical "camp." "Yes,thebeautyinwhite,"softlyechoingMrs.

JULY 1967 45 JOHN PHILIP SOUSA: A SELECTIVE DISCOGRAPHY By James Goodfriend .HEfollowing discographyof 11.The Gladiator(G, K) MERCURY QMG 50080. themarches of JohnPhilip 12.The Glory of the Yankee Navy(F, C. Marching Along. EastmanSym- Sousa is a selective listing, encom- G) phonic Wind Ensemble, Frederick passing the most representative col- 13.Golden Jubilee(F) Fennell dir. (7, 19, 36, 37. 38, 39), lections presently available on rec- 14.The Gridiron Club(F) and including marches by E.F. 15.Hands across the Sea(A, B, E, H, ordsofperformancesreasonably Goldman,F. W. Meacham, and K) others.MERCURY ®SR 90105, ® true to the composer's intentions. 16.High School Cadets(A, D, G, H, Proper tempo is critical in the per- MG 50105. I) D. Sound Off. Eastman Wind Ensem- formance of a Sousa march, and 17.The Invincible Eagle(A, D, H, I, ble, Frederick Fennell dir. (4, 10, although a number of different con- K) 16, 17, 20, 25, 26, 27, 29, 31, 34, 18.The Kansas Wildcats(E, F) ceptions of tempo are represented 35).MERCURY® SR 90264, ® here,recordingsofthose groups 19.King Cotton(A, C, E, H, I, K) MG 50264. 20.The Liberty Bell(D, E, H, I) that favor the excessively fast tem- E. Curtain Up! Eastman Wind Ensem- pos typical of between -halves per- 21.Manhattan Beach(B, E, F, I, K) 22.National Fencibles(K) ble, Frederick Fennell dir. (2, 4, 7, formances at college football games 23.The National Game(F) 15, 18, 19, 20, 21, 29, 31, 38, 39). are not included. For the reader in 24.New Mexico(F) MERCURY ®SR 90291, 0) MG search of a single disc to adequate- 25.Nobles of the Mystic Shrine(A, 50291. lyrepresent Sousa inhisrecord D) F. Sousa on Review. Eastman Wind collection,I could certainly do no 26.Our Flirtation(D, G) Ensemble, Frederick Fennell dir. (1, better than to recommend that by 27.The Picadore(D, I) 2, 12, 13, 14, 18, 21, 23, 24, 28, 30, the Goldman Band (whose associa- 28.The Pride of the Wolverines(F) 33 ).MERCURY ®SR 90284, C) MG tion with this music through the 29.Riders for the Flag(D, E) 50284. years is a matter of history) led by 30.Rifle Regiment(B, F, H) G. SemperFidelis.The Goldman 31.Sabre and Spurs(A, D, E) Band,EdwinFrankoGoldman Richard Franko Goldman. 32.Semper Fidelis(A, B, G, I, J, K) cond. (7, 11, 12, 16, 26, 32, 36, 37, The marches are listed in alpha- 33.Sesqui-Centennial Exposition(F) 38, 39).HARMONY C)HL 7001. betical order, and the letters next 34.Solid Men to the Front!(D) H. SousaMarchesinHi-Fi.The to each march refer to the records 35.Sound Off!(D) GoldmanBand,RichardFranko (listed below) on which that par- 36.The Stars and Stripes Forever(A, Goldman cond. (3, 5, 7, 8, 9, 15, ticular march may be found. The C, G, H, I, J, K) 16,17,19, 20,30,36,37, 39). records are listed in alphabetical or- 37.The Thunderer(A, C, G, H, J, K) DECCA ®DL 78807, C) DL 8807. der according to performing group; 38.U.S. Field Artillery(A, C, E, G, I.The Marches of Sousa. The Band numbers in parentheses in each rec- K) of the Grenadier Guards, Maj. F. J. Washington Post(A, C, E, G, H, ord listing refer to listed marches. 39. Harris, M.B.E., cond. (7, 16, 17, 19, J, K) 20, 21, 27, 32, 36, 39).LONDON® 1.Ancient and Honorable Artillery A. Sousa Marches. American Legion PS 139, 0 LL 1229. Company (F) Band of Hollywood; Decca Band, J.Stars and Stripes Forever! Har- 2.The Black Horse Troop(B, E, F) Joe Coiling dir. (7, 15, 16, 17, 19, mony Military Band (7, 32, 36, 37), 3. The Bride Elect(H) 25, 31, 32, 36, 37, 38,39). DECCA including marches by E. F. Gold- 4.Bullets and Bayonets(D, E) DL 8368. man, R. Hall, and others.HARMONY 5.Corcoran Cadets(B, H) ® HS 11076, 0 HL 7276. 6.Daughters of Texas(B) B. Marches.Eastman Symphonic K. Sousa's Greatest Marches. Warner 7.El Capitan(A, C, E, G, H, I, J, K) Wind Ensemble, Frederick Fennell Bros. Military Band, Henry Man- 8.Fairest of the Fair(B, H) dir. (2. 5, 6, 8, 15. 21, 30.32), and cini dir. (7, 11, 15, 17, 19, 21, 22, 9.Free Lance(H) including marches by Edwin Franko 32, 36, 37, 38, 39).WARNER BROS. 10.The Gallant Seventh(D) Goldman, E. E. Bagley, and others. ®WS 1465, C) WB 1465.

Llewellyn's query. He leaned forward and with eager eyes Thomas Y. Crowell Company under the title Through gazed in admiration at the newcomer. He seemed hyp- the Years with Sousa; it gives an indispensable picture notized by the vision, which moved slowly from between the blue -tinted portieres and stood for the instant, a per- of the man, and must be read, along with the autobiog- fectembodimentofradiantwomanhood,silhouetted raphy, to appreciate the flavor of Sousa as a person and against the silken drapery. as a personality. There is as yet no adult biography of "That isMiss Wallace, Miss Mildred Wallace, only Sousa; several books, written for children, or for the child of one of New York's prominent bankers." "She is beautiful-a queen by divine right," cried he, lightweight women's magazine trade, have appeared, but and then with a mingling of impetuosity and importunity, these, needless to say, are not entirely reliable. For that entreated his hostess to present him. matter, Sousa's own Marching Along is not free of in- And thus they met. consistencies and inaccuracies. A good full-length book A volume of Sousa's miscellaneous verse,excerpts on Sousa, similar to Edward Waters' invaluable book on from interviews, occasional jottings, anecdotes,letters, Victor Herbert, would be a welcome addition to Ameri- and magazine articles was published in 1910 by the can musical bibliography.

46 HIFI/STEREO REVIEW Paul Bierley of Columbus, Ohio, a long-time admirer once declared that the only influence American corn - of Sousa, has been working on such a book for many posers could be said to have had on the international years, and I am indebted to him for some information scene was shown in imitations of Stephen Foster's bal- about early Sousa Band recordings. The earliest Sousa lads or his own marches. In his lifetime this may even recordings, according to Mr. Bierley, were made in 1902 have had a grain of truth; in any case, Sousa understood

(Victor Nos. 242, 660, and 1193), and included the quite well his originality as a specifically American corn- marches Hail to the Spirit of Liberty (composed in 1900, poser, and was proud of it. and, incidentally, one of the very best), Semper Fidelir, Sousa's own performance of his marches is now the and The Liberty Bell. Other early recordings were made subject of a somewhat confused verbal tradition. His for the Edison and Monarch labels, but it is difficult to tempos, however, as shown by most of the early record- establish the dates with certainty. The majority, in any ings and verified by the recollections of his players, were case, were made for Victor over the span of years from on the whole rather slower than those generally taken by 1902 to 1931. There are not, however, as many as one bandmasters today. This surely seems to he the only pos- wouldimagine,or would wishto have fordocu- sible and proper style when one remembers the basic mentary purposes. Most of the better-known marches conception of the march as a form of dance. There is a were recorded at one time or another, but very few were good deal of evidence, however, to indicate that Sousa re-recorded at later dates to take advantage of improved took slightly faster tempos as he grew older; but there and improving recording techniques. is no evidence to justify the rather hectic speeds one often hears today. The content of the marches, with their THE recording business inevitably drew Sousa's atten- genuine musical sophistication and occasional subtlety, tion once again to the economic problems of the com- also demands a speed at which one can hear distinctly; poser, as it introduced a new element into the question of otherwise much is lost. And much is lost too much of the copyright protection. No composer at the time benefited time. The published versions of the marches do not in- in any way (except for publicity) through public per- clude many of the dynamic indications, accents, and other formances for profit of his work. And since Sousa, as the touches that made Sousa's own performances so dis- most -performed composer in America, had a stake that tinctive. Sousa as a performer wanted to keep his own was obviously very high, he took part in the discussions little bag of tricks to himself, and requested that com- and activities that led, in February 1914, to the formation pletely and properly edited versions of his marches not be of The American Society of Composers, Authors, and published until after his death. Since that time, some Publishers (ASCAP). Sousa was one of the founders and attempts have been made in this direction, but proper charter members, along with Victor Herbert, and served performance a la Sousa must depend today largely on asa director and vice-president from 1924 untilhis the oral tradition, which israpidly disappearing. And death. Thus, in a very real way, all American composers, as the marches come into the public domain (fifty-six lyricists, and music publishers remain in his debt. years after publication), many of them have been "sim- Sousa remained active to the time of his death on plified" for the use of high school bands, and in these March 6, 1932, in Reading, Pennsylvania, where he had versions they lose much of their character. These are gone to conduct a high school hand. The Sousa Band counterfeits, but they are, alas, what is often heard and stayed in business to the end, and its conductor continued passed off as genuine Sousa. to write new marches. Eleven of these were published in The American march style, as established by Sousa, the years 1930 and 1931, and at least two of them, The has not changed very much, and has certainly not im- Harmonica Wizard and The Kansas Wildcats, although proved since his time. There have been many fine marches seldom played and apparently not known even to most written, of course, but in any list of the one hundred bandmasters, are especially attractive and can take their best American marches, if one wanted to make one, at places with the best. least forty and possibly more would have to be by the It is obvious that the memory of the Sousa Band itself March King himself. This is an impressive legacy of its is fading; the few recordings that exist do not do it jus- kind; and itis, moreover, one that we can perhaps only tice, and there are each year fewer surviving players now begin to estimate at its true value. whose authentic recollections contribute to a real appreciation of the band's style. There are, of course, many thousands who can remember hearing the band, but for Richard Franko Goldman, conductor of the Goldman Band, is the son of Edwin Franko Goldman ( founder of the Goldman most of these it is a legend that they recall. The marches Band) and grandson of .Selma Franko (who, with her four broth- do live on, however, and keep the name of Sousa as well ers and sisters, toured the U.S. as child prodigies in the late 1860's known and popular as ever. No one needs to campaign and 1870's). Mr. Goldman. himself a composer, is a regular con- for their revival or to make a special case for their per- tributor to The Nlosical Quarierl) and Th., American Scholar. His latest books are liar -nanny in WesternMusic,and Th.. Man- formance. In a somewhat unblushing statement, Sousa darin and Other Stories, translations from Eca de Queiroz.

JULY 1967 47

8 a.

THE BASIC REPERTOIRE UPDATINGS AND SECOND THOUGHTS -PART TWO By MARTIN BOOKSPAN

THIS month I conclude my annual updatings and Mahler: Symphony No. 1,in D-The choice here second thoughts on recommended recordings of remains the Solti-London Symphony recording (London CS 6401, CM 9401; tape LCL 80150). the "Basic Repertoire." I take up the list of works at the point at which the first installment (in last month's Mahler: Symphony No. 4, in G-Despite primitive issue) ended, and weigh against my previous preferences recorded sound, Bruno Walter's recording, now available any new recordings released since last year at this time. as Odyssey 32 16 0025, is a uniquely caressing account ofthisscore. Among the more contemporary performances, my preference is for the Szell-Cleveland Orchestra recording (Columbia MS 6833, ML 6233; tape MQ 783), Haydn: Symphony No. 94,in G ("Surprise")- witha nod inthe direction of the intensely personal Beecham's performance with the Royal Philharmonic Or- performance conducted by Leonard Bernstein (Columbia chestra (Angel D 36242, 36242; tape Y3S 3658, 33/4 ips, MS 6152, ML 5485). also containing the other five of the first set of Haydn's "Salomon" Symphonies) isstill my first choice, with the Mahler: Symphony No. 9, in D-As before, Bruno Turnovsky-Prague Symphony Orchestra performance (Par- Walter's recording (Columbia M2S 676, M2L 276; tape liament S 609, 609)a good alternative in the budget - M2Q 516)isthefirstchoice, with Barbirolli's impas- price category. sioned account (Angel S 3652, 3652) a very good second. Haydn: Symphony No. 101, in D ("Clock")-Again Mendelssohn: Violin Concerto in E Minor-Several a Beecham performance (Angel S 36255, 36255; tape Y3S very goodversionsexist:Francescatti(Columbia MS 3659, 33/4 ips, also containing the other five of the second 6758, ML 6158; tape MQ 742); Friedman (RCA Victor set of Haydn's "Salomon" Symphonies) gets my vote, with LSC/LM 2865); Stern (Columbia MS 6062, ML 5379); Monteux (RCA Victor LSC/LM 2394) and Reiner (RCA Milstein (Angel S 35730, 35730; tape Y2S 36301, 33/4 ips, Victor LSC/LM 2742) as good alternatives. The "Clock" coupled with Tchaikovsky and Bruch concertos); and Symphony also shares a Parliament disc with the Turnov- Szeryng (Mercury SR 90406, MG 50406). In the low - sky performance ofthe"Surprise" Symphony recom- pricedepartment,Laredo's (RCA Victrola VICS/VIC mended above. 1033) leads the field.

48 HIFI/ STEREO REVIEW Mendelssohn: Symphony No. 3, in A Minor ("Scot- Prokofiev: Peter and the Wolf -I continue to prefer tish")-Maag's performance (London CS 6191, CM 9252; the no-nonsense account of this score conducted by Efrem tape L 80083)ispre-eminent. Kurtz, with narration by Michael Flanders (Capitol SG/G 7211). Among the available tapes, my choice is Sir Mal- Mendelssohn: Symphony No. 4, in A ("Italian") -The colmSargent's (RCA Victor FTC 2204)with Lorne Casals-MarlboroFestivalperformance(Columbia MS Greene, again because the performance is straightforward 6931, ML 6331) moves to the top of the available up-to- and sane. date recordings. The Steinberg -Pittsburgh Symphony performance hasrecentlybeenreissuedinthe low -price Rachmaninoff: Piano Concerto No. 2, in C Minor - Pickwick line(S 4027, 4027) andisthe best of the The best performances are those by Ashkenazy (London budget -pricerecordings.Maazel's(Deutsche Grammo- CS 6390, CM 9390; tape K 80139), Graffman (Columbia phon C 8684) continues to be my choice of the three MS 6634, ML 6034; tape MQ 657), and Janis (Mercury available tapes. SR 90260, MG 50260; tape ST 90260). And while the set is still available, collectors are advised to acquire RCA Moussorgsky-Ravel: Pictures at an Exhibition -The Victor LM 6123, a three -record album containing the four Ansermet performance (London CS 6177, CM 9246; tape Rachmaninoff piano concertos and the Rhapsody on a K 800054)is my stereo/mono recommendation. Tosca- Theme by Paganini, all of them played by the composer nini's account (RCA Victor LM 1838), still supreme for with the Philadelphia Orchestra. dramatic flair and atmosphere, has recently been deleted from the catalog, but may reappear in an RCA budget Rachmaninoff: Piano Concerto No. 3, in D Minor - line. A wholly different kind of performance is the one The lyricalwarmth and expressivityoftheCliburn- conducted by Stokowski (London SPC 21006, PM 55004; Kondrashin recording (RCA Victor LSC/LM 2355; tape tape L 75006), not only because he uses his own or- FTC 2001) keepitforemost in my affections, with the chestral transcription of the piano original, but also be- Ashkenazy-Kondrashin reading (London CS 6359, CM cause he removes several pictures from the gallery. 9359; tape K 80125) a solid second and Janis -Munch (RCA Victrola VICS/VIC 1032) a fine budget -price alternative.I must also mention the electric excitement of Mozart: Clarinet Quintet, in A -I continue to prefer the Horowitz -Reiner collaboration (RCA Victor LM 1178, above allothers the performance by Alfred Boskovsky mono only). and members of the Vienna Octet (London CS 6379, CM 9379; tape 80145). Ravel: Daphnis and Ch/oi-Ansermet's (London CS 6456, CM 9456) is the pick of the complete versions, and Mozart: Symphony No. 35, in D ("Haffner") -Wal- Monteux's (London L 80034)thebetterofthe two ter (Columbia MS 6255, ML 5655; tape MQ 436) and available tapes of the complete score. Of the perform- Klemperer (Angel S 36128, 36128; tape Y3S 3662, a set ances of the Second Suite alone, I prefer Martinon's (RCA of Mozart's lastsix symphonies) are my choices here, Victor LSC/LM 2806; tape FTC 2196), with Barbirolli's with Schuricht (Richmond 29062, 19062)a reasonable (Vanguard Everyman 177SD,177)agood low -price low -price alternative. alternative (the choral parts are included).

Mozart: Symphony No.39,inE-fiat-Klemperer Rimsky-Korsakov: Scheherazade-Here thereisone (Angel S 36129, 36129), Szell (Epic BC 1106, LC 3740) performance that dominates the field: Beecham's (Angel and Walter (Columbia MS 6493, ML 5893) continue to S 35505, 35505; tape ZS 35505), one of the peaks of leadthefield.Apparently the Angel tape devotedto achievement in the recorded literature. Klemperer'sperformancesofthecomposer'slastsix symphonies remains the only tape version of this master- Rossini: Overtures -Until the various Toscanini per- piece available. formances are restored to the catalog, the collectionsI recommend are those by Bernstein (Columbia MS 6533, Mozart: Symphony No. 40, in G Minor -If intensity ML 5933), Gamba (London CS 6204, CM 9273; tape L is what you want inthis symphony, Klemperer has it 80096), and Reiner (RCA Victor LSC/LM 2318; tape (Angel S 36183, 36183; tape Y3S 3662); if lyrical efful- FTC 2021). gence is what you want, Walter is your choice (Columbia MS 6494, ML 5894; tape MQ 611). Mozart: Symphony No. 41, in C ("Jupiter") -Of the available stereo/mono performances, Bruno Walter's is my favorite (Columbia MS 6255, ML 5655; tape MQ 436) for its seasoned nobility. The protean strength of Tosca- nini's account (RCA Victor LM 1030) is still sui generis. Among thebargain -priceperformances, my choiceis Barbirolli's (Vanguard Everyman 180SD, 180).

Prokofiev: Symphony No. 5,in B -fiat -New since Saint-Sains: Symphony No.3,in C Minor -The last year is the Melodiya/Angel performance conducted by Munch -Boston Symphony recording with Berj Zamko- David Oistrakh (S 40003, 40003). In my opinion, it does chian as organ soloist (RCA Victor LSC/LM 2341; tape not challenge the supremacy of Ansermet's performance FTC 2029) is, to my ears, unrivalled for dynamic intensity (London CS 6406, CM 9406; tape LCK 80156). and excitement. (Continued overleaf)

JULY1967 49 - Saint -Sans: Carnival of the Animals -My preference Schumann: Cello Concerto in A Minor-Rostropovich among the recordings that do not include a spoken nar- (Deutsche Grammophon 138674, 18674; tape C 8674) rative continues to be Efrem Kurtz's performance with and Rose (Columbia MS 6253, ML 5653; tape MQ 422) Hephzibah Menuhin and Abbey Simon as the solo pianists sweep the field here. The idiosyncratic performance Casals (Capitol SG/G 7211). Ogden Nash's poems are ideally recorded some fifteen years ago has recently been reissued served in the pioneering Kostelanetz recording with Leonid by Columbia in its low -price Odyssey series (32 16 0027). Hambro and Jascha Zayde as the solo pianists and Noel Coward as the speaker (Columbia CL 720, coupled with Schumann: Piano Concerto in A Minor -The very Prokofiev's Peter and the Wolf; ML 4355, coupled with intense account by Rudolf Serkin (Columbia MS 6688, Ravel's Ma Mere l'Oye). Among tape versions, Bern - ML 6088; tape MQ 707) continues to be my first choice, stein's (Columbia MQ 498) remains my choice. The new with special mention, as always, to be made of the superb Angel recording with Georges Pretre conducting the Paris mono -only account by the much -lamented Dinu Lipatti Conservatory Orchestra, and Aldo Ciccolini and Alexis (Columbia ML 4525). Weissenberg asthepianists, was not availableatthe time of writing. Schumann: Symphony No. 1,in B -flat ("Spring") Schubert: Symphony No. 8,in B Minor ("Unfin- -The Kubelikperformance(Deutsche Grammophon ished") -New since last year is the reissue of the splendid 138860, 18860; tape C 8860) isstill the most persuasive performance conducted by Guido Cantelli shortly before for me; some may prefer the more heroic Klemperer per- his untimely death eleven years ago (Seraphim 60002); formance (Angel S 36353, 36353). this is now the low -price version I prefer. Among the full - price recordings, Walter's (Columbia MS 6218, ML 5618, Shostakovich: Symphony No.1 -The recent RCA coupledwithSchubert'sFifth; MS 6506, ML 5906, Victor release of a Toscanini broadcast performance (in- coupled withBeethoven'sFifth;tape MQ 391)has cluded in LM 6711) does not alter my preference for the special qualities of geniality and serenity. Tape buffs are Stokowski way withthis music (UnitedArtists8004, referred also to the Klemperer performance on Angel Y2S 7004). In the budget -price category, the best is Martinon's 3666 (33/4 ips) which shares a reel with two other Schu- (RCA Victrola VICS/VIC 1184). There is no tape ver- bert symphonies in Klemperer's performances, the Fifth sion currently available, though you may still be able to and the Ninth. All told, this reelis an unusual bargain. find Stokowski's (United Artists UATC 2209). Schubert: Symphony No. 9, in C -Among the modern Shostakovich: Symphony No. 5 -To the Melodiya/ recordings,Krips' performance with the London Sym- Angel catalog has recently been added a performance by phony Orchestra (London CS 6061, CM 9007; tape L the Moscow Philharmonic conducted by Kiril Kondrashin 80043) is still my favorite, with Walter (Columbia MS (S 40004, 40004). If Kondrashin is correct in broadening 6219, ML 5619) and Klemperer (Angel S 35946, 35946; the tempo of the concluding pages to half -speed, then tape Y2S 3666 -see above) not far behind. The earlier every other conductor who has ever recorded or conducted Krips performance with the Amsterdam Concertgebouw this work has been wrong. For myself,I cannot accept Orchestra is the best of the low -price versions (Richmond this. The fiery Bernstein performance (Columbia MS 6115, 19078). ML 5445; tape MQ 375) isstill my number -one choice, with Previn and the London Symphony Orchestra (RCA Schubert:QuintetinA,forPiano and Strings Victor LSC/LM 2866) a good second. ("Trout") -Unchanged since last year: the account by an ensemble that includes Peter Serkin as pianist and Alex- ander Schneider as violinist (Vanguard VSD 71145, VRS Sibelius: Symphony No. 1, in E Minor -Situation un- 1145) possesses a fresh vitality unmatched by any other changed: Maazel's (London CS 6375, CM 9375; tape K recording available. It is now also available on tape (Van- 80162)isan exciting,taut, beautifully played and re- guard C 1713). Second choice would be the account by corded performance.Inthe low -pricefield,Barbirolli's Clifford Curzon with members of the Vienna Octet (Lon- (Vanguard Everyman 132SD, 132)still stands out. don CS 6090, CM 9234; tape L 80092). Sibelius: Symphony No. 2, in D -I do not share the Schubert:Quintet in C for Strings -London's per- enthusiasm of some for the Toscanini performance in- formance by members of the Vienna Philharmonic Or- cluded inthe recentfive -disc setof historic Toscanini chestra (CS 6441, CM 9441; tape L 80183) is my first broadcasts (RCA Victor LM 6711); Sibelius and the pub- choice, with the Benar Heifetz-Budapest String Quartet lic will be better served when and if RCA gets around to performance a very good second choice (Columbia MS re-releasing the incomparable Koussevitzky performance. 6536, CM 5936). Until then, the recording by George Szell and the Amster- dam ConcertgebouwOrchestra(Philips PHS 900092, PHM 500092)is my choice among currently available performances, with Maazel's (London K 80162) the preferred tape account.

Sibelius: Symphony No. 5, in E -flat -Bernstein (Co- lumbia MS 6749, ML 6149; tape MQ 765) remains my firstchoice,with two excellent low -pricealternatives: Gibson (RCA Victrola VICS/VIC 1016) and Barbirolli (Vanguard Everyman 137SD, 137).

50 HIFI/ STEREO REVIEW price is always a concern, the splendid Gilels-Reiner performance is enthusiastically recommended (RCA Victrola VICS/VIC 1039).

Tcbaikovsky: The Nutcracker-The Mercury recording by Dorati and the London Symphony Orchestra (SR 29013, OL 2113; tape ST 29013) is in a class by itself. Leading the low -price fieldisthe Abravanel-Utah Sym- phonyperformance(VanguardEveryman168/9SD, R. Strauss: Don Juan;Till Lulenspiegel-Ofre- 168/9). cordings that couple these two masterly symphonic poems, Bernstein's (Columbia MS 6822, ML 6222; tape MQ 799) Tchaikovsky:SerenadeforStringOrchestra-My and Szell's (Epic BC 1011, LC 3439; tape EC 805) are preference among currently available recordings continues the finest; also worthy of mention are those by Klemperer to be the Barbirolli-London Symphony Strings performance (Angel S 35737, 35737; tape ZS 35737) and Stokowski (Angel S 36269, 36269); Ormandy and the Philadelphia (Everest SDBR 3023, LPBR 6023; tape EV 3023). Orchestra (Columbia MQ 431)still dominate the tape field. R. Strauss: Der Rosenkavalier-Still in a class by itself is the mono -only recording conducted by Erich Kleiber, Tchaikovsky: Symphony No. 4, in F Minor-Maazel's with a cast featuring Maria Reining, Hilde Gueden, Sena performance (London CS 6429, CM 9429; tape L 80161) Jurinac, and Ludwig Weber (London 4404). Karajan's is supremely well played and recorded, one of the finest (Angel S 3563, 3563; tape Y4S 3563, 33/4 ips, one reel) things we have yet had From this conductor on records. is my choice in stereo. Barbirolli's (Vanguard Everyman 135SD, 135) would be my choice among the low -price recordings. Stravinsky: Petrouchka-My esteem for the readings by Ansermet (London CS 6009, CM 9229; tape K 80006) Tchaikovsky: Symphony No. 5, in E Minor-Orman- and Monteux (RCA Victor LSC/LM 2376) grows with dy (Columbia MS 6109, ML 5435) is still my first choice each passing year. Both conductors offer performances of among contemporary performances, but those to whom extraordinary dramatic insight and poetic sensitivity. The thelatestrecorded soundisnot of major consequence version by Stravinsky himself (Columbia MS 6332, ML are directed to the reissued Koussevitzky recording (RCA 5732; tape MQ 474) is leaner and more ascetic-he uses Victor LM 2901),auniquely personal document that the reduced orchestration of 1947-but no less exciting. sweeps all before it. Again itis a Barbirolli performance In the low -price field there is Ansermet's first LP record- (Vanguard Everyman 139SD, 139)that gets my vote ing of the score (Richmond 19015, mono only). among the budget -price versions. Stravinsky: Le Sacre du printemps-No new versions Tchaikovsky: Symphony No. 6, in B Minor ("Pa- have been released since last year, leaving Bernstein's pas- thetique")-The Giulini-Philharmonia Orchestra record- sionately committed account of this score (Columbia MS ing (Seraphim S 60031, 60031) is my unhesitating recom- 6010, ML 5277) unchallenged.Stravinsky's own record- mendation among the available disc performances. On ing (Columbia MS 6319, ML 5719; tape MQ 481)is a tape my preferenceisthe Ormandy performance (Co- taut, elemental, and largely impersonal reading that never- lumbia MQ 368). theless packs a considerable wallop. In the low -price field thereisthecool,detached,rarifiedperformance con- Tchaikovsky: Violin Concerto in D-New since last ducted by Pierre Boulez (Nonesuch 71093, 1093). year is the performance by Igor Oistrakh, with his distinguished father, David, conducting (Melodiya/Angel S Tchaikovsky: Piano Concerto No. 1, in B -flat Minor 40009, 40009). But the performance is pallid, compared -With his recording (Melodiya/Angel SR/R 40016) the with the best currently available:the Heifetz recording winner of the 1966 Tchaikovsky Competition in Moscow, (RCA Victor LSC/LM 2129)for virtuosity;the Stern sixteen -year -oldGrigorySokolov,succeedsinnudging recording (Columbia MS 6062, ML 5379)fora more from the top position the recording (RCA Victor LSC/ serene but equallyvalidapproach.Francescatti'ssilky LM 2252; tape FTC 2043) made by the winner of the elegance (Columbia MQ 742) is still the tape performance 1958 Tchaikovsky Competition in Moscow, Van Cliburn. I prefer, with Szeryng's (RCA Victrola VICS/VIC 1037) Sokolov and his conductor, Neimye Yarvy, contribute a the pick of the low -price discs. performanceofextraordinarypoeticintrospectionand lyricism,at the same time that the bravura qualities of Vivaldi: The Four Seasons-Presumably Columbia the music receivetheirdue. Sokolovisapparentlya will soon release the stylish Goberman performance in its pianist and musician of rare gifts. Not far behind the Odysseyseries.Untilthen,Bernstein's(Columbia MS performances of Sokolov and Cliburn isa new one re- 6744, ML 6144; tape MQ 736) continues to be my favorite corded by the second -prize winner in the 1966 Tchaikov- among the many available recordings;itsvitality and sky Competition, Misha Dichter (RCA Victor LSC/LM exuberance are hard to resist. Another worthy perform. 2954).His is a virtuoso performance that some listeners ance is the one by Antonio Janigro and I Solisti di Zagreb may find most exciting of all.And for those to whom ( Vanguard BG 5001, 561; tape C 1611).

REPRINTSofthistwo-part reviewofthe"BasicRepertoire areavailablewithoutcharge.Circlenum3er179onreaderservi:ecard.

.It .(11967 LABORATORY TESTS OF ELEVEN STEREO CARTRIDGES Cartridges covered in this report: ADC 220 and 10/E Mk II Dynaco Stereodyne III Empire 808 and 888SE Grado BTR and BTR/LM Ortofon S -15T Shure M75-6 and V-15 Type II Sonotone Velocitone Mk V By JULIAN D. HIRSCH and GLADDEN B. HOUCK

TO THE casual observer, it might seem that phono- any industry -wide breakthrough in the state of the art. cartridge development has been stagnant in re- One might reasonably expect this dramatically im- cent years. The latest really "new" developments proved performance to carry with it a high price tag. were in 1964, which saw the introduction of the 15 - This is partly true, since the two top-ranking cartridges degree vertical -tracking angle and the elliptical stylus. of this year's group cost between $60 and $70. How- Since then, the 15 -degree angle has become universal, ever, very nearly the same audible performance can be and most manufacturers are also offering atleast the had for much less than half these prices, and in some option of an elliptical stylus. In this year of 1967, how- cases for as little as $10. In fact, six of the eleven car- ever, we find no radical cartridge innovations to compare tridges tested cost between $10 and $25, with the with these. remainder falling between $40 and $80. The more ex- In view of this, it came as a welcome surprise to dis- pensive cartridges,in general, do offer advantages to cover that many of the newest cartridges are sonically the discriminating user, but looking at them solely from superior to the models they supersede. And several of a sonic standpoint, there is remarkably little difference them, moreover, are audibly superior to the best of last between the lowest- and the highest -price cartridges. year's cartridges. These really significant advances result Perhaps the most obvious distinction between the from specific engineering improvements rather than from cartridges is in their stylus -force requirements. A couple

52 HIFI/STEREO REVIEW of them will track, at 1 gram or less, practically any rec- cartridge which cannot trace them satisfactorilywill ord made. Among the lower -price units, a tracking force surely sound distorted at times on current commercial of between 2 and 4 grams is required. Since not all tone stereo discs. arms can be used with a 1 -gram force, one's choice of a The preceding checks, which require no test equip- cartridge must be affected by the player setup in which ment, can be performed at home for the modest expendi- it is to be used. ture of about $8 for the records. We strongly recommend All of the cartridges were able to track a velocity of them to anyone who really wishes to learn how good 15 cm/sec on a test record with moderately low inter - (or how bad) his cartridge is. modulation distortion (under 2 per cent)at tracking Next, we played the RCA 12-5-39 Intermodulation forces within their rated limits. We also applied a much Test Record. With the aid of an IM distortion analyzer, more severe tracking test (to be described below) that this provides data on the IM distortion of a cartridge as correlated well with listening performance. a function of peak recorded velocity (up to a shattering This year we modified our test procedure somewhat. 27.1 cm/sec) at any desired tracking force. In addition Initially, we playedthe low -frequency and high -fre- to the normal tracking force, we repeated this test with quency bands of the HIFI/STEREO REVIEW Model 211 a force near the rated maximum for each cartridge to see Test Record, increasing tracking force until there was if a worthwhile reduction in distortion would result. no obvious audible distortion, and this force was then Frequency response andstereochannelseparation used for the measurements that followed. The next test were measured between 40 and 20,000 Hz using the used the Shure "Audio Obstacle Course"test record. CBS STR100 sweep -frequency record and a General Although designed specifically to demonstrate the virtues Radio graphic level recorder. The measurements were of Shure's V15 Type II cartridge, the record is equally concluded with atest of square -wave response using useful in evaluating the merits of any cartridge. This the 1,000 -Hz square -wave bands of the CBS STR100 record contains brief selections of musical instruments, record. Square -wave photos of the oscilloscope screen including bells,piano, accordion,electric organ, and show the presence of any ringing at the stylus' own harpsichord, recorded at four increasingly high levels. resonant frequency. A wave with a rounded top charac- At the two lowest levels, almost any cartridge can track terizes those cartridges with slightly elevated middle- and the record without difficulty. At the third level, many low -frequency responses. cartridges experience difficulty with the bells and harpsichord, producing jangling or shattering sounds. And NEEDLESS to say, we listened to all the cartridges with very few cartridges can track the fourth (highest level) a variety of records. Having two arms mounted on the bands without distortion. turntable, we made A -B comparisons where this seemed We listened to all forty-four recorded samples on this appropriate, although the large number of cartridges record with each cartridge, assigning arbitrary numerical made it impractical to compare all possible combinations. ratings to the several degrees of mistracking that we For listening purposes we used amplifiers and speakers heard. Adding all the numbers gave us a figure of merit representative of the best modern equipment designed which was clearly related to the cartridge's ability to for home use. trace high -velocity recordings at both high and low fre- It would be fruitless, and probably impossible,to quencies. These velocities are not at all atypical, and a comment indetail on the sound of these cartridges. Without exception, when operated at a tracking force STEREO TEST RECORD adequate for the particular model, they produced clean, balanced sound free of objectionable coloration or distor- Among thet' -t innent. andInviJunused by Hirsch -Houck Laboratories in evaluating the cartridges tion. The top -rated models (the ADC 10/E and the reported on this month was FliFt/STEREO ItimEw's own Shure V15 Type II) combined the utmost in tracking Model 211 Stereo Test Record. First introduced in 1963, ability with the lowest stylus forces. In general, they had there are now over 50.000 of these records in use by manu facturers, testinglabs, and audiophiles throughout the an ease and freedom from breakup and strain on loud, world. The Model 211, which comes with a complete in- high -velocity recorded passages that could be definitely struction sheet, make- it po""ible to perform the following appreciatedin comparison with lower -rankingtypes. tests in the home: II i 'peaky'. phasing and channel identification, (21 channel balance, (3) system frequency re- However, in extended listening to most records with sponse, (4) cartridge tracking ability, (5) stereo separa- any one cartridge, we would not have been able to guess tion, (6) stereo spread, (7) effective hunt, (81 rumble, whether it sold for $10 or for many times that price. and (9) flutter. To get your copy (postpaid), simply send $4.98 to: The message this year is clear: top-quality recorded Stereo Test Record sound-from the cartridge point of view-is available P. 0. Box 3110, Church St. Station to anyone able to invest $10 or so. For those audiophiles New York, N. Y. 10008 who want "something extra" and are willing to pay for (New York State residents please add local sales tax.) it,there is a wide choice of premium -grade cartridges

JULY 1967 53 that can extract every bit of performance from the most cartridge against our full series of test records and lis- difficult discs. If your collection includes some "unplay- tening to various stereo recordings, we had to conclude able" records that break up on loud passages, it might that the ADC 220 sounded virtually indistinguishable, pay to invest in one of the top -ranked cartridges. In all when tracking at 3 to 4 grams, from the 10/E tracking probability you will hear a quality of sound that you never suspected was on the discs.

ADC 220

THEADC 220, althoughitsellsfor one -sixth as much as the deluxe ADC10/EMk II, has much in common with it. An induced -magnet design, itis quite similar in construction to the10/E;it has essentially the ADC 220 same frequency response, the same remarkable smoothness and freedom from resonance in the audible range. What is most remarkable is the fact that it sounds just FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz) about the same as the10/E! 20 50 100 500 1,000 5.000 10.000 20.000 It would be incorrect to assume, however, that the 5 0 a budget -price 220 is the equal of the deluxe10/EMk II. -52,

Its compliance is rated at less than half that of the 10/I. -10C. and judging from the tracking forceitrequires, the -15 difference must be greater than that. We found that - 20 ,k the 220 needed at least a 3 -gram stylus force to play 25 the test bands of the HF/SR Model 211 test record. At 30a 4 grams, the IM distortion was under 2 per cent up to 19 -35g cm/sec velocity. 40 The 3 -gram stylus force is higher than many audio at I gram. This was truly amazing pert ()finance from a hobbyists will wish to use. Although the diamond stylus cartridge selling for only 59.95. is conical, with a 0.7 -mil radius, there can be no doubt that record wear is accelerated by the higher tracking force. However, certain inexpensive record changers may GRADO BTR AND BTR LM require the use of such forces, and we know of no other cartridge of comparable sonic quality that can operate at a AFTERmany years of producing moving -coilcar- 3 -gram force. tridgesof superiorquality,Grado Laboratorieshas The measured frequency response of the ADC 220 changed over to piezo-electric (ceramic) cartridges. Al- was±1db from 20 to 14,000 Hz and about 2.5 db though the generating elements of the Grado Model B down at 15,000 Hz. The channel separation was not as are tiny ceramic slabs, the cartridge is designed to be good as that of the10/E,but was about 20 to 25 db to used withconventionalamplifiershaving magnetic - 13,000 Hz. Signal output was 7.3 millivolts at 3.54 cartridge preamplifiers and equalization. The necessary cm/sec. Square -wave tests showed a couple of cycles of shunting resistance and other elements required to con- ringing, with fairly low amplitude. After checking the vert the amplitude -responding ceramic elements to a velocity response are built into the cartridge, and its outputs are intended to be loaded by the usual 47,000 - HOW TO INTERPRET THE CURVES ohm magnetic -amplifier inputs. The upper curve represents the averaged frequency The Grado Model B is housed in a lightweight plastic response of the cartridge's right and left channels. body having conventional 1/2 -inch mounting centers. Its The lower curve, which starts at 500 Hz. represents low weight of 3.5 grams gives it the potential of tracking the averaged separation between channels. The amount of separation at any frequency is indicated by the badly warped or eccentric records when installed in a vertical distance between the upper and lower curves, low -mass arm. With many arms, however, it will be nec- and is expressed in decibels. essary to add weight to the cartridge shell to achieve Inset at the lower left of each graph is an oscillo- balance with this cartridge, which weighs less than half scope photograph of the cartridge's response to a as much as most magnetic cartridges. 1,000 -Hz square wave on a test record. The shape of The Grado Model B is available with a choice of sev- the reproduced wave is an indication of a cartridge's overall frequency response and resonances. eral styli: a 0.6 -mil spherical, a 0.3- and 0.6 -mil elliptical, and a 3 -mil spherical for playing 78 -rpm records. The

54 HIFI/STEREO REVIEW stylus structure. In the high -compliance setting, we found that it required 2.5 grams to track the HF/SR Model 211 test record. In the low -compliance -setting, 3.5 gramsof le stylus force was required. We used the high -compliance setting for our tests. The IM distortion was very low, under 1 per cent up .., to about 15 cm/sec velocity. Increasing the force to 4 grams extended the useful range of velocity to over 20 GRADO B cm/sec, but this would not be required for playing most stereo records. The output of the cartridge was 6.5milli- volts. Being non-magnetic, the cartridge has no suscepti-

FREQUENCY RESPONSE IN CYCLES PER SECOND 1Hz1 bility to magnetically induced hum. 20 50 100 500 1 000 5.000 10.000 20,000 5 The frequency response of the Grado BTR/LM was

P-4 0 very flat, within ±2 db from 20 to 20,000Hz. Channel MUM 5 * separation was 20 to 25 db at middle frequencies, de- gm creasing to 13 db at 10,000 Hz and 5 db or less above 15 15,000 Hz. Its square -wave response was very good,with Ella 20 p. ....,,, ..... 1.0 one or two well -damped cycles ofringing visible. 8 When tracking the "Audio Obstacle Course" record, ME 30

...... 0 600° 35g the BTR 'LM proved to he near the top of its group.

-40 Its sound was a trifle bright, as compared to the most expensive magnetic cartridges, but the differencecould barely be heard in A -B switching comparisons. All in styli may be removed and interchanged quickly without all, this is as clean -sounding a cartridge as any except the use of tools. A unique feature of the Grado Model B the top magnetic units, which sell for several timesits is the user -adjustable compliance. Simply by sliding the $15 price. stylus assembly toward the front of the cartridge, the compliance may be increased considerably over the normal setting. This is done by moving the pivot pointof DYNACO STEREODYNE 111 the stylus cantilever, thus varying the mechanical advan- manufactured tage between the stylus tip and the yoke whichcouples THE Dynaco Stereodyne III cartridge, by Bang & Olufsen in Denmark, is no newcomer to the the cantilever to the elements. American audio scene. Its completely shielded construc- In our tests, we checked the Grado Model BTR (with tion makes it especially insensitive to induced humfrom a 0.6 -mil spherical stylus) and theBTR/LM version with a low -mass stylus. The BTR tracked at 2.5 grams. Its IM distortion at high velocities was low, and mar- ginally lower than the BTR/LM. Frequency response of

C__--- the Model BTR was virtually identical to that of the IIP-s,3 BTR/LM, except for a drop of about 2 db between 18,000 and 20,000 Hz. Its channel separation was actually slightly better than that of the BTR/LM, probably owing to nor- illgib mal stylus tolerances. Signal output of the BTR was 5.3 millivolts, slightly less than that of the BTR/LM, and its square -wave response was identical to that of the DYNACO STEREODYNE III BTR/LM. Some differences could be discerned between the two FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz) cartridges when tracking the higher -level bands on the 20 50 100 500 1 000 5,000 10.000 70.000

0 -, "Audio Obstacle Course" record. Although the Grado POW a Model BTR was not quite as good in this test as the 5 t,, BTR/LM, it was better than a number of the magnetic rilan 10Pg FM 15 cartridges we tested. Its listening quality was to us iden- MME 20R tical to that of the BTR/LM on typical stereo records. 1 11111 25 8 !v. -I g Given these test results, the $9.95 price of the BTR 30E must surely qualify it for some sort of "bestbuy" rating. 35 g

The Grado Model BTR/LM is a low -mass stylus ver- -40 sion of the standard BTR, with a visibly finer and smaller

55 JULY1967 magnetic fields, and the plastic "nose cone" thatisits shielding was good, approximately thesame as measured unique identifying feature provides almost totalprotec- on the 888SE. The square -wave response was also virtually tion for the stylus assembly. identical to that of the 888SE,except that the ringing The Stereodyne IIIis a moving -iron (variable -reluc- tance) cartridge, with its magnet and four coils embedded in the main body of the cartridge. The replaceablestylus assembly contains a piece of ferrous material thatis moved by the pivoted stylus bar tovary the flux impinging on the four pole pieces in accordance with the record-groove modulation. The cartridge is rated at from 1 to 3grams tracking -..-:--Q force. The latest model tracked the HF/SRModel 211 test record at 2 grams. At that force its IM distortion was about 1per cent up to 12 cm/sec velocity, increasing EMPIRE 808 to 3 per cent at 15 cm/sec. At a 3-gram tracking force,

the distortion reached 3 per cent at 18 cm/sec.The output FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz) 0 50 100 of the Stereodyne III was 5 millivolts. 500 1.000 5.000 10,000 20,000 -,5 The frequency response of the StereodyneIII sloped gently upward below about 400 Hz,to +3 db at 60 Hz. I Ne 5 , W The response between 5,000 and 9,000 Hzwas elevated 10.7,

by about 3 db and there wasa broad 7-db plateau at 15r: about 13,000 Hz. Channel separationwas better than 20 25 db up to 4,000 Hz, 20 db at 10,000 Hz,and about 25 2 7 db at 20,000 Hz. The square -waveresponse had a cycle 30E 35 i or two of relatively low -frequency ringing, withvery 40 steep rise and fall. The sound of the cartridgewas pleasant, unobtrusive, and smooth, withoutany particular was smaller in amplitude owing to the improved damping sonic characteristic of its own. The modelwe tested had of the resonance. a 0.7 -mil conical stylus, and is priced at $19.95. The sound of the 808 was difficult to distinguishfrom that of the 888SE or several other fine cartridges.It seemed to be a trifle less definedon complex passages EMPIRE 808 than the 888SE, but the differences THE Empire 808 is were so slight as to a new, low -price version of the be difficult to pin down. For all practicalpurposes, the 888 series of cartridges. It is similar in appearance and chief difference between the cartridges,apart from the operating principles to the 888, and features a 0.7 -mil price, is the two -fold increase in tracking forcerequired diamond stylus with a rated complianceof 8 X 10' by the 808. The Empire 808 sells for $19.95. cm/dyne. Its range of tracking forces is from1 to 6 grams. As far as we can determine, the808 allows the basic performance of the 888 series to be realizedin the lower - SHURE M75-6 price record changers that might require a tracking force THE Shure M75 cartridge might be describedas a of several grams. We found that it tracked the HF/SR low -price version of the V15 Type II, whichHirsch - Model 211 test record well at only 3 grams, which was Houck Laboratories tests showed to bea cartridge of the force used in our tests. At that force the IM distortion remarkably high quality. Applying thesame design was under 2 per cent up to 15.5 cm/sec velocity. Increas- philosophy with perhaps slightlylesscriticalperfor- ing the force to 5 grams (the maximum obtainable with mance parameters, Shure engineers have produceda our test arm) allowed the cartridge to track 23 cm/sec worthy companion to the V15 Type II. at 2 per cent IM distortion. In its basic form, the M75-6, this cartridge ispre- The frequency response (within -±-2 db from20 to sented as a "high-trackability" unit. It hasa swing -away 19,000 Hz) was quite similar to that of themore ex- stylus guard and a stylus assembly thatappears to be pensive Empire 888SE, and in factwas somewhat flatter interchangeable with that of the V15 Type II. The owing to better damping of the high -frequencystylus M75-6 has a 0.6 -mil conical diamond stylus, rated for resonance. Channel separation was about 30 dbor better tracking forces between 11/2 and 3grams. As with the at middle frequencies, 20 db at 10,000 Hz, and10 db V15 Type II, Shure provides a specific "trackability" at 19,000 Hz. rating that defines the velocities thatcan be tracked Signal output was 6.1 millivolts at 3.54 cm/sec.Hum at 400, 1,000, and 10,000 Hz with a 2 -gram force.

56 HIFI/STEREO REVIEW A family of interchangeable styli are offered for the sence of the V15 Type II into the M75 with such success M75 cartridge. These include the N75E, a 0.2 x 0.7 -mil that we doubt anyone could tell one from the other ex- elliptical stylus ($20), and the N75-3, a 2.5 -mil stylus cept when playing records with high-level, high -fre- ($9) for playing old 78 -rpm records. The same 2.5-mil quency transients (such as harpsichord and bells).On stylus is also recommended for use in the V15 Type II Shure's own "Audio Obstacle Course" record, these were cartridge. In our tests, the Shure M75-6 tracked the the only areas where the superiority of the VI5 Type II HF/SR Model 211 test record at 11/2 grams, the lower could be heard. The price of the Shure M75-6 is $24.50. limit of its recommended range of forces. Since its performance is specified at 2 grams, however, we used that force during our tests. SONOTONE VELOCITONE V IM distortion of the M75-6 was very low, under 1 per s,iiiNc)i();.ft's Velocitone ceramic cartridges have un- cent up to 18.5 cm/sec velocity. Increasing the tracking dergone a continuous process of refinement since their force to the maximum of 3 grams kept the distortion introduction several years ago. The latest version, the below 2.5 per cent up to the maximum of 27.1 cm/sec Mark V (100T) cartridge, is available with a choice of on our test record. In this respect the M75-6 was oneof three diamond styli: 0.7 mil, 0.5 mil, and a 0.8 and 0.3 the two or three outstanding cartridges of this group. mil elliptical. Except for the tip shapes, all are identical, The frequency response of the M75-6 was exception- ally smooth and flat, varying less than ±1 db from 40 to 17,000 Hz. Its channel separation was typically about 20 db in the frequencies below 10,000 Hz. The square - wave test showed only a single small cycleof ringing. The output of the M75-6 was 6 millivolts and its hum shielding was excellent. ...-- Because of the kinship between this cartridge and the 00 V15 Type II, we made critical A -B listening comparisons between them. Any differences that may haveexisted SONOTONE VELOCITONE MK V

FREQUENCY RESPONSE IN CYCI ES PER SECOND (Hz)

20 50 100 500 1,000 5,000 10,000 20,000 5

)0 g

. 5 , U 100 15 E ...\ 213 g _...- g 30E

35§ SHURE M75-6 a

FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz)

20 50 100 500 1.000 5.000 10,000 20.000 with a compliance of 15 X 10-0 cm/dyne and a rated 5 tracking force of 1.5 to 2.5 grams. A pair of gold-plated og 5 i plug-in adapters is supplied with each cartridge to con- log vert its normally amplitude -responding characteristic to 15a a velocity basis suitable for connection tothe magnetic- to E phono inputs of any preamplifier. 8,..., 25 The "Sonoflex" stylus assembly of the Mark V has a 30Hr. rubber -like section that allows it to be bent as much as -35i a 180 degrees in any direction without damage. In fact, it is virtually impossible to damage the stylus accidentally. The cartridge's low mass (only 1.5 grams) makes possi- were certainly minute, and the two havebasically the ble (in a low -mass arm) a worthwhile improvement in same quality, which is effortless and smooth at alltimes. the ability to track warped records. However, some tone It seemed to us that the V15 Type II had a slightly arms designed for heavier cartridges requireadditional "warmer" tone, but even this is debatable. weight in the cartridge shell in order to achieve balance. Clearly the Shure engineers have transferred the es- We tested the Mk V Model 100T-DEV fitted with the

JULY1967 57 elliptical stylus. It tracked our test records at slightly less alignment. It further reduces the possibility ofincreased than 1.5 grams, and we used that force throughout the record wear that might result from high unitforces on tests. The frequency response sloped upward at about 4 a very small stylus radius. db per decade from 20 to over 10,000 Hz. It reached a The 888 series of cartridges all employa variant of peak of about +6 db at 14,000 Hz, with full response the moving -iron principle, a small conical pieceof fer- all the way to 20,000 Hz. Channel separationwas excel- rous material being mounted near the pivot of the stylus lent, averaging better than 30 db at middle frequencies, bar. There are three separate magnets withinthe car- better than 20 db up to 6,000 Hz, and never less than tridge body and the motion of the stylusvaries the dis- 10 db up to 20,000 Hz. Output was 6.2 millivolts, and tribution of the magnetic flux between thefour pole there was naturally no susceptibilityto magnetically pieces within the cartridge. Since the entire induced hum. magnetic structure of the cartridge is enclosed within themu - At its rated minimum tracking force of 1.5 grams, metal shielded cartridge case, the sensitivityto induced intermodulation distortion was 2 per centor less for any hum is low. velocity up to 17 cm/sec. Increasing the tracking force The 888SE tracked the HF/SR Model211 test record to the upper limit of 2.5 grams kept the IM to 3 per at 1.5 grams. Its frequency responsewas within ±3 db cent at the very high velocity of 27.1 cm/sec. from 20 to 20,000 Hz. Channel separationwas approxi- The sound of the Sonotone 100T-DEVwas clean, mately 20 db or betterover most of the audible range, effortless, and musical, with justa trace of "sparkle." The and was never less than 15 dbup to 20,000 Hz. Output slight loss of low -frequencyresponse, not particularly noticeable in ordinary listening, could be heardwhen it was compared to other cartridges with relatively flat bass response. Fortunately, the response of the Sonotonecar- tridge can easily be compensated witha moderate amount of amplifier bass boost. (Or, alternatively,Sonotone has an application note available that tells theuser how to flatten out the bass response without resortingto the amplifier's tone controls.) When this is done,we consider it the sonic peer ofany cartridge we have heard in its price range. The Sonotone 100T cartridgesells for EMPIRE 888SE $32.50 with the 0.7 -mil stylus, $34.50 with the0.5 -mil stylus, and $39.50 with the elliptical stylus. FREQUENCY RESPONSE IN CYCLES PER SECOND (HZ) 20 50 100 500 Imo 5104 10000 211(00

.3 0 EMPIRE 888SE dill 5 THEEmpire 888 family of cartridges is perhaps the 10 most comprehensive in the industry, from the standpoint WI 15 VA 2E of variety of styli andrange of tracking forces. Using a n PIA SIIIIPM111 2! common cartridge body, the 888 series takes advantage of the instantly replaceable stylus assemblyto, in effect, 3! customize a cartridge for any conceivable record -playing m requirement. Previous models included the 888 (0.7 -mil stylus,up was a relatively low 3.1 millivolts at 3.54 cm/sec and to 6 grams of stylus force), the 888E (0.4- and 0.9 -mil IM distortion at the 1.5 -gram test forcewas under 2 per elliptical stylus, up to5 grams), the 888P (0.6 -mil cent up to 13 cm/sec velocity. At the maximum rated stylus, up to 4 grams), and the 888PE (0.2- and0.9 - tracking force of 3 grams, IM distortion reached2 per mil elliptical stylus, tracking between 0.5 and 3 grams). cent at 24 cm/sec. The square -wave response showeda The latest, and presumably most refined, version ofthe single cycle of ringing at the stylus' resonant frequency. 888 is the 888SE, which we tested for thissurvey. The sound of the Empire 888SEwas excellent in all The Empire 888SE has a 0.3- and 0.7 -mil elliptical respects. We could hear no sign of the 16,000 -Hz peak stylus with a rated compliance of 25x 10' cm/dyne. (see graph), either in the program materialor in the It is rated for tracking forces between 0.5 and 3 grams. form of exaggerated hiss. In fact, the soundwas almost The less extreme ellipse of the stylus seems to be in line subdued contrasted with the more bright -soundingcar- with current thinking among cartridge designers, and tridges against which we compared it. Thismay well presumably gives the inherentgroove -tracing advantages have been the result of the slightly elevated bass region, of the elliptical shape without the need forvery careful which, in spite of its small magnitude, imparteda pleas -

58 HIFI/STEREO REVIEW ant solidity and fullness to the sound.This is a very easy on the disc are handled withless audible distortion. cartridge to listen to, and is quite capable ofhandling The measured frequency response of the ADC 10/E almost any record at a 1.5 -gram stylus force. TheEmpire Mk II was very smooth, within 71.-1.5 db from 40 to 20,000 mid - 888SE sells for $44.95. Hz. Channel separation was better than 25 db at frequencies and was 13 db at 20,000 Hz. The square -wave response of this cartridge wasoutstandingly good, as was ADC 10/E MK II its IM distortion, which remained under 1 per cent up to THE new 10/E Mk II is the "top of theline" of the 18 cm/sec velocity. The output was 2.8millivolts at 3.54 ADC cartridge family. Like the other ADC cartridges,it cm/sec-relatively low, but quite adequate for any mod- uses the induced -magnet principle.A rectangular fixed ern preamplifier. magnet is mounted in the replaceable stylusassembly. The ADC 10/E Mk II, as befits a premium-quality The stylus -cantilever tube, pivoted at the end nearestthe cartridge, has a premium price-$59.50. Its smooth, cartridge body in a compliant, rubber -like material, lies wide -range sound and freedom from distortion certainly and close to a "U" -shaped channel in the gold -toned (inthe qualify it for a place with other cartridges at this Mk II) magnet. A small piece of magnetically conduc- even higher prices. tive material in the pivoted end of the stylus tubebe- comes magnetized by inductionfrom the fixed magnet SHURE V-15 TYPE II (hence the name "induced magnet"), and as the stylus improved tube moves, it couples varying amounts of magnetic flux THE Shure V-15 Type II cartridge is an to the four pole pieces of the coils moldedinto the version of the V-15 reported on previously (July 1964), cartridge body. The stylus is an elliptical diamond with and which was at that time one of the finest cartridges on the market. The Type II is evenbetter-quite notice- radii of 0.3 and 0.7 mils. II is The 10/E Mk II has a very low stylus mass and high ably so, in fact. Like its predecessor, the V-15 Type stylus compliance, rated at 35 X 10-8 cm/dyne. This a moving -magnet cartridgewith an elliptical -diamond stylus. The original V-15 had a rather extremepair of stylus radii -0.2 and 0.9 mils. This year, Shure hasmod- ified the stylus slightly to 0.2- and 0.7 -mil radii.They have also reduced the weight of the cartridgeconsider- ably (from 11 down to 6.8 grams) and haveadded a built-in swing -away stylus guard. To describe the particular virtues of the V-15 Type II, Shure has coined the word "trackability." Thisrefers to the ability of a cartridge stylus to follow the groove modulation at the high velocities found on modern rec- ADC 10/E MK II ords. Most cartridges do quite well in this respect atlow and middle frequencies, but fail in varying degrees at

FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz) the very high frequencies. 20 50 100 500 1,000 5.000 10.000 20.000 forces 5 The Shure V-15 Type II is designed to track at 0 a from 3/4 to 11/2 grams. We found that it trackedthe 5n HF/SR Model 211 test record at 1 gram. Itsfrequency -II _102 response, playing the CBS STR100record, was ±1.5 db I 15 from 20 to 20,000 Hz. The "sway -backed" response e's 20 (see graph) in the upper frequencies is, to some extent 5 at least, a property of the record ; we haveobserved this 30a of the 35 in a number of cartridge tests. The resonance

0 stylus itself occurs above 20,000 Hz. Tracking at1 gram, the IM distortion of the V-15 The accounts for its ability to trace highly modulated grooves Type II is extremely low below 15 cm/sec velocity. at only 1 gram, a feat achieved by few cartridgesin our 0.5 per cent distortion observed is the lowest wehave experience. This is the recommended maximum force, ever measured with the RCA 12-5-39 testrecord, and is and we found it to be optimum. Higher forces cause the probably the residual distortion of the record. The dis- stylus to retract into the cartridge, and cannot be used. tortion rises to 2 per cent at 17 cm/sec, but increasing We did find that it would track the HF/SR test record the tracking force to the maximum rated value of 1.5 at 0.5 gram, lower than any other cartridge tested. How- grams allows the cartridge to track 22cm/sec at 2 per ever, at a1 -gram force, the higher recorded velocities cent IM distortion. (Continued overleaf)

59 JULY 1967 The output of the V-15 Type II is quite low, about also the largest, heaviest, most expensive, and(last, but 2.7 millivolts, as compared to the 6.1 -millivolt output of certainly not least) had the lowest distortionand one of the original V-15. Most good amplifiers have sufficient the widest, flattest frequency-response curves. gain to operate with the V-15 Type II, but the volume The large size and weight (18.5 grams)of the S -15T control will have to be advanced somewhat for thesame result from the inclusion ofa pair of miniature step-up listening level. transformers within the cartridge body. Thevery low The Shure V-15 Type II lives up to its promise of output voltage of the moving -coil system is raisedto a "trackability." We have encountered numerous instances substantial 5.7 millivolts at the cartridgeterminals. A stylus force of 2.5 gramswas needed to track the HF/SR Model 211 test record with minimumdistortion. Frequency response was ±-2.5 db from20 to 20,000 Hz; channel separation was better than II ' 25 db up to 8,000 Hz, and about 10 db in the 15,000-to 20,000 -Hz region. The square -waveresponse had only a trace of very high -frequency ringing, anda slightly rounded top that related to the 2 to 3 db elevation of thebass region below 200 Hz. (Incidentally, the S-15we tested is a later version that has been designed fora smoother high - SHURE V-15 TYPE 11 frequency response than the earlier model.) The IM distortion of the Ortofon S -15Twas under FREQUENCY RESPONSE IN CYCLES PER SECOND (Hz) 1per cent up to 22 cm/sec velocity, and 20 50 100 was 1.5 per 500 1,000 5,003 10,000 20,000 .5 5i 10a

258 S 30 rg

35 4,1S4..itehic ...... 40

ORTOFON S -15T where records that sounded distortedon their heaviest passages with any other cartridge sounded clean when played with the V-15 Type II. Shure has issued FREQUENCY RESPONSE N CYCLES PER SECOND ,Hi, a test 20 50 100 500 1,000 5,000 10,000 20000 record, dubbed "An Audio Obstacle Course," whichcon- 5 tains eleven different velocity levels. This record, ob- -;-"05i# viously intended to demonstrate the virtues of theV-15 Type II, serves as an excellent test for "trackability" jr10g with any cartridge, and we made good 15 use of it during zo § this series of tests. g 25 ,, 8 The V-15 Type II did notemerge entirely unscathed 30 a from the "Audio Obstacle Course," but it did farebetter 35 than any other cartridge we have tested. In listeningtests 40 it had a combination of smoothness, low distortion,wide frequency range, and nearly total freedom from breakup cent at the maximum -level band of 27.9 cm/secon the on even the loudest passages which in our judgmentearn RCA 12-5-39 test record. In spite of the inclusion of it a top position in the array of altogether outstanding the step-up transformers, the Ortofon S -15Twas quite cartridges covered in this year'ssurvey. The V-15 Type immune to induced hum, measuring considerablysu- II is priced at $67.50. perior to most cartridges in that respect. The S -15T had a clean, balanced sound that differed somewhat from that of the other cartridges in its fuller ORTOFON S -15T character. This was probably due to the slight elevation THE Ortofon S -15T is the only moving -coil cartridge of the bass region, which did not showup as a boom or in the currently tested group, and the onlyone requiring heaviness, but rather as a more solid and firm sound. a return to the manufacturer for stylus replacement. It is The Ortofon S -15T sells for $80.

60 HIFI/ STEREO REVIEW HI FI/STEREO REVIEW'SSELECTION OF THE TOPRECORDINGS BEST OF THEMONTH

CLASSICAL

GUSTAV MAHLER'S MON'MEN 1 Al,I l111th SYMPHONY Haitink and the AmsterdamConcertgebouw deliver a stunning performancefor Philips

THE Mahler Third is a hugesymphonic canvas of program -note annotation,however, will certainly be proportions ample even for Mahler: six move- of interest to those who puzzle over the anticipations that pop ments (he planned a seventh), anhour and a half of the last movement of the Mahler Fourth Third. It concerns the running time, and enough scope to match(in any sense) up in a number of places in the which forms the last any of his greatest works.Sheer size and a curious and song "Das himmlische Leber," earlier in 1892, unsettling disposition of its parts have keptthe sympho- movement of the Fourth: actually written it was to have been the finale (the seventh movement !) ny from being performed veryoften, but true Mahlerites will recognize itas a masterpiecenonetheless in the of the Third. But it must have become apparent to marvelous new Philips recording withBernard Haitink Mahler that nothing could follow that extraordinary and the Amsterdam ConcertgebouwOrchestra. Adagio. The opening movement, one ofMahler's monumen- Those who like to play the increasingly popular tal marches and one of his best (even moresustained in Mahler -as -Prophet game can find plenty of material quality than the opening of the Fifth),lasts over half here. One of the most striking anticipations of things -rolls out of an hour by itself.It is surely the longest march on rec- to come is the use of fanfares and drum time (i.e., rhythmically independent of the prevailing ord.This immense, sprawling fresco isfollowed by meter). Actually, the usual argu- two delicate, moderately moving, a and lightly scored scherzos; then ments about Mahler's anticipation of and influence on this or that a text from AlsoSprach Zara- technique or aspect of twentieth- thustra (!) set as a short, simple, century music seem to me often and atmospheric alto solo; a set- F.: peripheral. Indeed, in many im- ting from Des Knaben Wunder - portant respects, Mahler was strik- horn for chorus of children's and women's voices in a highly pic- ingly without influence, the last composer of the tonal tradition turesque folk manner; and a final rather than-as is the case with chorale -like "heavenly" Adagio. Debussy, Schoenberg, and others Mahler devised or was inspired -the progenitor of something by a rather detailed program for be this symphony, but he had the new. Still, Mahler does seem to an essentially twentieth-century good sense to suppress it.Un- composer, and I think the reason fortunately, later critics and an- has to be sought in other areas. notators have not been willing to Mahler's attitudeisessentially accept the composer's good judgment in the matter. You will modern: his self-consciousness; have to check the album notes his torturous struggle to achieve his for more information about "Pan a simple, natural expression; vulgarity-and his refined sophis- awakes," "What the woodland tication; the paradoxes and in- creatures tell me," and all the BERNARD HAI I:I ternal discords; the conflict be - rest; you won't get it here. One Arecording -oriented approach

61 JULY 1967 tween life and art, between intellectual reflection and a Rome, his regular workas Master of Music to Vincenzo simple, natural expression; the scope, big as life itself ; the Gonzaga, Duke of Mantua, having beenrather unre- ideas, derived from tradition and experience,but new and munerative. But he received, in fact, neither "modern" in their contexts. Thus, the reward nor composer who really position, and three years went by beforehe found em- resembles Mahler most closely in these basic respects (al- ployment worthy of his merit-that ofmaestro di cap- though his actual musical substance is ofcourse quite dif- pella at St. Mark's Church in Venice. ferent) is- Charles Ives! The Vespers, despite the indifference of the Pope, remains All of these elements are one of Monte- as clearly present in the Third verdi's greatest church works, although Symphony as in any other by Mahler, and itis a curious they generate mixture of the modern (thenew "operatic" orchestra, the work's unique form. If this is whatinterests you about the dramatic concentration Mahler (to me it is essential), on text, and the addition of you may prefer Leonard the thorough bass) and the archaic. Bernstein's version of this work (ColumbiaM2S 675, There have been at least two previouscomplete ver- M2L 275). Bernstein's Mahler is successfulbecause he sions of the Vespers on disc identifies not only with Mahler the (the Magni/icat, which man, but also with his comes at the end, has been recorded a number of times), view of the world. Haitink, in Philips'new recording of but these are now quite eclipsed by the work,is more detached. Telefunken's distin- Ifind the performance guished new release-and not merely superb-gorgeous, in fact, and superior in because the others many details to are older, monophonic recordings. The most interesting that by Bernstein and the New YorkPhilharmonic. The feature of this new set is its producers' sound of the Concertgebouw is overwhelming, insistence on us- beautifully ing original instruments. One has onlyto listen to the wrought in the fine points, and stunningin its overall opening section, the beginning of whichwas lifted from shape. Its objectivity may at first give theimpression that the composer's opera Orfeo, this is a performance about rather to realize that this is an ex- than of the Mahler traordinary sound.If previous attempts at authenticity Third, but this impression must be understoodin a certain have not impressed you because the restoredor recon- heretical perspective: the character ofa recorded perfor- structed instruments sounded ill -tunedor poorly played, mance need not, and possibly should not, be identical just listen to the opening of the Sonata with that of a live performance. Generally, recorded .copra "Sancta Bern- Maria" and you will know howmarvelously effective stein performances are versions of whatare essentially this music, with its plangent cornetti (also responses to the conditions of "live" presentation; exciting called zinken) must have sounded to the audiences of Monteverdi'sown and valid though they may be, theymay also not wear well day. for home listening. Haitink's performancehere, on the Nothing seems to have been overlooked inthis record- other hand, is recording -oriented.Itis solid and very ing to make the scorecome to life once again.The authoritative, the music beautifully plotted and excellently Gregorian antiphons have been included, there played. Philips' engineers, is an ex- moreover, have complemented tremely well varied continuo (various combinations this approach with an excellent rich acoustic of or- which is (ex- gan, harpsichord, virginals, and even lute, plus the usual cept for a few quieter "offstage" moments) brilliantly viol low strings), and in certain sections (forexample, clear, realistic, and rather grand. Eric Salzman the tenor solo Nigra sum) florid vocalembellishments have been added to the score. Theseare just a few of C) C) MAHLER: Symphony No. 3, in DMinor. Maureen Forrester (contralto); Amsterdam Women's the innovations. The vocalistsare exceptional, the pac- Chorus; Boys ing is as vital and yet as liturgically Chorus of St. Willibrord Church, Amsterdam;Concertge- proper as one could bouw Orchestra of Amsterdam, BernardHaitink cond. wish, and the chorus (though rathermore German - PHILIPS PHS 2996 two discs $11.58, PHM2596 $9.58. sounding than Italian) is expert. To addto all this, the quality of the recorded sound itself couldnot be bettered. An elaborate and beautiful booklet containingnotes on the performance, the instruments, and thetext is includ- A BAROQUE MASTERPIECE: ed, but unfortunately-the single drawback-itisin MONTEVERDI'S VESPERS German only. Igor Kipnis 0 C) MONTEVERDI: Vespro della Beata Vergine Extraordinarily successful use of authentic (1610). Rohtraud Hansmann and Irmgard Jacobeit(so- instruments distinguishes Telefunken release pranos); Nigel Rogers and Bert van t'Hoff(tenors); Max van Egmond (baritone); Jacques Villisech(bass); soloists from the Wiener Singerknaben; Choralscholaof TALY'S prodigiously prolific Claudio Monteverdiwrote the Capella Antigua, Munich, Konrad Ruhland, director; I his massive choral -orchestralVespro della Beata Ver- Monteverdi Chor of Hamburg, Jurgen Jurgens, director; Concentus gine in 1610 in hopes of obtaining, throughPope Paul V, MusicusofVienna, Nikolaus Harnoncourt either a substantial financial reward cond. TELEFUNKEN SAWT 9501/2two discs$11.58, or a better position in AWT 9501/2* $11.58.

62 HIFI/STEREO REVIEW --.10-.ENTERTAINMENT.--0- HAPPINESS IS ENRICO MACIAS

The ebullient artistry of a young singer-guitarist is an irresistible amalgam of musical styles

FRANCE'S Enrico Macias, at the age of twenty-nine, bids fair shortly to become an international starand perhaps, in the process, to bring a whole new setof in- fluences into popular music. So far he has appeared no farther East than Lebanon and no farther Westthan Belgium. But in France he is already an enormous success, although in a somewhatspecial way. There, he is the favorite of the hundreds of thousands ofFrench Al- gerians who have resettled in France since Algeria was given its freedom. Macias' two earlier albumsfor Palle (STX 169 and STX 187-mono only), bothrecorded live at 1964 and 1965 concerts at the famedOlympia Theatre in Paris, are superb examples of one-manshow- manship and a performer -audience rapport that is, in my experience, remarkable. His newest album, "DouzeNou- velles Chansons," isa triumphant affirmationof his un- deniable right to be considered more than aspecifically "ethnic" favorite. Born in Algeria in 1938 of a Provencal mother and an ENRICO MACIAS Andalusian father, Macias was already an expert on the Triumphant affirmation of life guitar at fourteen (his father was also a musician).At eighteen he was singing and playing in Algerian cabarets Nouvelles Chansons,"where he is apt to let loose a while studying for hisbachot(baccalaureate). He taught cry that is almost an exact replicaof the Moslem call to school for a while at the small Algerian village of Ain prayer as he is to interpolate asudden, plaintive flamenco Frain, but with the acceleration of the Algerian inde- wail. When his attention turns to the simple French pendence movement he went to France, turning for his chanson, as it does inLei Masques de la comedie,he livelihood to what he knew best-his music. Success performs with a confident mastery that would docredit was almost immediate-one ofhis early partisans was to a Charles Trenet or a Tino Rossi. Raymond Bernard, leader of the Gilbert Becaud orches- Macias' voice is not quite like that of anypopular tra, who opened for Macias the doors tothe Path& French singer of recent memory: there's no molassesin it, Marcon i recording studios. nor is there any use of stageymelodrama to make an Happiness and the sheer joy of living are apparent on emotional point. It is alive and warm, and he usesit every band of Macias' latest album,whether it be the with an ease and naturalness and spontaneity that I can cheerful Basque folk rhythms ofJe raiment; pour deux only describe as an ebullient crow of pure pleasure. or the innocent sensuality ofLe Jour de ton mariage. The majority of the songs Macias sings (for whichhe The instrumentation and arrangements make full useof often provides words or music or both) reflect theMedi- the cultural blend that existed in French -held Algeria: terranean -colonial culture that was NorthAfrica. And the sound is unmistakably North African, but with strong asthey are concerned with the physical basicsof that echoes of the traditional Frenchhal musette cafeorches- culture-the sun, the sky, the scorched andbeautiful tra. Macias himself is just as eclectic in hisvocal per- horizons-they are also concerned with the feelingsof formances. This eclecticismis perhaps most apparent the dispossessed people who made up that nowlost cul- in his two in -concert albums, where he brings his audi- ture. His songs tell of their attachment tothe land of and of the ences tofever pitch with such galvanic numbers as their birth, to their families, their friends, forthe Les Filles de mon pays,the unforgettableEl Porompom- bittersweet French -Algerianemigrenostalgia ell, with- pero,and the rafter -shakingL'Oriental.He isjust as good old times. He does all this remarkably w unselfconscious, however, on many bands of"Douze out a trace of self pity. What is even moreremarkable,

63 JULY 1967 however, and what should win for himthe attention of all lovers of song everywhere,isthe vital,bursting optimism of the human spirit to be heard inhis voice. Peter Reilly

C) ENRICO MACIAS: Douze NouvellesChansons. En- rico Macias (vocals); orchestra, Jean Claudriccond. Non, je n'ai pas oublie; Le Jour deton mariage; Les Yeux de l'amour; Solenzara; and eight others.PATHE STX 211 $4.79.

4010 THE RETURN OF SUSAN BARRETT

The crisp new sound ofan amazing vocal stylist invites comparison withthe best

THERE ARE plain, ordinary girl singersarriving on the musical scene at therate of about two a week, and then there is the occasionalgirl singer who somehow transcends the boundaries ofmediocrity imposed by current pop trends. But great singers ofthe latter brand almost never arrive overnight.They learn slowly and painfully, through a series of recordedmistakes, to find their potential-what to discard ,;AN BARRETT in the way of material, A gratifying gilt to the music world how to go easy on the higheror lower register, what kind of song to leanon. Susan Barrett, whose first- retirement by Miss Barrett (another hipmove for such a perhaps premature-appearanceon the Capitollabel young girl) to weave some of the most excitingarrange- about six years ago apparentlysent her scampering back ments I've heard this year. He works in colors-fromthe to the drawing board, has learned, andher brilliant re- cotton -candy pastels of The Carnival isClosed Today appearance on the RCA Victor labelnow gives us ample (one of the more interesting of the"stayed -too -long -at- reason to beat the drums and fly the banners. the -fair" songs) to the explosive Amazing! Miss Barrett is only twenty-three purples and reds of years old, such big -band jump tunesas Walking Happy and Meis yet she displays, in these swinging sessions,the soul of a One Nada. And his use of Chris Connor, the dynamics of a small combo with strings a Sarah Vaughan, the throughoutissensitive and lyrical without being ob- theatrical flair of a Felicia Sanders, thejazzy hipness of a trusive. In every instance, his June Christy. I don't really arrangements provide a mean to saddle so gratify- strong right arm for Miss Barrett instead of beating ing a gift to the music world her as Miss Barrett with hard- voice to death. to -live -up -to comparisons, but the girl is that good. She Everything about this album isso fresh, so willowy, steps up to the microphone, tosses her JulieChristie so potato -chip crisp, it is a happy thing to hear. At the hair back, and wails-and the sounds that come out are root of its success, of course, is Susan Barrett, whose as astounding as the approach. extraordinary talents make her undoubtedly themost ex- Where, for instance, did a girlso young learn to drop citing (re)discovery so far this the bottom out of her voice year. The way she ca- on the ends of three -syllable resses these songs, the way the music caresses her-I words like June Christy used to do? It's an old trick, but don't know, but I'd say this albumwas made with love. it makes all the difference ina song such as Bobby Hebb's Rex Reed otherwisepedestrianrock-and-rolltune Sunny. The point is that she has obviously been listeningto all the 0 8 SUSAN BARRETT: Susan Barrett! SusanBar- right people through theyears and none of the wrong rett(vocals); Marion Evans, arranger and conductor. ones. Walking Happy; Sunny; My Man; Bewitched;Every Time We Say Goodbye; /14a5 Que Nada; April Showers; Marion Evans, one of the truly original,perceptive, and five others. RCA VICTOR LSP 3738 $4.79,LPM 3738* and plugged -in arrangers, has been broughtout of semi - $3.79.

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CIRCLE NO. 31 ON READER SERVICE CARD Jui.i 1967 65 StraussCabalid: would have loved her (and so will you') A Richard Strauss Song Recital MONTSERRAT CABALLE MIGUEL ZANETTI, Pianist NI sty T.

Here is Montserrat Caballe in a new setting: German lieder. And the acclaimed Spanish soprano is triumphant in bringing her famous pianissimo, melting mezza voce and lyrical gifts to Strauss' enchanting songs. Included in this new RCA Victor Red Seal recording are M..3rgen, Traum durch die Dammerung, Zueignung and Ciicilie. Hear this new recording soon and discover why Saturday Review has calledRCAVICTOR Caballe "an artist of rare refinement." The most trusted name in sound

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liCilT AT CABAL'S pitigniffcollota SINGS Montserrat Caballe sings One of those spectacular voices which can work miracles on au audience already familiar with the ZARZUELA ARMS likes of Callas and Sutherland..." SONGS -Herald Tribune POPULAR MUSIC OF SPAIN of WITH SYMPHONY ORCHESTRA ENRIQUE /11 RCA VIcroi GRANADOS RCA VICTOR with symphony orchestra Rafael Ferrer, Conductor

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CIRCLE NO. 44 ON READER SERVICE CARD 1i.7,1:1-.0RI VII W HIFI/STEREO CLASSICALREVIEW'S CHOICE OF THE LATEST RECORDINGS

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

C) C) BACH: Cantata No. 203, "Amore version under Rieu). But it is not an entirely cond. COLUMBIA MS 6956 $5.79, ML 6356 traditore." Claus Ocker (bass) ; Martin Gal- ideal performance, mainly because of a few $4.79. ling (harpsichord ); Dieter Messlinger (cel- second -rank voices, and this fault seems to lo). Cantata No. 211, "Schweiget stille, plague the other versions as well. The favor- Performance: Admirable Recording: High quality plaudert nicht" ("Coffee Cantata"). Elisa- ite excerpt, "Sheep may safely graze," which Stereo Quality: Effective separation beth Speiser (soprano) ; Claus Ocker (bass) ; incidentally, and contrary to popular opinion, \Wilfrid Jochims (tenor) ;Martin Galling is purely secular in content-it merely com- The firs item here is not a new unknown (harpsichord) ; Wurttemberg Chamber Or- pares the Duke to a good shepherd-is not Bartok concerto but the Sonata for Two Pi- chestra, Rudolf Ewerhart cond. TURNABOUT reallysatisfactoryin any of the versions, anos and Percussion arranged by the com- TV 34071S $2.50, TV 4071* $2.50. either having over -fast tempos or lacking in poser himself in this form. Bartok wrote the certain basic stylistic considerations such as Sonata in1937 for himself and his wife, C) C) BACH: Cantata No. 208, "Was mir ornaments. On the other hand, Nonesuch's Ditta Pasztory ; he made the orchestral ver- behagt, ist nur die muntre Jagd" ("Hunt- performance includes one interesting musico- sion in1940, shortly after his arrivalin ing Cantata"). Helen Donath and Elisabeth logicalpoint- aninstrumental mobement America. in order to give himself and his Speiser (sopranos) ;Wilfrid Jochims (ten- z wife an orchestral showpiece. The orchestra or) ; Jakob Stampfli (bass) ; Martin Galling does not really have very much to do except (harpsichord) ;Chorus of the Gedichtnis- double what is already basically present in kirche and Chamber Ensemble of the Bach- the Sonata, and when music is occasionally Collegium, Stuttgart, Helmuth Rilling cond. taken away from the soloists in order to make NONESUCH H 71147 $2.50, H 1147 $2.50. work for the orchestra, the results seem to Performance. Each enjoyable me to be almost never a gain. Still, even Recording: Very good though I much prefer and certainly recom- Stereo Quality: Fine mend the sonata version, I must grant that it was wonhwhile to rescue the orchestral ver- The most immediately appealing of these sion and get it on records. Gold and Fizdale three secular cantatas is No. 211, which hu- are first-rate Bartok pianists, and the per- morously depicts an argument between father cussionists of the New York Philharmonic, and daughter over the daughter's fondness for led by the redoutable Saul Goodman, put on coffee. No. 203, a typicallyItalian work, a fine show. deals with unrequited love, and No. 208, con- The orchestra's strings really show to ad- taining that old favorite "Sheep may safely vantage on the overside, in this reissue of graze,-is an allegorical birthday salute to Bernstein's vibrant performance of the Mu- DukeChristianofSachsen-Weissenfels, sic for Strings, Percussion, and Celesta. My who was devoted to the hunt. first experience with this work was a per- The "Coffee" Cantata is nicely relaxed and formance led by Bernstein, and Istill think pastoral in feeling, with some excellent char- he makes an extraordinary effect with the acterizations, and it compares favorably with piece. This is a frenetic, breath -taking read- the imported Odeon version (conducted by ing, but I think the music can take it. Bern- Karl Forster, and featuring Fischer-Dieskau, stein conies closer than anyone I've heard to Josef Traxel, and Lisa Otto in the "cast"). getting the dazzling confusion of the eccen- The bass Claus Ocker is properly dramatic Dirriucti tricfinaleto cohere. The recording-the and distraught in the briefer No. 203 and A singing encyclopedia turns to Beethoven piece, with its double string choirs and, of the instrumental playing is very commend- course, prominent percussion,isa natural able, although the balance stresses a rather (BWV 1040) which, because of its thematic for stereo-holds up well. I must say I ob- too -far -forwardharpsichordwhosetonal similarity, is used as a ritornello for the so- ject to the record cover, which announces "A characteristicsbecome somewhatwearing prano aria"Weil die wollenreichen Herden." Percussion Spectacular" (surely anyone buy- after a while. (Contrary to the notes, inci- On the whole, the performance of No. 208 is ing the record for that will only feel cheated) dentally, a cello is used as a supporting con- an enjoyable one, with excellent instrumental and then blares out Bernstein's name over tinuo instrument.) Again, this performance playing and solid, though hardly efferves- Bartok's. ButIsuppose thatis what sells matches the standard set by Fischer-Dieskau cent, conducting. records, and this record deserves to sell. E. S. in his Odeon recording. Both discs, with the exception of the afore- TheNonesuch interpretationofthe mentioned harpsichord balance problem in "Hunting" Cantata holds its own very nicely No. 203, are very well recorded; Turnabout's RECORDING OF SPECIAL MERIT with the competing versions (an Odeon im- stereo edition features unusually wide separa- 4) 0) BEETHOVEN: An die (erne Ge- port conducted by Forster and a Telefunken tion,Nonesuch's a rathermore normal liebte; Sebilderung eines Miidchens; Als spread. Both records include texts and trans- die Geliebte sick trennen zeolite; Sehn- lations. I. K. surht; Rut corn Berge; An die Geliebte; Explanation of symbols: Adelaide;Andenken;ZiirtlicheLiebe; C) = stereophonic recording C) C) BARTOK: Concerto for Two Pianos, Hoff nung; Liebesklage; Dimmi, ben mio; =monophonic recording Percussion,andOrchestra;Musicfor T'intendo, si mio cor; L'amante impaziente = mono or stereo version Strings, Percussion, and Celesta. Arthur (two versions) ;La partenza; In questa not received for review Gold and Robert Fizdale(duo -pianists) ; tombsoscura.Dietrich Fischer-Dieskau New York Philharmonic, Leonard Bernstein (baritone) ; Jiirg Demus ( piano ).DEUTSCHE JULY1967 67 GRAMMOPHONDGG139216 $5.79, 39216* $5.79. Hi Fi/Stereo Review Performance: Masterly Recording: Excellent Stereo Quality: Appropriate Record Vocal music is perhaps the only area of musical activity where Beethoven's awesome accomplishments left room for some reservations. Or is this so simply because he was and Tape Beethoven, the titanic creator from whom we are reluctanttoaccepta less -than -perfect opera like Fidelio? I suppose there is also an Service element of disbelief in our realization that, though Beethoven was already writing songs when Schubert was born,it was the latter Have you been having a little who brought the Lied to perfection, while difficulty obtaining some of the Beethoven labored with varying success. And yet, Beethoven's output of some sixty records and tapes reviewed in this songs contains far too many gems not to be issue? HIFI 'STEREO REVIEW Rec- takenseriously.DietrichFischer-Dieskau, ord and Tape Service to the res- the first singing encyclopedia in history, has now recorded virtuallyallthe Beethoven cue! Not a record club - no dis- songs for DGG on three discs. The first of counts, no special deals.We're here these, under review here, very attractively simply as a service to those of our presents the most and least familiar accom- faithful music -loving readers who plishments of Beethoven the composer of songs. are about to give up the search for This is Fischer-Dieskau's second record- "hard -to -get" records and tapes. ing of the An die lerne Geliebte cycle, and itis conceived along the lines of the previ- If you want help in your musical ous (and very beautiful)effortin which dilemma, all you need do is com- Gerald Moore was hisaccompanist. The plete the coupon below and mail songs are taken at a refreshingly lively pace, but the singing is full of tenderness. Ifind it in with your remittance. We'll the endings of the first and the last songs in see to it that your records and tapes are mailed to you promptly, well the cycle excessively overwrought, however packed and fully guaranteed against damage or defects. -these climaxes seem to call for a subtler intensification. Adelaide is beautifully sung, And if you've been having a hard time finding some favorite record- its sentimentality firmly checked through the stressing of the inherent drama. ing not reviewed in this issue, we'll do our level best to find it for you The other German songs on the disc are also. Simply fill in as much information as you have available (title, less consequential but very attractive efforts. manufacturer, record number) on the coupon below and we'll do the Special mention should be made of Schil- derung(duration:thirtyseconds), which rest. If you're not sure of the price, we will be happy to mail your order dates from the composer's eleventhyear. C.O.D. More interesting is the group of Italian raj- ette(Op.82, from 1.811) with their occasional suggestions of Mozart. Beethoven cre- HIFI/STEREO REVIEW RECORD & TAPE SERVICE DEPT. SD ated two settings for the same Metastasio ONE PARK AVENUE NEW YORK, NEW YORK 10016 lyrics of L'arnante itnpaziente: one in buffo Please send the records and/or tapes requested below. I understand you will style, the other in a straightforward lyrical pay shipping and handling charges and that all records and tapes are fully guar- manner. The singing here is rich in expres- anteed against damage or defects. sion and vocally unexceptionable; yet, with allhislinguisticfluency,Fischer-Dieskau O Check or Money Order for $ is enclosed. never seems entirely at ease with the Italian O C.O.D. (Within the continental limits of the United States only). style. On the other hand, the noble dignity of In questa tornba oscuraissuccessfully For Air Mail shipments in the United States only, add $ .75 per record ordered. conveyed, and the contrast between the ar- For Air Mail shipments to foreign countries add $3.50 for the first record or- tist's soft mezza rote and full -voiced inten- dered, plus $1.00 extra for each additional record. sity creates a memorable impression. The disc whets the appetite for more Bee- RECORD (TAPE) PAGE NO. PRICE thoven songs. It has been recorded with ex- RECORD OR TAPE TITLE NUMBER (SEE MANUFACTURER (SEE REVIEW) OF REVIEW REVIEW) emplary clarity and balance, and if Demus at times appears unduly restrained, his accompaniments are always sensitive and in full accord with the singer. G. J. RECORDING OF SPECIAL MERIT

(§)Vim, BEETHOVEN: Piano Concerto No. 3, in C Minor, Op. 37. Artur Rubinstein (New York State residents add local sales tax) (piano) ; Boston Symphony Orchestra, Erich Leinsdorf cond. RCAVicroRLSC 2947 Total $5.79,LM2947* $4.79. Performance. Done with care Name (please print) Recording: Good 767 Address Stereo Quality. Good City State Zip (Continued on page 70)

68 HIFI/STEREO REVIEW "Thereare so many recordings of the Beethoven Symphonies available. How do I know which ones to buy?"

Good question. Tie Odyssey collection, which is an exciting new budget series from Colum- We assume you're concerned withbia Recordsis also able to bring you cuality of performance. Of course thereother adventures for the connoisseur. are many fine recordings of the Beetho- Legendary performances by Beecham, ven Symphonies on the market. But none,Casadus, Casals, Cieseking, we think, as historically exciting as those by The New York Philharmonic urderSchweizer, 'or example. And Max Gober- man's Haydn/Corelli/Vivaldi series. Plus Bruno Walter. Baroque and Renaissance rarities frorr These recordings, produced over athe Harmonia Mundi collection.

I ttle more than a decade (1942-1953), All at prices so modest that you car were the result of Dr. Walter's brilliantaffcrd to have a not -so -modest record and renowned Beethoven cycles with the library. Philharmonic.* Now they are available in The critics agree. "Collectors look- a special set for the first time. ing for bargains will be pleased," wrcte You have, therefore, a true collec-HiFi/S:ereoReview. "Columbia's new tor's item. budget line offers e>cellent values to the price," echoed Thp.-,. American Record And, it is being offered to you at an Guide. incredibly low So ask your record price. (It may be 6 dea er for Odyssey. one of the lowest REETD B E ETH OVE N The answer to a Beethoven offers THE NINE SYMPHONIES col ector's you'll ever see!) odysseyBRUNO WALTER dream. NEW YORK PHIL HARMONIC

odyssEy

32 66 0001 (A 6 -record set in mono only)

*Dr. Walter leads The Philadelphia Orchestra in the Sixth Symphony. a.la.oS Columbia Smecicasting System. inc. CIRCLE NO. 12 ON READER SERVICE CARD JULY 1967 69 If we count the integral Beethoven concerto she misunderstands this music quite badly. Dover might conceivably please s,vme listen- sets, there are some sixteen currently avail- Mme. Darth applies expressive and elegant ers more than Masselos', but the contest is able stereo/mono recordings of the Bee- routines without ever catching on to the fact close, and there is no other available recorded thoven C Minor Concerto, including Rubin - that every time she applies the expression competition. stein's own 1957 performance with Josef from the outside-no matter how beauti- The Piano Fantasy (1957) is the most re- Krips and the Symphony of the Air. Few of fully executed it may be in itself-she takes cent of Copland's three major solo piano these are less than good, and some-such as away that which is distinct and unique about pieces (the Piano Variations and the Sonata the recent Seraphim issue of the 1959 read- the piece and brings to the surface only those for Piano are the other two), and if it is not ing by Solomon and Herbert Menges-are qualities the music might share with any the historical landmark the Piano Variations absolutely outstanding. So the record col- other music. is, it is on many levels a more "gratifying" lector may pose the question, why another The recorded piano sound has a lot of pres- work and, after its latter-day fashion, quite recording of the C Minor? The answer is that ence, but so, I found, does "atmosphere" and as courageous. Originally composed for per- Rubinstein and Leinsdorf have come up with hiss. Toward the end of the second side of formance by the late William Kapell, itis a reading that, instead of trying to outrun the the waltzes the right channel seemed to weak- one of a handful of Copland's more recent fieldinfierce dramatic emphasis, searches en considerably, a phenomenon I am at a loss works that-in the wake of his widely dis- out the lyrical substance and the details of to explain. E. S. seminated and popular tonal style-merges the textural weaving of inner voices. One the techniques of Schoenbergian serialism senses this most particularly in the develop- with the composer's essentially tonal bias mental episodes of the end movements. The "". and his own highly personal style. It differs always lovely slow movement is played, by from his more characteristic keyboard style contrast, with great simplicity, and the most Next month in in that it is less skeletal, less raw-boned, more ravishing tonal beauty is coaxed from the virtuosic and adorned. Thirty minutes long, Steinway by Rubinstein's fingers. composed in a single, unbroken movement, it Of meditative readings of the C Minor has a consistent freshness of imaginative im- Concerto, this one surely belongs in the top IIIWStereo Review pulse that is, by itself, a wonder. Perhaps spot, thanks in no small part to the fullness someone will come along one day to outdo and transparency ofthe recorded sound. what the in-group of composers has long And those who favor the dramatic approach The Concise Dictionary of since recognized as Masselos's classic perfor- cannot go wrong with Fleisher-Szell (Epic) LOUDSPEAKER TERMINOLOGY mance of it, but-as the saying has it-don't or Solomon -Menges (Seraphim). D. H. by Victor Brociner hold your breath. W.F. BEETHOVEN: Symphonies Nos. 1, 4, and C) ® F. COUPERIN: Messe pour les 6; Leonore Overture No. 1(seepage 31) The Revolutionary Speaker Systems Convents (complete). L. COUPERIN: Al- of Yesteryear lemande in G Minor (No. 92); Sarabande BRAHMS: Tragic Overture,Op.81 (see en Canon in D Minor (No. 47); Chaconne page 31) by George Augspurger in G Minor (1658, No. 122).Georges Robert (organ of St. -Merry, Paris). NONE- C) ® CHOPIN: Waltzes(complete). What's Wrong with Loudspeakers SUCHH71150 $2.50, H 1150 $2.50. Jeanne -Marie Darre(piano). VANGUARD VSD 71163 $5.79, VRS 1163 $4.79. by Edgar Villchur RECORDING OF SPECIAL MERIT C) ®CHOPIN: Scherzos(complete); C) F. COUPERIN:Messe pour les Nocturne, in D-/Iat Major,Op.27, No. 2. PLUS Convents: Premier Kyrie: Couplets 2 and Jeanne -Marie Darth(piano). VANGUARD Gustav Mahler, Conductor 4; Gloria: Couplets 4 and 8; 0 ffertoire; VSD 71162 $5.79, VRS 1162 $4.79. by Harold Schonberg Elevation; Agnus Dei: Couplet 2. Messe Performance: lots of question marks a !'usage des Paroisses: Gloria: Couplets 3, 8, 9. Xavier Darasse (organ of Recording: Okay 6%2 1, 2, and Stereo Quality: Some problems Notre Dame de St. Etienne).LEBEGUE: Magnificat No. 1.Andre Isoir (organ of I have not heard Mme. Darre's earlier Cho- the Cathedrale d'Auch). TURNABOUT TV pin disc, but I find these two disappointing. RECORDING OF SPECIAL MERIT 34074S $2.50, TV 4074* $2.50. There are good things: certain phrases flicked C) ® COPLAND: Piano Fantasy; Piano Performance: Both worthy but Turnabout off with just the right combination of light Variations.WilliamMasselos (piano). has better style technique, touch, style, and poetic gesture. ODYSSEY 32 16 0040 $2.49, 32 16 0039 Recording: Both excellent $2.49. But there are more misses than hits. I don't Stereo Quality Both fine mean wrong -note misses, I mean interpretive Performance Matchless misses-phrases that simply do not come off. Francois Couperin's two organ Masses were Recording: Very good The most obvious cases are in the waltzes, designed to be played in alternation with the Stereo QualityFine where again and again the shape of a phrase sung portions of the Mass, and their music is just not right, the rhythmic lift just a bit- These performances were originally released was based very loosely, if at all, on the chant. disastrously-misplaced. This is as true (al- by Columbia in commemoration of Aaron Stylistically, there is much similarity to the though for somewhat different reasons) of Copland's sixtieth birthday in 1960. Since it composer's clavecin works. Georges Robert, the big flittering, glittering pianistic passages is difficult to imagine that the record could who provides a complete Messepour les as of the long, reflective lyric lines. There are have been a big seller, it was understandably Contents(forthe use of the nuns and beautiful things, but somehow they work out a Schwann catalog cut-out until now when monksofthereligiousinstitutionsin wrong: for example, there's no rubato where itis available again,in perfectly modern France), gives a very commendable account it's needed, and then-blat-there itis in remastered sound, at the great bargain rate of the work on the excellent St. -Merry organ, the wrong part of the bar. of $2.49. I couldn't recommend more highly although heisnot quite soimaginative, Some of the trouble can be traced, I think, either the music itself or Masselos' perfor- sprightly, and rhythmically subtle (he does to a curious insensitivity to the harmonic mance of it at any price. not applynotes inegalesanywhere)as Xavier motion and the way the lines phrase and No one who is familiar with the history of Darasse, who performs excerpts from the flicker around the subtle motion of the har- modern American music has to be told that two Masses. The latter include about half of monies. In the Scherzos this really robs the Copland's Piano Variations (1930) is a leg- theConvent Massplus a good portion of music of a sense of direction or shape, and end in its own right and a work of prime theGloriafrom theMesse a ?usage ordi- as a result they seem more formless than significance in the composer's musical devel- naire des Paroisses.For fillers, Robert plays usual and curiously unpoetic. The expression opment. Its stature as a sort of granitic mas- the three brief Louis Couperin pieces (really seems put on from the outside and not a nat- terwork has been questioned by virtually no harpsichord works) well enough, but al- ural part of the music. I realize this is a harsh cultivated musician-no matter what his sty- though the fingerwork is facile and the reg- judgment on a pianist for whom I have else- listic allegiance-since its composition. Bev- istration well chosen, there are again stylis- where expressed admiration, but I really think eridge 'Webster's recent recording of it for (Continued on page 72) 70 HIFI/STEREO REVIEW "Heath In Their Literature Implies Strongly That TheAR -15 Represents A New High In Advanced PerformanceAnd Circuit Concepts. After Testing And Living With The AR-15 For Awhile, We Must Concur." Julian Hirsch, noted audio critic, andau- thor of the "Technical Talk" column in Hi-Fi/ Stereo Review (May '67 Issue). I ". .The Entire Unit Performs Considerably Better ThanThe Published Specifications" C. G. McProud, editor and publisher of AudioMagazine(May '67 Issue).

11 60 511 ;1 611 91 1191 120 149 iill 1V

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HEATH COMPANY, Dept. 40.7 HEATHKIT 1967 FREE! World's Largest Benton Harbor, Michigan 49022 Electronic Kit Catalog 0 Please send FREE Heathkit Catalog .11141.1. Contains full descriptions and specifi- 0 Enclosed is $ plus shipping cations of AR -15 and over 250 easy -to - build kits. .. stereo/hi-fi, color TV, Please send model (s) electric guitars & amplifier, organs, AM -FM -shortwave radios, test, marine, Name CB and ham radio. Mail coupon or write Heath Company, Benton Harbor, Mich- Address igan 49022. City Sta:e Zip Prices 8 specifications subject to change without notice. HF-203 rI CIRCLE NO. 28 ON READER SERVICE CARD JULY1967 71 tic deficiencies. Andre Isoir, on Turnabout, and pianist Frida Bauer, do a beautiful job provides an impressive -sounding Magnificat with this piece. by Francois Couperin's slightly older con- Prokofiev's Five Melodies are performed EXCITING temporary, Nicolas Lebegue (or le Begue). with perfection-as wellas with an en- Both organs on Turnabout, with their reedy chanting poise and modesty.Icould do quality, are splendid -sounding instruments; beautifully without the Ysaye solo violin RECORD the miking is rather more close-up than that sonata with which Oistrakh rounds off his heard on Nonesuch. Overall, however, it is program in an enthusiastic demonstration of the performance of Francois Couperin's mu- technical-but perhaps that is my problem. sic that should decide between the two discs; The recorded sound is sharp and clean, NEWS! Georges Robert's is the best rendition of the but full-bodied and handsomely balanced. complete Courent MassI have heard, but The stereo treatment strikes me as just a from Darasse really makes this music come to life. little fussy for an instrumental duo.IP. F. First-rate sound on both discs, with excellent program notes for each. 1. K. I)UTILLEUX: Symphony No.2 (see ROUSSEL) C) C) I)EBUSSY: Violin Sonata. PROKO- FIEV: Five Melodies, Op. 35. RAVEL: ® lDVORAK: Symphony No. 1, in C Violin Sonata in G. YSAVE: Sonata in D Minor ("The Bells of Zlonice," 1865). Minor, op. 27, No. 3, "Ballade" ( unaccom- London Symphony Orchestra, Istvan Kertesz panied). David Oistrakh(violin),Frida cond.LONDONCS 6523 $5.79, CM 9523* Bauer (piano). Ptimys PHS 900 112 $5.79, $4.79. PHM 500 112* $4.79. ® ® DVORAK: Symphony No. 2, in B - Performance:Mostly very beautiful flat, Op. 10; Hussite Overture, Op. 67. Recording:Excellent Istvan Kertesz cond.LONDON CS6524 $5.79, Stereo Quality:First-rate CM 9524* $4.79. BRASI LI AN IMPRESSIONS DICK HYMAN/ PIANO & WOODWINDS As more and more recordings of Debussy's C) ® DVORAK: Symphony No. 3, in E- Violin Sonata come my way, played with licit, Op. 10; Hussite Overture, Op. 67. The Brasilian piano, gorgeously free ranging, played by the brilliant Dick Hyman, supple- brilliance,if not to my ideal pleasure, by London Symphony Orchestra, Istvan Kertesz mented by the exotic woodwinds and the such violinists as Erick Friedman (recently cond.LONDON CS6525 $5.79, CM 9525* rich tones of a flugelhorn ... an astonishing musical meeting of the land of VillaLobos on RCA Victor) and now David Oistrakh, $4.79. and the bossa nova with the contemporary I guess itis time that I gracefully concede C) ® DVORAK: Symphony No. 4, in D popandjazzworld. thatI am right and the rest of the world SELECTIONS: A TIME FOR LOVE MAS QUE Minor, Op. 13; In Nature's Realm-Con- NADA JAZZ 'N' SAMBA A DAY IN THE is wrong about how this composer's workcert Overture, Op. 9/. London Symphony LIFE OF A FOOL 0 BARQUINHO plus 7 should be approached stylistically-or,to more. Album It. 911. Orchestra, Istvan Kertesz and.LONDON CS putitanother way, explain my own ec- 6526 $5.79, CM 9526 $4.79. centricities of taste. In general, it was Debussy's avowed crea- 0 0 DVORAK: Symphony No. 5, in F, tive aim to break with what we generally Op. 76; My Home-Overture, Op. 62. think of as the nineteenth-century Romantic London Symphony Orchestra, Istvan Kertesz expressive gesture, as well as to devastate, cond.LONDON CS6511 $5.79, CM 9511* by his own very special way of putting a $4.79. piece together, the ways in which musical continuity had been traditionally achieved. Performance:All excellent In the latter respect, he was successful to a Recording:Good HOLLYWOOD.BASIE'S WAY Quality: First-rate revolutionary degree. In the former, in the Stereo COUNT BASIE & HIS ORCHESTRA sense that, as the saying has it, "there is a C) DVORAK: Symphony No. 7, in D You've never heard Basie until Command Minor, Op. 70. Czech Philharmonic Orches- and Basle got together! little Massenet in every Frenchman," he was inevitably somewhat less successful. tra, Zdenek Koller cond.CROSSROADS22 16 FIRST . . . BROADWAY .BASIE'S WAY NOW ... THE BIG BAND SOUND OF But how much less successful, it seems to 0098 $2.49, 22 16 0097 $2.49. HOLLYWOOD .BASIE'S WAY me, is a matter of degree conditioned strong- SELECTIONS: SECRET LOVE LAURA THE ly by the approach a performer takes to a Performance: Stressesthe lyric SHADOW OF YOUR SMILE STRANGERS IN Recording:Good THE NIGHT CARIOCA DAYS OF WINE work like the Sonata. Turn on the big string AND ROSES pius 6 more. Album =912. sound, overshape the phrases, do lots of Stereo Quality:Good enough very effective throbbing that might be very ® 0DVORAK: Symphony No. 9, in E effective in any one of many Romantics, and Minor, Op. 95 ("From the New World"); you'llturn Debussy's clock back on him. Othello-Concert Overture, Op. 93. Lon- Work for aleaner sound, an understated don Symphony Orchestra,IstvanKertesz line-thinking always in terms of the un- cond.LONDON CS6527 $5.79, CM 9527 conventional techniques of phrasal extension $4.79. that were the composer's own-and you are Performance: Could use more fire likely to relate Debussy more to the century Recording:Exceilent he so powerfully influenced rather than the Stereo Quality:Very good ROBERT MAXWELL -ANYTIME one that preceded it. From the composerof the fabulous Shangri- Oistrakh,likeFriedmanbeforehim, The most important single thing to say about La, from the man whose harp has created a takes the first of the approaches I have de- this clutch of Dvoiak is that it marks com- glorious new approach to popular music, comes a unique ensemble specifically described-even more so and even more beau- pletion of the first integral recording of all signed to make the exciting tonal colors of tifully. I suppose that most concert violinists nine symphonies by the Bohemian master the harp a part of the Big Sound of unforget- tably wonderful songs. will continue to take this approach, and I performed by the same conductor and orches- SELECTIONS: I'M GONNA SIT RIGHT DOWN shall continue to complain and wish thatit tra-in this instance Istvan Kertesz and the AND WRITE MYSELF A LETTER ANYTIME were otherwise. London Symphony Orchestra. The Kertesz BYE BYE BLUES SING, SING,SING THE SHEIK OF ARABY plus 7 more. Album Curiously enough, the Ravel G Major readings for London of No.7and No. 8 #913. WORLD LEADER IN Sonata is put together in such a way as to together with the Scherzo Capriccioso, and of RECORDED SOUND obviate such an approach. Itsleaner, neo- No. 6 together with the Carnival Overture, classic textureis a warning at the outset, have already been reviewed in the pages of corvvv,suvrid and, even at that, were a musician tempted 1-11F1/STEREOREVIEW.In the current release, Records to treatit otherwise, the piece has a way of Mr. Kertesz offers not only the five least - A subsidiary of ABC RECORDS, INC. going wry and sardonic just at the moment known Dvaik symphonies plus the single 1330Ave.ofthe Americas,N. Y., N. Y. 10019 when temptation might win out. Oistrakh, (Continued on page 74) CIRCLE NO. 14 ON READER SERVICE CARD 72 CIRCLE NO. 46 ON READER SERVICE CARD-JIB. Something for the Connoisseur...

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SANSUI ELECTRONICS CORPORATION 34-43 56th STREET WOODSIDE, N.Y. 11377 TELEPHONE 446-6300 Sansui Electric Company, Ltd. Tokyo, Japan Electronic Distributors (Canada). British Columbia most popular one, but also four relatively balances throughout the irresistible scherzo unfamiliar overtures-My Home, The Huss- movement. The recorded sound is warmer nes, In Nature's Realm, and Othello. and less troubled by excessive room reverber- The five early Dvoiak symphonies have all ation than has been the case with most or- been available on the Artia label in wholly chestral performances taped in Prague. At gleSeason idiomatic Czech performances (only Nos. 3 $2.49, this record is a good buy,butfor the and 4 in stereo), as have the Hussite and best available disc version, I. think itisa Othello overtures. However, London's stereo toss-up between Szell and Kertesz. inthe recording is vastly superior, and in most re- Summing up the Dvoiak symphonic scene spects the London Symphony outstrips in on discs as it now appears, I would say that refinementandvirtuosityanythingthat the first five symphonies are for Dvoiak buffs cSun with Prague has to offer. Furthermore, Kertesz only, and that they are exceedingly well has proved with his recordings of the Sixth represented in the Kertesz-London discs.I and Eighth symphonies that he knows his would likewise give Mr. Kertesz the palm way with Czech style, too. for all the later symphonies except the "New "Deuische Musically, the first four Dvoiik sympho- World," but I must boint out that the Epic G itarninvpluil nies are of interestin demonstrating (a) album with George Szell and the Cleveland that the composer was a born melodist, and Orchestra presents a wholly satisfactory al- gescuschaft (b) that his craft had not yet reached full ternate for Dvoiak's "big three," including If you can't make it to Europe for the flower. There are lovely moments inthe a really fine "New World." D. H. early symphonies: the "New Worldish" oboe festivals this season, DGG brings you solo in the slow movement of No. 1, the its own summer festival beginning with unusual scherzo of No. 2, the fiercely mili- the history -making recording of Tristan tant scherzo and finale of No. 4, and the and Isolde recorded live at Bayreuth. lovely slow -movement cello melody and flawless dance -scherzo of No. 5. But there are also tiresome redundancies of figuration and rhythm, clumsy transitions, and derivative WAGNER elements-especially of the Wagner Tann- TRISTAN UND ISOLDE hauser-Venusberg variety-that make one BIRGIT NILSSON understand why the composer kept the first WOLFGANG WINDGASSEN four out of the canon of his published work CHRISTA LUDWIG during his lifetime. (Indeed, the manuscript MARTTI TALVELA of No. 1 was not even discovered until EBERHARD WAECHTER 1923.) Be that as it may, Kertesz gives a KARL BOEHM rousing and affectionate account of all five of BAYREUTHER the early symphonies, doing especially well FESTSPIELE with the scherzo of No. 5.

1966 Among the overture performances, the fas- cinating and dramatic 39 221-5; Stereo 139 221-5 (5 records) This is the last of the three concert overtures (In Nature's Realm and Carnival are Die Walkuere- the other two) all built around the same Nagiler: motto theme, yet developing from it music Regine Crespin, Gundula Janowitz, Jon of widely disparate expressive content. For Vickers, Thomas Stewart; Berlin Phil- my taste, Kertesz is a trifle heavy-handed harmonic,Karajan,cond. 5records. with rhythmic accent in the militant Hussite 1ST\ AN KERTI.,/. 39 299-233; Stereo 139 229-233 Overture, as well as in the swingingly bu- Early DvoFdk symphonies in rousing style colic In Nature's Realm. My Home isof some interest becauseituses the melody RECORDINGS OF SPECIAL MERIT Schubert:Die Schoene Muel- (Where is my Home?) that eventually be- lerin/ Seven Songs-Fritz Wunderlich, came the Czechoslovaknationalanthem, (s)(t_ti) HAYDN: Mass No. 7, Missa in tenor; Hubert Giessen, piano. 2 records. but as a whole it is not up to Dvoiak's best. tempore belli ("Paukenmesse"), Motet- 39 219-20; Stereo 139 219-20 Perhaps not so surprisingly,itis in the Insanae et vane curae. Heather Harper (so- most popular of the Dvoiak symphonies- prano) , Pamela Bowden ( contralto ), Alex- "From the New World"-that Kertesz fails ander Young (tenor), John Shirley -Quirk NOiart:The Magic Flute- to score a resounding success. He takes a very (bass). Choir of King's College, Cambridge; Roberta Peters, Evelyn Lear, Dietrich studied and deliberate view of the first move- English Chamber Orchestra, David Willcocks Fischer-Dieskau, Fritz Wunderlich in "a ment (complete with expositoryrepeat), cond. ANGEL S 36417 $5.79, 36417$4.79. splendid production" (HighFidelity). and though his pacing of the other three C) HAYDN:Mass No. 9, in D Minor Berlin Philharmonic, Karl Boehm, cond. movements is wholly just, the performance ("Nelson" Mass). Sylvia Stahlman (sopra- 3 records. 18 981-3; Stereo 138 981-3 never takes wing as do those of Toscanini, Szell, and Walter. The orchestral playing no),HelenWatts(contralto),Wilfrid and recording are the last word in precision Brown (tenor), Tom Krause (baritone). _ Songs-Dietrich and elegance, but the whole fails to enthrall. Choir of King's College, Cambridge; London Symphony Orchestra, David Willcocks cond. Fischer-Dieskau, "the foremost Lieder Dvoiak's first great mature symphony, and singer of the day,"; Joerg Demus, piano. the least nationalistic-No. 7 in D Minor- ARGO ZRG 5325 $5.79, RG 325* $5.79. 39 197; Stereo 139 197 has had some distinguished recorded per- () C) HAYDN: Mass No. 12, in B -flat formances in the past-by Kubelik, Szell, ("Harmoniemesse"). ErnaSpoorenberg Zuurah: Symphony No. 8- and Monteux. Zdenek Koiler and the Czech (soprano), Helen Watts (contralto), Alex- (Former No. 4) Berlin Philharmonic; Ra- Philharmonic offer a reading of less turbulent anderYoung(tenor),JosephRouleau fael Kubelik, cond. and more lyrical strain than we have become (bass). The Choir of St. John's College, used to in previous recordings. This is es- Cambridge; The Academy of St. Martin -in - 39 181; Stereo 139 181 peciallytrueoftheopening movement, the -Fields, George Guest cond. ARGOZRG DGG Records are distributed by MGM Rec- which is made to sound more poignant and 515 $5.79, RG 515* $5.79. ords, adivision of Metro -Goldwyn -Mayer less fierce by virtue of slower pacing and Performance:All outstanding Inc. Free on request! The new illustrated somewhat easier phrasing. This is not es- DGG; Archive Catalog. Write MGM Records/ Recording: All very good Iwill give Mr. Classical Division, 1350 Avenue ofthe pecially to my taste, but Stereo Quality: All good \Americas, New York City, 10019. Kogler full marks for the subtle way in which he handles rhythm, dynamics, and internal These are three of Haydn's last six Masses, CIRCLE NO. 16 ON READER SERVICE CAtiO HIFI/STEREO REVIEW written between 1796 and 1802, and all three are masterpieces. It is well to remember that This isouridea by 1796 Haydn was through writing symphonies, after having given himself one hundred and four opportunities to perfect the ofawell rounded form he had virtually invented. His symphonic mastery was thereafter lavished on speaker. the Masses, which bear the unmistakable mark of symphonic design: the slow intro- ductions (a characteristic Haydn device), the alternating slow and fast movements, and the rousing final allegros.It woud be easy to enjoy these Masses simply for their extraor- dinarilyinventive and colorfulorchestral statements were it not for the magnificence of choral and vocal parts which constantly intrude-if that is the word. The total effect is bold, imposing, exultant with religious feeling, yet somehow more theatrical than ecclesiastical. Allthree recordings here originated in Cambridge, utilizing two outstanding choirs and conductors, and solo singers of the first Forget thefrillsof a tion. plus broader sound rank. In the "Paukenmesse," Heather Har- hand -rubbed walnut fin- propagation across the ish. statuesque original- entire spectrum. All in per and John Shirley -Quirk are exceptional. ity and language like all,it rounds out the The scores inherent drama is somewhat un- that! When you buy a most significant ad- derstated by conductor Willcocks, but this speaker, you're buying vances in stereophonic impression may arise because the orchestra performance. Sound! reproduction! The fact appears to be submerged in the reverberant The Royal Grenadier that we've added a flaw- acoustics. For sheer dramatic impact, Kube- 9000 is our idea of a less imported marble top Ilk's version (DGG 138881) may be prefer- true-to-life speaker sys- is just so much more able, but this is nevertheless a beautiful and tem. Its revolutionary icing. For color litera- moving performance, and it offers as a bonus die-cast divergent acous- ture and nearest dealer. the effectively turbulent earlier motet, In- tic lens assures fuller write:EEMPIRE sande ranae carat,. frequency andsepara- The "Nelson.' Massisareissue of a performance previously circulated as London 25731. H. C. Robbins Landon calls this Mass "arguably Haydn's greatest composition."I am not inclined to argue the point, least of CIRCLE NO. 22 ON READER SERVICE CARD all with him! The intensely dramatic work 1 U. gets a spirited performance here. Among the soloists, Sylvia Stahlman rates special praise for her exceptional singing of the high and florid soprano part, but mezzo Watts and baritone Krause arealsoexcellent.Here, too, there is strong competition: a somewhat romanticized but very effective account under Janos Ferencsik (DGG 139195) with fine choral work and Maria Stader's lovely singing in the soprano part. The edition used by Ferencsik calls for woodwinds which, according to Robbins Landon, were not part of Haydn's original design. Thus, seekers for authenticity will prefer the Argo disc. The "Harmoniemesse" (1802) was Haydn's last major work. Its opening Kyrie and Gloria areabsolutelyglorious,after which the martial Credo brings reminisences of Haydn's grand Emperor tune ("Go,/ er- halie"). The entire Mass isfull of sut dramatic contrasts, and the final movement is rousing. The performance is outstanding in every possible way. G. f.

C)tA)JANACEK: From Ilse House of the cao Dead. Vichy Bednai (baritone), Gorian- chikov; Beno Blachut (tenor), I.uka Kuz- just because we make the largest mich; Jaroslav HorRek (bass), Comman- selection of component furniture, dant; Ivo Zidek (tenor), Skuratov; Pizemysl we can't seem to stop designing new KoZi (baritone), Shishkov ;Helena Tatter- . . have you muschovii (soprano), Aleia; others. Chorus and better cabinets. and Orchestra of the Prague National The- seen our brochure lately? it's free. atre, Bohumil Gregor cond. CBS 32 21 0006 for a fast reply, mail this ad with your two discs$11.59, 3221 0005* $9.59. return address. Performance: Authoritative Recording: Very good StereoQuality: Very good audio originals (Continued on page 78) 546 5. Meridian Indianapolis, Ind. JULY 1967 CIRCLE NO. 5 ON READER SERVICE CARD "THE DOLBY"Audio NoiseReduction System A RECENT ADVANCE IN RECORDING TECHNIQUE PROMISES TO REDUCE STILL FURTHER THE SONIC DISTANCE BETWEEN PERFORMER AND LISTENER By JOHN MILDER (AVER the past few months, recording Anti -noise devices of various kinds have argument (and there are some fairly per- J engineers and record -company execu- been in use for decades in radio and tele- suasive ones), it does not justify the severe tives have beentalkingenthusiastically phone communications, movie sound tracks, volume compression often applied toto- about something called"the Dolby,"a and, most recently, tape recording. In all of day's records and broadcasts, and itis a new device whose purpose is to reduce the these media, the primary noise problem is ridiculous rationale for the many records background noise of master tape record- a function of trying to accommodate both and broadcasts (particularly of the pop va- ings. According to several reports from the the loudest and softest sounds carrying riety) whose dynamic range goes simply recording industry, the new device has im- musical information. If you have done any from loud to slightly louder. portant implications not only for the re- taping at home, you know the problem: The Dolby system will not decide how cording studio and other professional ap- set the recording level high enough to make wide a dynamic range the listener can tol- plications, but for the ultimate quality of the softest sounds most audible and free of erate with psychological comfort. But it is records to be played in the home. And from background noise, and you run the risk of bound, Ithink,to make impossible any the evidence now supplied by the first two severe distortion during loud passages from future claims that severe compressionis "Dolbyized" records produced in this coun- overloading of the recorder; set the level neededtocombat noiseinrecordings. try (one from Vanguard, one from None- low enough to avoid distortion during the These first two Dolbyized records demon- such), the reports seem to be justified. loudest passages, and the softest ones may strate conclusively that very soft musical Before describing just what "the Dolby" be lost in a "soup" background hiss sounds can emerge from the "soup" that is and does, I would like to make clear that from the recorder. There is a happy medi- previously enveloped them. And they prove I feel these two records represent one of the um, of course. But it is not all that happy, that the prominent background noise we mostclearlyaudiblebreakthroughsin particularly for recording engineers, whose have heard for the past few years is not sound quality in many years. That is not original taping of a performance is only from record surfaces-not, at least, when the kind of statement I thought I would be the beginning of a chlin of processing the surfaces have been made of good vinyl. making when given these recordings to techniques that eventually produce the fin- Certain record companies, then, are also evaluate, but the more I have listened to ished record. going to find it hard from now on to claim them, the more I have become convinced Most of the anti -noise devices so far in- that records must be cut "loud" to over- that the new Dolby system will become a vented rely on the techniques of volume come surface noise. sine qua non for recordings of serious mu- compression and expansion. That is, they sical material-until some entirely new re- compress the dynamic range of material UNTIL the Dolby system arrived, most cording medium arrives. duringrecordingortransmissionand, devices that attempted to reduce noise by The Dolby A-301 Audio Noise Reduc- hopefully, expand itto the same degree compression -expansion techniques did so, tion Systemisasimple -looking"black afterward for final listening. But all such in effect, by lowering the level of the loud box" (engineering jargon for any gadget devices until now have had severe limita- passages and then raising the overall aver- that has no controls to tinker with) de- tions, and many record companies and ra- age volume level. Alternatively, the vol- signed for connection to the inputs of a dio stations have settled simply for com- ume level of the softer passages could be tape recorder during recording and the out- pression-that is, for limiting the final dy- raised. The result of the compression is puts during playback. The invention of namic range of recorded material to the the same in either case: the loud passages Ray M. Dolby, an American audio engi- point where the loudest sounds aren't par- are just as loud as before, but the soft neer now living in England, it is designed ticularly loud or the softest ones particu- passages are perhaps 10 db louder than to combat not only the high -frequency tape larly soft. In some cases, particularly be- before. When the process is reversed (ex- hiss added to any original signal during fore the arrival of hi-fi equipment, the use pansion) and the lower -level passages are tape recording, but also many other kinds of compression has been accompanied by a cut back 10 db to restore the original dy- ofbackgrounddisturbances(including disclaimer that no one really wants, or namic range, then the assorted low-level print -through echo, crosstalk, and scrape could tolerate, anything approaching the noises are also cut back by 10 db, thus noise)that inevitably appear during the full natural dynamic range of music in a achieving a 10-db improvement in the sig- tape-recording process. living room. Whatever the merits of that nal-to-noise ratio. At least three problems

76 HIFI/STEREO REVIEW arise with this technique: (1) it is difficult Although the advantages of the Dolby quency performance gets closer to the ideal toreconstitutetheoriginalloud -to -soft system are major ones to a record company, of duplication of "live" sound. For those balance when large amounts of compres- they might not seem to be so critical to a who own perfectionist speaker systems, the sion are employed; (2) itis also difficult listener. Records, after all, are pretty' quiet absence of hiss on these records in itself to restore the waveform of high-level sig- these day's. Can you hear a 10 or 15 db re- may be a revelation. nals once they have been compressed; and duction in noise? Yes, you can, and the Finally, itis worth emphasizing that the (3) there is the problem of peculiar vol- results arefar more dramatic than you Dolby system appears to add no distortion ume changes in background noise and low- would guess. The outstanding characteris- of its own worthy of the name. No spuri- level signals. The last occurs because the tic both of Vanguard's and Nonesuch's ous effects of any kind appear to be added. compressor affects the entire range of fre- first Dolbyized records is clarity-to an al- Aside from Mr. Dolby's thoroughgoing en- quencies, although it may be responding to most incredible degree. It is not simply the gineering, this seems to be a function of only one segment of frequencies. absence of tape hiss or other noises dur- the system's doctoring of only the lowest The new Dolby system does nothing at ing a quiet passage heard in a quiet room, signal levels. all to loud signals. Instead, working in four but the absence of all sorts of effects, in- separate segments of the frequency range, audible or unidentifiableinthemselves, SOME record companies may not rush it begins by boosting the level of all signals that add a slight haze to the reproduction right out to buy Dolby's "black box." It below a certain strength just before they ofmusicalinstruments. The effectsof costs two thousand dollars and has no con- are recorded. Then, during playback, it cuts print -through, crosstalk, and other kinds of trols for a virtuoso engineer to manipulate. these boosted signal areas back to their middle- or low -frequency' noise are unques- But until someone develops an entirely new original level, and, in the process, reduces tionably subtle individually or in combina- recording medium, by way of the computer, to the same degree any noise that has been tion, but there is nothing subtle about their the laser beam, or levitation, the Dolby added to the signal during the recording absence. system can and should help establish a new process. In listening to these records and attempt- standard of excellence for recorded sound. ing to come up with a persuasive descrip- I think it will take you no more than five Tots "backward" process has been at- tion of their gain in clarity, I kept thinking minutes of listening to either of these two tempted before, but the Dolby system suc- of the difference between the usual televi- records to decide that for yourself. ceeds where previous gadgets have not, sion picture in a home and that of a per- Fortunately, the musical qualities of both and for two reasons.First, by handling fectly, adjusted monitor set in a TV studio. recordings enhance the possibility of their four separate frequency bands, it takes care If you have had a chance to observe that getting the wide notice that the new proc- of all forms of added noise. If it covered difference, or have seen one of the higher - essdeserves. Vanguard's L'Histoire du only one area, or handled the entire fre- definition television systems used abroad, Soldat, facing the sole competition of a su- quency range at once, a signal loud enough you will have a good notion of the order of perb performance on Philips (with Jean to override the circuitry in recording-and clarity in question. Cocteau and Peter Ustinov in speaking loud enough to "mask" any noise inits Aside from clarity-and it's pretty hard roles and Igor Markevitch conducting), segment of the frequency range-would to step aside for long-there is also a defi- holds its own very well. Stokowski's direc- not mask noise added in other areas of the nite decrease in the amount of distortion tionisbroader thanMarkevitch's,but frequency range. Second, and more impor- perceptibleinloud passages. Thisisa equally effective and idiomatic on its own tant, the Dolby system works because its function of the engineer's ability, with the terms, and the musicians, perhaps delighted operationisperfectly symmetrical inits Dolby, to set peak recording levels a bit by their first hearing of a bit of the master boosting and cutting of signalstrength. lower without having to worry about noise tape, play superbly. The speaking roles are This perfection is due both to superb basic in quiet passages. And itis highly notice- notasincisivelyperformedas on the design and to the use of semiconductors- able in the undistorted burr of the trom- Philips recording, but they are properly more than one hundred transistors and di- bone in Vanguard's L'Histoire dr Soldai sardonic, and the unusual tactic of present- odes in wide -band, low -distortion circuits and the unfuzzed fortissimo of the piano ingbothFrench and Englishversions that do not change in any parameter of on the Nonesuch recording. should forestall the usual argument over performance from one moment, or one As for tape hiss as such, for all practical original language vs. month,tothe next. Thislastfactoris purposesitsimply isn'tthere.Lateat The Nonesuch recording of Rachmani- what makes the Dolby more than an inter- night,inaquiet room,atalistening noff's seldom -heard Cello Sonata has no re- esting experimental gadget. It means that level louder than my neighbors will freely corded competition, and both Harvey Sha- a tape can be stored for months or years be- tolerate, I couldn't hear the slightest sound piro and Earl Wild are well up to the tween the two halves (input and output) of hiss until I came within a foot or two of demands of this large-scale work. In the of the Dolby's operational cycle, and that a loudspeaker. In a direct comparison with Kodily, my musical preference is for the all tapes and recorders using the Dolby the best record I know of, derived from a earlier collaboration of Starker and Herz system are completely interchangeable. In 30-ips master tape recording on half -inch on a Period record, but the margin in per- theprocess,itassuresthattheprint - tape, instead of the usual 15-ips recording formance is small enough for the far better through noise that often accumulates dur- on quarter -inch, the difference in favor of sound on the new recording to be virtually ing the storage of tape will be wiped out the new records was very' audible. And all-important. when the tape is put through the second after several hours of listening and cross- (or playback) half of the cycle. checking, I became convinced that virtual- C) C) RACHMANINOFF:Sonata in C As far as the recording industry is con- ly all of the ''material noise" that 1-andMinor for Cello and Piano, Op. 19. cerned, the big advantages of the system you-have been hearing from recent discs KODALY:Sonata for Cello and Piano, are, first, the tremendous basic gain in sig- is actually the result of tape hiss in the Op. 4. Haney Shapiro (cello) ; Earl Wild nal-to-noise ratio (10 to 15 db, depending master recording. (This is not to say that (piano). NONESUCH H 71155 $2.50, H on the frequency range) and, second, the there can't be a bad pressing made from a 1155 $2.50. ability to re-record ("dub") tapes for proc- Dolbyized master tape.) essing with virtually no discernible increase C) STRAVINSKY:L'Histoire du Sol- in noise from copy to copy. Along with THE absence of tape hiss is not nearly as dat.Madeleine Milhaud, Narrator; Jean- several other things,thissecondfactor important for most listeners as the question Pierre Aumont, the Soldier; Martial Sing - means that a record company in one coun- of overall clarity. But it does become im- her, the Devil. Gerald Tarack (violin) ; try can buy a dubbing from another com- portant to those who own very -wide -range Charles Russo (clarinet) ; Theodore Weis pany and country with assurance that it is loudspeakers. Contrary to the effect of sur- (trumpet) ;Julius Levine (double bass) ; as good as the original recording. That has face noise, which tends to be less obtrusive Lorin Glickman (bassoon) ; John Swallow almost never been the case until now. The when heard over speakers with a smooth (trombone) ;Raymond Desroches(per- few re-releases that have sounded as good high -frequencyresponse,tapehiss(lo- cussion) ; Leopold Stokowski cond. VAN- as the original with respect to noise have catedina somewhat higherfrequency GUARD VSD 71165/66 two discs $5.79, always involved actual borrowing of the area than surface noise and to a much VRS 1165/66 $5.79. (Available only as a originalmastertape-understandably'a stronger and steadier extent) can become setwith both French and English ver- rare arrangement in the recording industry. more objectionable as a speaker's high -fre- sions).

JULY 1967 77 From the House of the Dead, JaniZek's last Leone Paci (baritone), Silvio. Orchestra and opera(1928, posthumously producedin Chorus of Teatro alla Scala, Milan, Franco 1930), is based on Dostoyevsky's novel The Ghione cond. Italian Songs. Di Capua: Diary from the House of the Dead. The 0 sole mio. De Curtis: Non ti scordar di composer himself supplied the libretto, a me; Senza nisciuno. Gibilaro: Madrigale terse condensation of the sprawling, partly villereccio. Di Veroli: Ritorna amore. Sil- autobiographicalnovel.The operadeals veri: Senza te. Beniamino Gigli with or- with human suffering; it depicts life inside chestra accompaniment.SERAPHIMIB 6009 a prison camp in Tsarist Siberia toward the two discs $5.98. end of the last century. Its pitiable characters, forlorn and forgotten, live in degradation, Performance: A classic nursing old hatreds, playing pathetic games, Recording: Still serviceable clinging to vain hopes. A phrase written on This is a 1934 recording, and in terms of the title page of the score in JaniZek's own sonics it can hardly be called a faithful repre- handwriting displays the opera's theme: "In sentation of Leoncavallo's opera. And yet, by marten every creature there is a spark of God!" the performance is so vital that within min- And, though the characters inthisstark utes it transports the listener into a world of drama reveal few redeeming human quali- musico-dramatic truth where theluxuries ties, Janacek succeeds in creating compassion of stereo become dispensable. Ghione's pro- for them through his eloquent and emo- pulsive pacing ensures excitement through- tionally powerful musical setting. out. At the head of the first-rate cast is Benia- However, I am not prepared to accept the confident assertion found in the album's an- notations, that Janacek created "an entirely new opera form-a collective drama."It would be more accurate to saythat this panoramic work, in which there are no individual protagonists,defiesoperatic con- THISNEWEST MEMBER OF THE FIRST ventions and manages to succeed-up to a FAMILY OF TAPE RECORDERS BRINGS YOU point. Our attention is undeniably held by FULL PROFESSIONAL PERFORMANCE AND the intensity of the music, and the elements LINER' ENGINEERING AT A MODEST added inatheatrical performance would COST. NOW EVERYONE CAN ENJOY make the attraction even more pronounced, UHER. SUPERIORITY, WITH ITS but the lack of real action, the reliance on ABILITY TO PRODUCE FLAWLESS STUDIO long and static narratives, and the fragmen- QUALITY RECORDINGS. tary nature of the libretto limit the work's SOLID-STATE 2 -SPEED MONAURAL AND dramatic effectiveness. STEREO; AUTOMATIC END -OF -REELSHUT- JaniZek's vocal writing derives from the OFF; 2 ILLUMINATED VU METERS; 4 DIGIT Moussorgskian semi -recitativelyricalpa, INDEX COUNTER; PAUSE CONTROL; TUNER, with speech -like declamations PHONO, AND MICROPHONEINPUTS;7" REEL CAPACITY; 40-18000 CPS FREQUENCY with a complete naturalness born of the com- RESPONSE. IN WALNUT ENCLOSURE. 2 AC- poser's lifelong preoccupation with speech - CESSORY CABLES INCLUDED. patterns and their pertinence in music. His orchestral palette is sonorous, rich in per- WHERE THE NEEDIS FOR A COMPLETE PORTABLE TAPE RECORDER, THE UNSUR- cussion effects, and elaborate inits string PASSED writing. There is a Slavic trait in his mu- BENIAMINO GICLI sic, but it is a long way from the rollicking The very essence of Pagliacci EaROYAL STEREO 8000 melodies of Smetana and Dvoiik. There is ISTHE FINAL ANSWER. FEATURES NOR- nothing startling in JaniZek's harmonic idi- mino Gigli. His Canio is the very essence MALLY FOUNDONLY IN FULL STUDIO om, and yet his is daring and "contempo- EQUIPMENT MAKE THE8000THE ONE of the tragic clown, deeply felt, projected rary" music-with an expressive, rugged with utter conviction, and vocalized with an TRULY OUTSTANDING PORTABLE STEREO decided TAPE RECORDER IN THE ENTIRE FIELD. power and individuality-which eloquence and consistent tonal beauty that towers over the effete and characterless out- have remained unsurpassed by his successors AND, FOR THE EQUIVALENT SOPHISTICA- pourings from the temples of modernism. TIONIN A TAPE DECK, MASTERS OF RE- to the role. (The list, by the way, includes From the House of the Dead is worth just about everybody.) CORDING HAVE PROCLAIMED THE hearing and, I think, would make a powerful UHEle 9000 UNEQUALED. But the excellence is not limited to Gigli. impression on stage. The present perfor- Surely none of the stereo versions offers a FOR DETAILED INFORMATION ON THESE mance utilizes the leading singers of the Nedda to compare with Iva Pacetti, whose FINEST OF ALL RECORDING INSTRUMENTS, Prague National Opera and, while no out- SEE YOUR UHER. DEALER, OR USE voice of true dramatic qualities is under firm standing individual achievement is discern- control, with passion and intensity to spare. THE COUPON TO OBTAIN LITERATURE GIV- ible,thecollectiveeffortismarked by ING DETAILED DESCRIPTION. Basiola's voice lacks sensuous beauty, but it SOLE V.S. IMPORTIES strength and authenticity. Even more im- is a vibrant instrument with a firm top, and pressive is the orchestral execution of this Paci's smooth, lyrical Silvio is another asset. extremely demanding score. Stereoeffects Only the veteran Giuseppe Nessi seems to ELECTRONICSmarten have not been employed with great imagi- have been overmatched by his assignment. nation, but the overall sound is sharp and Of the six Italian songs on side four, three 2339 SOUTH COTN ER AVENUE. clear. Text and translation are supplied. G. J. were recordednearly twentyyearsafter LOS ANGELES, CALIFORNIA 90064 NEW YORK 1199 BROADWAY Pagliacci (1952-1953), but Gigli was still CHICAGO: 5445 NO LINCOLN KODALY: Sonata for Cello and Piano, going very, very strong. The musical interest Op. 4 (see page 76) on side four is not too high, though Iper- MARTEL ELECTRONICS, hie. HSR 7 sonally think that Gigli's singing of Non ti 2339 So. Cotner Ave., LEBEGUE: Magnificat No. I(see COU- scordar di me is alone worth the price of this Los Angeles, Calif., 90064. PERIN) reissue. This being the case, Pagliacci, thrown Please send me at once literatureon the entire in as a bonus, makes this set the bargain of Martel product line. RECORDING OF SPECIAL MERIT the year. G. J. LEONCAVALLO: IPagliacci. Beni - amino Gigli (tenor), Canio; Iva Pacetti (so- RECORDING OF SPECIAL MERIT Zip prano), Nedda; Mario Basiola (baritone), C) C) MAHLER: Symphony No. 2, in C Tonio; Guiseppe Nessi(tenor). Beppe; Minor ("Resurrection"). Heather Harper CIRCLE NO. 41 airs KKKKKK betty ov.,e CARD 78 HIFI/STEREO REVIEW (soprano) ;Helen Watts (contralto) ; Lon- These collections of Mozart string quartets my opinion)over -directnessofstatement don Symphony Chorus and Orchestra, Georg overlap in three of the four quartets each to the whole performance. Solt& cond. LONDON CSA 2217 two discs includes.Butthemusicalapproach each The Roth Quartet goes about its business $11.58, CMA 7217* $9.58. group takes is so markedly different that, quite differently.The range from loud to soft even without the side -by -side comparison is far wider, and the string sound is richer, Performance: High -voltage that this reviewing opportunity offers, the more blended-with resultant loss of sharply Recording: Doesn't miss a thing differences woulc be unmistakable atjust profiled figurational detail. Altogether, the Stereo Quality: Surpassingly vivid about any distance. playing is more traditionally expressive and Just as with Georg Solti's readings ofTris- Even at that, there is a paradox involved. romantic. tan and Isolde and Gatterdammerung, Ido For each ensemble,inits way, could lay The paradox to which I have referred be- not feel that the totality of his performance claim to approaching the Mozart manner comes obvious. An "old-fashioned" view of of Mahler's "Resurrection" Symphony here is with a more "modern" view. The Fine Arts Mozart's works as exquisitelycomposed the ultimate statement of the music. All these Quartet stresses a cleanly articulated, more "pretty" music emerges rather more from the London -label recordings are in aclass by classicallyclassicalreading of the music. Fine Arts performance; yet the playing itself themselves for sonic excitement and for de- Dynamic variation is rather on the narrow iscrisply "modern" in approach. On the tailed exposure of the musical texture; yet, side; attacks tend to be sharp and precise, other hand, a "modern" view of Mozart- inthe case of the -Resurrection," Bruno even a little abrasive; the figurational detail that the music's expressivity cuts far deeper Walter, Otto Klemperer, and Leonard Bern- is super -clean in articu!ative impulse (if not thanitsbrilliantfacade makes evident- stein each bring something to the work that always in result); and there is a certain (in (Continuedon page 82) I don't find in Solti's interpretation-call it heart, if you will. But there are marvelous moments here, as New Releases! well as spectacular sonics.Idon't ever expect to hear such a harrowing statement of VANGUARD the closing pages of the first movement as RECORDS Solti achieves. I also like his light and easy is proud to announce way withthesecond -movementLill dier. the Helen Watts sings theUrlichtmovement GRAND PRIX with a sweet simplicity thatis most con- INTERNATIONAL vincing, thoughIwould have liked more passion in the"Glaube, mein Herz"episode DU DISQUE - 1967 of the finale; the chorus sings beautifully, JOHN HAMMOND and for once virtually every word of the text has been awarded to LEOPOLD STOKOWSKI MIRRORS is intelligible. As for the London Symphony VRS-9245 & VSD-79245 players, they cover themselves with glory. CONDUCTS Solti holds a tight rein on every aspect of ..Hammond has captured Mozart the tension, rhythmic drive the performance-pacing, dynamics, internal SERENADE FOR 13 and emotional anguish of the balances and lines-and London's fabulous deep blues ... impressive ..." WIND INSTRUMENTS -Robert Shelton, recording gives us virtually an X-ray view IN B FLAT, K. 361 The New York Times of what he is doing with the immense and Wind Players of the Ameri- complex score. The use of stereo, in both can Symphony Orchestra; and assistingartists Amer, breadth and depth, is singularly impressive, A SONATARECITAL Fricker, Lewis, and Howland. particularly the contrast of distance and prox- by VRS-1138&VSD-71158 imity that Mahler calls for in certain epi- Joseph SZIGETI "The playing is ravishing sodes of the apocalyptic finale. (violin) from top to bottom...breath- If this is not the most eloquent of record- & Bela BARTOK takingly beautiful...It is just possible...that American mu- ings of the Mahler -Resurrection,"itis (piano) sicians have achieved the surely the most exciting. D. H. Beethoven: Sonata in A ma- highest standard of wind jor, Op. 47, "Kreutzer" playing ever reached any- JIM KWESKIN Debussy: Sonata for Violin where. anytime." JUMP FOR JOY MAHLER:Symphony No. 3, in D Minor and Piano - HiFi/Stereo Review (see Best of the Month, page 61) Bartok: Sonata No. 2 for Vi- VRS-9243 & VSD-79243 olin and Piano; Rhapsody "... Almost impeccable mu- No. 1for Violin and Piano. sical taste, and that taste is MONTEVERDI:Vespro della Beata Ver- VRS-1130/1 demonstrated in every song 2 -disc set he takes as his own ..." gine(see Best of the Month, page 62) .[rare) evidence of the command that Bart6k had - Dave Wilson, Broadside MOZART:Overtureto"The Magic over the keyboard." -Irving Kolodin, Flute" (see page 31) Saturday Review

C)C) MOZART:Quartet No. 16, in li-flat (K. 428); Quartet No. 21, in D (K.575). FineArtsQuartet. CONCERT -DISC125:- Stravinsky $5.79, 258* $5.79. L'HISTOIRE DU SOLDAT C) C)MOZART: Quartet No. 22, in B -flat (Original version with dialogue) JACKIE WASHINGTON (K. 589); Quartet No. 23, in F (K. 590). Madeleine Milhaud.narra- FineArtsQuartet.CONCERT -DISC1259 tor; Jean-Pierre Aumont. sol- MORNING SONG 55.79, 259* $5.79. Mahler dier;MartialSingher.the VRS-9254 & VSD-79254 devil; Instrumental Ensemble. DES KNA BEN .Inthefront rank of Performances: Sharply honed WUNDERHORN 2 -disc set containing two In completeoriginalversions, urban -bredperformers. Recording: Excelient Maureen Forrester. contralto; one with English dialogue, additiontotheunstrained Stereo Quality: Good Heinz Rehfuss, baritone; Or- the other in French, both for warmth and intimacy of his chestra of the Vienna Festi- the price of one. singing style, his strength in- val, Felix Prohaska, cond. cludes a self-discipline and ®MOZART: Quartet No. 20, in D (K. VRS-1165/6 & taste." -NatHentoff, 449); Quartet No. 21, in D (K.575); VRS-1113 & VSD-2154 VSD-71163/6 HiFi/Stereo Review "The recording cannot be Quartet No. 21, in B -fiat (K. 589); Quartet praised too highly ... the ..a tremendous impression Stereo No. 23, in F (K. 590).Roth String Quartet. creamy voice of Miss Forres- of youth, freshness and sheer WORLD SERIES PHC 2-008 two discs (com- ter is a glowing instrument... vigor...takes its place among Rehfuss does his demanding the best available versions... patible stereo) $5.00. share impressively ...Pro- musically, an exemplary job haska conducts withvigor ...a Histoire of great lyricism Performance, Highly expressive and authority." and subtlety." VANGUARD Recording Good -HiFil Stereo Review -World Journal Tribune RECORDS Stereo Quo Electronically reprocessed CIRCLE NO 58 ON READER SERVICE CARD JULY1967 79 EVEREST / CETRA A HARVEST OF REISSUES for OPERA LOVERS G-telesc- Reviewed by GEORGE JELLINEK

nti41c,s1,1.1,h of die interior of lai.S1111,1,.11111111 1-1111E Cetra catalog, the storehouse of pear, are to be approached with caution. soprano at this stage, Tassinari finds the operatic riches that contributed so re - Do not look for the Soria -sponsored libret- role of Charlotte perfectly suited to her %yarding!): to the early, adventurous years of tos which once rated much praise for pre- darkening timbre, and her portrayal is ex- the LP era, has re-emerged from obscurity. cision and literary quality. Those enclosed quisite. Marcello Cortis lends firm support One is filled with gratitude in recalling the with the present sets look like reproduc- in the role of Albert. The opera is sung in achievements of this Italian company: not tions from the time that may have been a French, but with a noticeable Italian accent only did it expand our operatic knowledge golden age for everything except operatic -emotional as well as linguistic-that ex- by presenting many unfamiliar works in librettos. No effort has been made to cor- tends also to the conducting of Francesco complete form, but it introduced us for the relatethetexts withtheperformances Molinari-Pradelli.Iwelcome thisItalia- first time to the voices of Maria Callas, Fer- themselves: cuts are not indicated and, in nate passion applied to Werther's ruccio Tagliavini, Cesare Valletti, Giuseppe some instances,the singers perform one 'nose, self-pitying tale, but Gallic purists Taddei, Carlo Bergonzi, Cesare Siepi, Fran- Italian version while the booklets show an- may have reservations. Technically, this is co Corelli, and others far too numerous to other. As for the so-called English transla- a surprisingly wide -range recording, the mention. For some reason, this once dynam- tions, the less said the better. Needless to best of the lot. ic company failed to join the march to stereo say, these signs of manifest sloppiness tem- when the rush was on. Thus, after 1958, per my appreciation for Everest's effort, &TOW'SMartha (dating from 1955) the catalog began to fade, and the once but the richness and fascination of the rep- showsPiaTassinari as afull-fledged sought-after operasets eventually disap- ertoire are still there, offering a great deal mezzo who causes a bit of a problem be- peared from the market. Their return, un- of enjoyment. cause her portrayal of the secondary role of der the aegis of Everest Records, is certainly Of the eight sets covered here, the oldest Nancyovershadowsthethin -sounding news enough to warrant a re-evaluation. recording is of Mascagni's L'amico Fritz, Elena Rizzieri in the title role. Tagliavini Though the sets released so far represent conducted by the composer himself in a sings unevenly and in a rather casual style. only a portion of the erstwhile Cetra-Soria performance dating from around1942. The opera is sung in Italian, but this is no catalog, they are too numerous to be covered This istechnically a rather poor accom- detriment, since one's basic opinion of this by a single review. I have selected eight sets plishment, even allowing for its age. Bal- melodious but not consistentlyinspired for the present survey; a few others will be ances are erratic, surface noises intrude, score is not likely to be altered by the lan- reviewed individually. For the record,let and the old78 -rpmside -endings show guage. There are several cuts and the per- me say that the initial Everest/Cetra release their ghostly seams on occasion. The sing- formance is not the last word in precision. consists of the following thirty-six operas: ing,however, isoutstanding.Ferruccio The sound is acceptable for its age. Aida, La Boheme, Don Giovanni, Don Pas- Tagliavini,athis absolute best, demon- Tagliavini also appears in Boito's Me- quale,La Familia,Martha,Rigoleno, strates the liquid ease and persuasive lyri- fisiofele (1956). His singing displayssome Tosra, Mefistofele, CatalleriaRusticana, cism that made him a postwar sensation, mannerisms, but the old lyric magic is in- Pagliacri, Andrea Chenier, The Barber of and Pia Tassinari is equally irresistible as termittently evident, particularly in the aria Seville, Don Carlos, Erlich d'amore, Fal- the radiant Suzel. Saturno Meletti com- "Giunto sul pa so estremo." The two so- staff, The Daughter of the Regiment, La pletes the excellent trio of principals as the pranos are satisfactory and effectively con- lorza del destino, La Gioconda, Irilliam resonant and expertly characterized Rabbi trasted, but the real star is. appropriately, Tell, Madama Butterfly, 11 matrimonio se- (transformed into a "Dotiore" in keeping Giulio Neri in the title role. The late basso gra°, Norma, Le nozze diFigaro, La with the Nazi -Fascist times). The opera was never a subtle vocalist, but a true pro- Traviata, 11 Trovatore,Turandoi, Cu Gallo itselfislight, brimming withthe kind fundo (a rarity among Italian voices), and in maschera, L'amiro Fritz, L'Arlesiana, La of charming melodies that eluded Mas- a fierce -sounding, awesome Devil. The re- hatiaglia di Leg nano, La Cenerentola, Luisa cagni in his subsequent fifty years of oper- cording shows occasional signs of monitor- Miller, Simon Borcanegra, La Sonnambula, atic activity. Poor sound notwithstanding, ing, and the singers are favored atthe and Irerther. I suspect we shall have to wait a long time expense of the orchestra, but the overall for another recorded version, let alone for sound is fairly good. FIRST, a few general observations. The one of similar excellence. Of the three operas the incredibly facile sets are priced at 32.50 per disc, and pack- In Werther (recorded around 1953), the Donizetticompletedin 1840(allfor aged economy -style, but in a sturdy and Tagliavini-Tassinari pair isstillin good Paris), two are releasedinthe Everest serviceable fashion. All discs submitted for form, though the tenor already shows the Cetra series. La /iglia del reggimento is a review are mono pressings; the advertised forcing for volume that later proved ruin- sunny, tripping score full of catchy but not "stereo" alternates,if and when they ap- ous to his voice. No longer a light lyric particularly memorable melodies. Lina Pag-

80 HIFI/STEREO REVIEW liughi's tones reveal a touch of acid in this plagued by a libretto of considerable in- 1951recording, but her singingisstill eptitude. Musically,too,itsuffers from skillful and lively. This was one of Cesare organizational weaknesses, not the least of Valletti's first recordings, and it shows the which is the fact that the climax is reached familiar graceful artthat was somewhat in Act Two, with little of musical or dra- hampered byafragileandundersized matic interest to follow thereafter. Flawed sound. Sesto Bruscantini contributes a zesty though it may be, the opera is a master- and expertly sung Sulpizio,and Mario piece, full of unbelievable riches, choruses Rossi's leadership provides liveliness and and ensembles unmatched by Italian opera authentic style. At this time, no other re- composers of the time (1829), and inspira- cording of La isavailable, so the tions that left a deep impression on Verdi's present version may be recommended de- creative mind. Headed by the imposing spite its mediocre sound. Giuseppe Taddei in the title role, with the young Giorgio Tozzi and Fernando Corena THE Cetra set of Donizettis La Farorita in powerful support, the castis outstand- has a richer -sounding rival (London 1310), ing, and Mario Rossi's conducting is very butthesonicmargin is surprisingly impressive.Technically,therecording smallsincethe two versions are about (1952) is barely adequate, but when will equally old (1956). While members of the we ever get another chance to hear this Cetra cast set no high marks for be! canto bountiful opera on records? excellence, they contribute to a very strong La battaglia di Legnano was one of the performance under Angelo Questa's sym- recorded by-products of the Verdi anni- LONDON RECORDS SALUTES pathetic baton. Fedora Barbieri's Leonora versary year of 1951. Written in 1849, be- isa vital and passionate characterization, tween Macbeth and Luisa Miller, the opera L'ORCHESTRE DE LA SUISSE and the strength of her projection compen- is of mainly historical interest-an exam- ROMANDE AND ITS sates for occasional tonal impurities. Gian- ple of Verdi's creative art operating at the niRaimondi'ssingingisanything but white heat of patriotism. The story may DISTINGUISHED CONDUCTOR suave, and yetitoffers a firm, youthful have dealt with the Italian resistance to the sound that is more pleasing than that of invading Teutons of the thirteenth century, London's Gianni Poggi. Carlo Tagliabue, but Verdi left no doubts about (nor did his no longer commanding the tonal richness audience miss) the true meaning of those of old, is impressively artistic as Alfonso, fieryexhortationsagainstthestranieri. ERNEST and the doomsday sonority of Giulio Neri There is a love story, of course, but itis brings rare power to his scenes as the en- secondary to the national struggle. The per- raged Prior. formanceisunsubtle,uninhibited,and Rossini's William Tell is a long opera, sizzling-like the work itself. ANSERMET

ON THE OCCASION OF C)BOITO:Mefistofele.GiulioNeri C) MASCAGNI: L'amico Fritz. Ferruc- (bass), Mefistofele; Ferruccio Tagliavini cio Tagliavini (tenor), Fritz; Saturn() Me- THEIR VISIT TO EXPO '67 AND (tenor),Faust;MarcellaPobbe(so- letti(baritone), David; Pier Luigi Lati- prano), Marguerite; Ebe Ticozzi (mezzo- nucci(baritone), Hanezo; Amalia Pini LINCOLN CENTER'S FESTIVAL '67 soprano), Martha; Armando Benzi (ten- (mezzo-soprano),Beppe;PiaTassinari or), Wagner; Disma de Cecco (soprano), (soprano), Suzel. Same chorus and orches- Elena; and others. Chorus and orchestra of tra,PietroMascagnicond.EVEREST/ Outstanding recent releases: Radio-Televisione Italiana, Angelo Questa CETRA 429-2 two disc $5.00. cond. EVEREST/CETRA 409-3 three discs Stravinsky: PULCINELLA $7.50. C) MASSENET: Werther. Ferruccio Tag- Stereo OS -25978 Mono 5978 liavini (tenor), Werther; Marcello Corti Bach: CANTATAS NO. 105 QQ FLOTOW: Martha, Elena Rizzieri (so- (baritone),Albert;PiaTassinari(soprano), Lady Harriet; Ferruccio Taglia- dr 45 prano), Charlotte; Vittoria Neviani (so- Helen Watts, Tom Krause, vini(tenor),Lionel;CarloTagliabue prano), Sophie; Giuliano Ferrein (bass), (baritone), Plunkett; Pia Tassinari (mez- Agnes Giebel, Ian Partridge the Mayor; others. Same chorus and or- Stereo OS -25996 Mono 5996 zo-soprano),Nancy;BrunoCarmassi chestra, Francesco Molinari-Pradelli cond. (bass), Lord Tristan; others. Same chorus EVEREST/CETRA 436-3 three discs $7.50. Haydn: SYMPHONY NO. 22 and orchestra as above, Francesco Moli- "Philosopher") nari-Pradelli cond. EVEREST/CETRA 406-2 and SYMPHONY NO. 90 @ ROSSINI: William Tell. Giuseppe Stereo CS -6481 Mono CM -9481 two discs $5.00. Taddei(baritone), William Tell;Miti Truccato Pace (mezzo-soprano), Edwige; Ravel: DAPHNIS ET CHLOE C) DONIZETTI: La Farorita. Carlo Tag- Graziella Sciutti (soprano), Jemmy; Stereo CS -6456 Mono CM -9456 liabue(baritone), Alfonso XI; Fedora MarioFilippeschi (tenor),Arnoldo; Debussy: LA MER; KHAMMA; Barbieri(mezzo-soprano), Leonora; Lo- Plinio Clabassi (bass), Melchtal; Giorgio retta di Lelio (soprano), Inez; Gianni Rai- RHAPSODY FOR CLARINET (tenor),Fernando; Giulio Neri Tozzi(bass), Walter; Fernando Corena Stereo CS -6437 Mono CM -9437 mondi (bass),Gessler;RosannaCarteri(so- (bass), Baltasar; Mariano Caruso (tenor), Mendelssohn: Don Gasparo. Same chorus and orchestra, prano), Matilda; others. Same chorus and orchestra,Mario Rossi cond. EVEREST/ ITALIAN SYMPHONY; AngeloQuestacond. EVEREST/CETRA CETRA 420-4 four discs $10.00. HEBRIDES, RUY BLAS, 405-3 three discs $7.50. and FAIR MELUSINE OVERTURES C) DONIZETTI: La figlia del reggimen- @ VERDI: La battaglia di Legnano. Ca- Stereo CS -6436 Mono CM -9436 to. Lina Pagliughi (soprano), Maria; Ses- terina Mancini (soprano), Lida; Amedeo to Bruscantini (bass), Sulpizio; Rina Corsi Berdini (tenor), Arrigo; Rolando Panerai (mezzo-soprano), The Marchioness; Ce- (baritone), Rolando;Albino Gaggi sare Valletti (tenor), Tonio; Eraldo Coda (bass), Marcovaldo; Edmea Limberti (so- (bass), Ortensio. Same chorus and orches- prano), Imelda. Same chorus and orchestra, Mario Rossi cond. EVEREST/CETRA tra,Fernando Previtali cond. EVEREST/ ZONDON._ 417-2 two discs $5.00. CETRA 431-3 three discs $7.50. RECORDS

JULY1967 81 emerges from the Roth performance, even and the much drier "neo-classicism" of the fancy Technicolor electronic gloss that un- though the playing itselfis, speaking tech- Clarinet Concerto of 1928. Nielsen's late in- doubtedly glows in the dark. Tempos tend nically, less of our day. terest in woodwinds, stimulated by an excel- to be slow and heavy (probably a must amid It becomes, then, a matter of taste in the lent Danish wind quintet, and the rather all the recerb, but not always very apt). An broadest sense here. Writing as a musician, lean, agile, free -tonal sound of his later style annoying effect in the choral recording puts Ifind the Concert -Disc releases more pene- bring him close to certain other early twen- the men on one side, the women on the trating, more illuminating, more instructive. tieth-centurydevelopments.Thisconcerto other. On the plus side,itis a pleasure to But I must concede at the same time that I has certain affinities, for example, with Pro- hear the sound of Russians singing Russian; am, in large part, more moved by things on kofiev ; on the other hand, it also displays an also.Miss Avdeyevasingsthebeautiful the World Series release. attractiveindividuality. The outer move- Field of the Deadin a very compelling man- The recorded sound, taken comparatively, ments of the symphony show the younger ner. But mostly the music has been blown up might make the difference for some listeners Nielsen at his best, writing vigorous music out of shape. One of the charms of theNer- here. Concert -Disc's is bright, live, and un- of considerable character. The latter work's sky score is thatit has character and epic commonly clean, and the stereo treatment is main defect is that itis rather consistently qualitywithoutextrarhetoric;butthis good. World Series'is less lucid, more on over -scored.I am by no means a Nielsen souped -up version comes close to making the the rich side, and its stereo is electronically convert, but this is pleasant enough music; whole thing bombastic thud and bluster- reprocessed. 117.F. it deals with no really weighty issues, yet Eisenstein into Cecil B. DeMille. E. S. it is somehow psychologically apt. C)(@) NICOLAI :Te Den'''.Evelyn Lear Gould, the Chicago Orchestra, and the PROKOFIEV:Five Melodies, Op.35 (see (soprano), Marina Tfirke (soprano), Raili RCA Victor engineers are to be congratu- DEBUSSY) Kostia (alto), Kathleen Basler (alto), Heinz lated for the clarity they have achieved in Hoppe (tenor), Martin Vantin(tenor), RACHMANINOFF:Sonata in C Minor, Thomas Stewart(bass), Manfred Schenk for Cello and Piano(see page 76) (bass) ;BerlinSingakademie andBerlin Radio Symphony Orchestra, Mathieu Lange RAVEL:Sonata forviolinin G(see cond.DEUTSCHE GRAMMOPHON SLPM DEBUSSY) 139170 $5.79, LPM 39170* $5.79. ® ROUSSEL:Suite in F.DUTILLEUX: Performance: Firm and vigorous Symphony No. 2. Lamoureux Orchestra, Recording: Over -grand Charles Munch cond. WESTMINSTER WST StereoQuality: Resonant and too uniform 17119 $4.79, XWN 19119 $4.79. Anyone familiar withThe Merry Wives of Performance: Resplendent Windsorwill be surprised at this very grand Recording: Excellent essay inlate classicism by the same com- Stereo Quality: Very good poser. Written in Berlin in the early 1830's Henri Dutilleux (b. 1916) is a composer of (Nicolai was barely past twenty), it belongs some prominence in France, but his work, tothatlargelyforgotten phase ofearly - exceptforitsAmerican propagationby nineteenth -century European music that cor- Charles Munch, has been heard very little on responds to neo-classicism and Empire in these shores. His Second Symphony (1956), most handsomely recorded and enthusiasti- for the Berlin Singakademie, of which he was cally performed for Westminster, suggests a member (significantly the Singakademie's to one listener that, while Dutilleux is not new home was by the neo-classic architect the sort of composer who is ever likely to Schinkel, who also designed sets for Spon- gain much currency or influence with Amer- tini's popular classical -Empire extravaganzas icans, there is an extraordinarily interesting at the Opera). ThisTe Deumnot only re- creative mind at work here. flects classical tradition in a late evolution Hearing the Second Symphony the first (as transmitted by Nicolai's teacher, Zelter, MORTON GOULD time (its idiom is by no means far-out), my also Mendelssohn's master), but also the re- Clarity for Nielsen's Second Symphony feeling was that. although the piece is some- discovery of the great choral works of Bach what over -gestured,itisnonethelessur- and Handel-Nicolai breaks into fugue at recording this music. The Concerto, a far gent and intensely dramatic-even though every possible opportunity-as well as the leaner work, presents fewer problems in this itsafter-effect appeared to be more mem- operatic style of Spontini. The results are respect.I enjoyed Goodman's performance, orable for its general impact than its musi- grand, with a rather austere, empty beauty- although there are clearly a few places where cal substance. But something kept drawing like the pure and rather sterile neo-classicism he does not quite cope. All in all, Nielsen's me back to it, and its general musical sub- of much of the contemporary visualarts. scores benefit from these performances and stance grew more compelling. Particularly The performance hereis on a big scale, from a recorded sound that, though it catches from about the middle of the slow second but the dynamic levelis too restricted and a few too many of Goodman's gasps for my movement (there are three, in all)to the the tempos just a bit too much on the brisk, taste (ultra -realism, of course), also gets the end, more pronounced and compelling musi- inflexible side to permit the music to expand orchestra across in a clear but rich recorded cal shapes began to emerge from its rather to its full value. Balance and ensemble are ambiance. E. S. insistently dense polycentric texture.Itbe- excellent, and the level of the soloists is high. came apparent thatits essential variational The recording tends towards a pompous and ® PROKOFIEV:Alexander Nevsky- continuity is marked by a peculiarly arresting uniform resonance. E. S. Cantata,Op. 78. Larissa Avdeyeva (mezzo- originality.(Itstechniqueischromatic soprano) ; RSFSR Russian Chorus, Alexan- enough to at least seem to verge at moments Qs ® NIELSEN:Clarinet Concerto, Op. der Yurlov, director;U.S.S.R. Symphony on poeticallylicensedserialprocedures.) 57;Symphony No. 2, "The Four Tempera- Orchestra, Yevgeny Svetlanov cond. MELO- And it ultimately became clear, after I had ments."Benny Goodman (clarinet) ;Chi- DIYA/ANGEL SR 40010$5.79, R 40010 better grasped its overall expressive inten- cago Symphony, Morton Gould cond. RCA $4.79. tion, that its closing moments are as moody Vicroft LSC 2920 $5.79, LM2920*$4.79. Performance: Super -colossal and haunting as any I have heard in a work Performance: Orchestra excellent, Recording: Technicolor that was new to me in a very long time. Goodman good Stereo Quality: Epic scale The work has been conceived and scored Recording: Good sound for a "double" orchestra-one of them a Stereo Quality: Effective This is the remake in Cinemascope. I am not full-scale symphony orchestra, the other a familiar with the "U.S.S.R. Symphony Or- twelve -instrument chamber affair that, in live Over a quarter of a century separates these chestra," but Isuspect thatitis simply the performance,isseatedsemi -circularlyin two works, and each shows a different as- Moscow radio orchestra; the chorus is prob- front of the big band. Even in stereophonic pect of Nielsen: his origins in the sound, ably also the radio chorus. The singing is recording, I get no strong impression from solid,big -orchestralate-Romanticism-the hearty, the playing vigorous but not very the device, soIrather assume that it's one Second Symphony was completed in 1902- refined. The whole is polished up with a of those ideas composers get that are more 82 HIFI/ STEREO REVIEW interesting to read about than to experience on ones enjoyment, particularly if one knows These aurally. Dietrich Fischer-Dieskau's fine achievement Altogether, it's a curious work-one that in both cycles. For those who prefer the tenor I've still not made definitive decisions about. voice in Dichteiliebe, Fritz Wunderlich's re- fine stores ButIquite heartily recommend itto the cording (DGG 139125) presents a more at- more adventurous of my readers. Dutilleux tractive alternate. G. I. carry apart, Munch's vivid performance of Rous- sel's craggy, sharp-tongued and utterly won- C) C) SHOSTAKOVICH: Katerina Ismai- Mace Classics. derful Suite in F is worth the price of the lora. Eleonora Andreyeva (soprano), Ka- terina; Eduard Bulavin(baritone),Boris ARIZONA record alone. SAND'S RECORD -Phoenix By an error in disc labeling, Westminster Timofeyevich; Vyacheslav Radzievsky (ten- HILLS RECORD -Tempe has credited the larger part of the Dutilleux or), Zinovy Borisovich; Gennady Yefimov CALIFORNIA CAL RECORDS -Oakland to Roussel, but the company has provided (tenor), Sergei; Nina Isakova(mezzo-so- CAMPJS MUSIC -Berkeley flashy recorded sound and what would ap- prano),Sonyetka; Yevgeny Maksimenko CHILDRENS MUSIC -Los Angeles FESTIVAL -Los Angeles pear to be effective stereo treatment.Ir. F. (bass), Priest; others. Chorus and Orches- MR. EL FOR MUSIC -Palos Verdes traoftheStanislaysky/Nemirovich-Dan- RECORD CITY -Berkeley SEA OF RECORDS -San Francisco RECORDING OF SPECIAL MERIT chenko Theater, Moscow, Gennady Prova- TECTPON RECORDS -Los Angeles torov cond. MELODIYA/ANGEL SRCL 4100 THEME -San Diego SCHUBERT: Octet, in L -fiat(D. TOWN & COUNTRY MUSIC -Palo Alto (§) three discs $17.37, RCL 4100 $14.37. COLORADO 803).Jacques Lancelot (clarinet) ;Gilbert MUSI' FOR ALL- Denver Performance: Uneven Coursier(Frenchhorn) ;PaulHongne DISTRICT OF COLUMBIA Recording: Good DISC SHOP -Washington (bassoon) ;Gaston Logerot (string bass) ; DISCOUNT RECORD -Washington Pascal String Quartet. MONITOR MCS 2110 Stereo Quality: Good GLEN MUSIC -Washington LEARSIONT BK. & RECORD -Washington $2.50, MC 2110° $2.50. Itis doubtful that Shostakovich has ever RECORD CITY -Washington fully recovered from the journalistic castiga- MUSIC TIME -Washington Performance: Delightful FLORIDA Recording: good tion and political dishonor that followed the SPA'S. RECORD -Coral Gables 1934 premiere of this opera, then known ILLINOIS Stereo Quality: Excellent K.O. ASHER-Chicago under the title of Lady Macbeth of Mzensk. LOWES RECORDS -Chicago Schubert's Octet stands as a halfway mark To what extent the experience has prevented PROFIT VENDERS -Chicago ROSE RECORD -Chicago between the classic divertimento and the Ro- the composer from fully realizing his enor- ROSE RECORD -Madison mantic nineteenth-century approach to the mous promise will remain a mystery, but at E. J. (ORVETTE-Rockford serenade. Since the Octet was written for a LOUISIANA least Shostakovich has the satisfaction of SHOPPERS WORLD -New Orleans clarinetist patron, that instrument has a lead- knowing that both he and his opera have MARYLAND ingrole,especiallyinthelovely second outlasted the censors. GENERAL RADIO -Baltimore E. J. KORVETTE-Baltimore movement. The prevailing mood is carefree, Shostakovich's descriptive gifts have al- RECORD TAPE & SALES except for two startling outbursts at the be- ways been extraordinary, and Katerina Is- RECORD & TAPE COLLECTOR MICHIGAN ginning andin the middle of the finale. mailota is best in its atmospheric episodes. E. J. KORVETTE-Detroit Schubert's "heavenly length" is also a char- Some of these are ironic in nature, and the MINNESOTA andindeedthe LATHER Minneapolis acteristicoftheOctet, composer displays true mastery in his mock- SCHMITT MUSIC -Minneapolis length can become quite earthbound if the ing and impudent musical underlining of the MISSOURI performance is anything less than first-rate foibles of Tsarist bureaucracy. There is also a E. J. KORVETTE-St. Louis E. J. KORVETTE-Sunset Hills in technical finesse and natural flow. The brilliant opening scene in Act Four, in which NEW JERSEY Monitor recording has both in the most am- the hopelessness of a Siberian convict camp SAM GOODY -Paramus KLEIN'S Newark ple measure, being wonderfully unfussy and is powerfully depicted, and the affecting bass NEW YORK yet richly expressive in phrasing,vitalin solo (excellently sung by Georgy Dudarev) SAM GOODY -All greater N.Y. area stores E. J. KORVETTE-All greater N.Y. a -ea stores rhythmic thrust, and beautifully recorded in against the chorus of convicts creates an at- KLEIN'S-Flushing terms of a true Hausmuilk sound. mosphereofMoussorgsky-likegrandeur. G. SCHIRMER-New York City DOUBLEDAY-New York City I enjoyed this disc thoroughly from begin- Other Moussorgsky-inspired sections are less RECORD HUNTER -New York City ning to end, asIhave all the Monitor re- felicitous, such as the finale of Act Two (re- ALEXANDER'S -Bronx LIN)EN RECORDS -Brooklyn cordings featuringtheParis -basedPascal calling the Varlaam episode in Boris) where CHAMBERS -New York City Quartet. This ensemble recorded a notable Shostakovich's handling of the scene is too CHESTERFIELD -New York City DAYTON'S RECORDS -New York City Beethoven -Mozart chamber series for the now riotous and overlong. While the level of in- KING KAROL-New York City defunct Concert Hall Society label during spiration is certainly not consistent, and sev- RECORD & TAPE SALES -New York City VISCOUNT RECORD SHOP -New York City the pre -stereo era, and it seems the feat is in eral scenes suffer from awkwardness, pad- MELODY RECORD SUPPLY -Melville the process of being repeated for Monitor in ding, or bombast, the vocal writing manages POF TER ELECTRIC -Buffalo NORTH CAROLINA terms of the Schubert -Mozart repertoire. If to he continuously effective. KEN AN & ASSOC.-Durham the present high level of recorded perfor- About the bookIhave mixed feelings. RECORD BAR -Chapel Hill mance is maintained, the more records the The basic story of Katerina, a passionate and OHIO ALL LABEL RECORD SERVICE -Cleveland better. D. H. frustrated woman who is propelled by an un- MOOERN RECORD SERVICE -Cleveland happy environment into multiple murders, is RECORD SOURCE -INTERNATIONAL -Cincinnati OREGON (i) Q SCHUBERT: Winterreise (Op. 89, strong operatic stuff, but there are several MUSIC ON RECORDS -Portland D. 911). SCHUMANN: Dichterliebe, Op. primitive and implausible scenes and a few FRANK MEIER-Portland PENNSYLVANIA 48. Peter Pears (tenor), Benjamin Britten lines which, when heard in English (as they PENN RECORDS -Philadelphia (piano). LONDON OSA 1261two discs were when the opera was produced by the RECORD MART -Philadelphia TEXAS $11.58, A -1261 $9.58. New York City Opera Company), are guar- MELODY SHOP #1 -Dallas anteed to produce unintended mirth. SAW ANTONIO MUSIC -San Antonio Performance: Good, but . The performance labors under the burden HOME ENTERTAINMENT -Houston Recording: Good VIRGINIA of an inadequate Katerina, for Miss Andre- Stereo Quality: Suitable GIANT MUSIC -Falls Church yeva's shrill voice deprives the character of PATS ONE STOP -Richmond CANADA If these were the only available versions of itsessentially plaintive undertone,tosay INTERNATIONAL MUSIC STORE -Montreal the song cycles, they would merit grateful nothing of its having, a vibrato wide enough SAM THE RECORD MAN -Toronto A a A BOOKS AND RECORDS -Toronto thanks and joyful listening. Pears, never a to let a drochki through. Some of the vocal- SHERMONS MUSIC ENTERPRISES -Ottawa sensuous -toned singer, is an interesting song ists are acceptable or better: Bulavin is color- GLENNS MUSIC -Vancouver interpreter, still capable of expressive pianis- ful and powerful as Katerina's father-in-law simo singing and subtle shifts of vocal color, whose passion for mushrooms turns out to be Ext-aragant Music For The Parsimonious and he is an astute judge of dynamics. Brit- fatal;Yefimovcharacterizestheopportu- ten is a perfectly congenial partner, working nistic lover plausibly, though he has a ten- with the tenor in absolute harmony of phras- dency to push his voice; and Isakova is a MACE Records ing and accents. But the signs of vocal strain lively and appropriately vulgar Sonyetka. are often evident, and audible effort intrudes (Continued on next page) 25.1 W.51th St.. N:o,- v.V.10019 CIRCLE NO. 34 ON READER SERVICE CARD JULY 1967 83 Characterizations are never a problem with concerto recordings. The interest of these Harnoncourt cond. TELFFUNKFN SAWT Russian singers, once our ears get adjusted discsis,ofcourse,pianist -watching, and 9484/85 two discs $11.58, AWT 9484/85* to their timbres and tone production. these are obviously two talented young men $11.58. The chorus and orchestra arefirst-rate, who probably ought to be spending their and so is the recorded sound, except for oc- time on more worthwhile projects than rush- Performance Extremely impressive casional distortion in choral passages. The ing into premature recordings of the Tchai- Recording Superior stereo may not be top -grade Western level, kovsky Concerto. I find the Russian disc so Stereo Quality Excellent but it is getting there. The Melodiya-Angel heavy and hazy that itis difficult for me to This unusual oratorio, The Day of Judg- association augurs well for the future. Has get through to any genuine assessment of ment, is being released to commemorate the anyone ever contemplatedaculturalex- Sokolov'stalents.Thepiecesoundsas two -hundredth anniversary of Telemann's change program wherein good Italian vocal though it were being performed in St. Basil's death, and ifit does not entirely disprove coaches could be sent to Russia in exchange Cathedral, but with lots of mikes (you can the fact that the composer was at times an for Russian violin teachers? G. I. hear the flute player breathe in the second- uneven creator,itat least provides another movement solo); the general approach is example of this musician's often startling STRAVINSKY: L'Histoire du SoMai (see portentous. Within this, Sokolov seems to musical imagination. page 76) muster alotofvirtuosity andacertain The piece is made up of an overture and amount of drive and excitement. On the jack- four **contemplations," with such allegorical C) C) STRAVINSKY: Pulcinella-Ballet et blurb, Gilds is quoted as crediting the characters as Disbelief, Reason, The Mocker, with Song (1920, rev. 1949). Marilyn Tyler young pianist with qualities of "lightness, Religion, Devotion, Faith, as well as Jesus, (soprano) ;Carlo Franzini (tenor) ;Boris freshness and youth"; I don't hear the first, St.John,theArchangel,theHeavenly Carmelli (bass) ;L'Orchestre de la Suisse and thelast two come through mainly in Choirs, and the Chorus of Vices. Some of Romande, Ernest Ansermet cond. LONDON the musical scene -paintingis undoubtedly OS 25978 85.79, A 5978 $4.79. naive, some of the effects(including the Performance: Spirited, elegant scoring) are so colorful thatIfind myself Recording: Fine quite fond of certain sections. The Third Stereo Quality: Good Contemplation, for example, is certainly one of the highlights, for this scene portrays the Hard on the heels of Stravinsky's own new actual Last Judgment. The valveless Natur- recording of his delightful commedia dell' horn (all the instruments are from the ante stage piece comes one by Ernest Anser- period or reproductions) represents thelast met. And as with their previous parallel ver- trumpet, and rather awesomely too. sions of the same repertoire,Stravinsky's The performance from every standpoint, reading has thrust, wit, and bite, while An- including stylistic requirements,is sermet prefers to emphasize the lyrical and superb. The vocal soloists are for the most partex- poetic elements of the music. Stravinsky cellent, the instrumental playing equallyso, brings excitement to his Pultinella; Anser- and the conducting quite authoritative. This, met brings elegance and color to his. then, is an album for the Baroque enthusiast The soloists in both recordings stand about interested in the slightly unusual; it is nota on a par with one another-none being of work that will appeal to every listener, but truly outstanding caliber, though Ansermet's it does have many rewards. An extensive seem to achieve a better blend in the ensemble booklet containing notes and texts in both episodes. Both recordings are of equal excel- German and English is included. I. K. lence, with London having a very slight edge in the matter of tonal warmth. D. H. YSAYE: Sonata in D Minor, Op.27, No. 3 (see DEBUSSY) C) C) TCHAIKOVSKY: Piano Concerto No. 1, in B -flat Minor, Op. 23. Grigory Sokolov (piano), USSR Symphony Orches- MISHA DICHTER AND ERICH LEINSDORF COLLECTIONS tra, Neimye Yarvy cond. MELODIYA/ANGEL Tchaikovsky with elegance and style C) C) BATTLE MUSIC. Biber: Battalia. SR 40016 $5.79, R 40016* $4.79. terms of impetuosity and a kind of massive Dandrieu:LesCaracteres delaGuerre (Suite de Symphonies). Mozart: Contre- (:) TCHAIKOVSKY: Piano Concerto overwhelm -the -piano sound. Leinsdorf and Dichter, like their Russia* tanz, "Der Sieg von: Heiden Koburg" (K. No. 1,in B -flat Minor, Op. 23. Misha 587). Neubauer: Sinfonie, op. it Dichter (piano), Boston Symphony Orches- confreres (and almost everybody else), take ("La the introduction twice too fast, but otherwise Bataille"). Angelicum Orchestra of Milan, tra, Erich Leinsdorf cond. RCA VICTOR LSC Newell Jenkins cond. NONESUCH H 71146 2954 $5.79, LM 2954* $4.79. their playing is much more refined. Dichter turns in some really elegant playing in the $2.50, H 1146 $2.50. Performance Both prodigious second and third movements and these pas- Performance: Full of gusto Recording: Russia, no; America, si sages, full of character and style, easily pro- Recording: Excellent Stereo Quality: Ditto vide the best moments on either disc. This Stereo Quality: Quite satisfactory Our own little Tchaikovsky competition: Q. does suggest a really musical personality behind the fingers, and that certainly whets the Credit Newell Jenkins with a highly intrigu- Which of the above recordings comes from ing idea in assembling these programmatic the city in which this famous concerto had appetite. The Russian orchestra, hazed in by the pieces. Not all of the music is first-rate; bat- its premiere? A. The Boston disc. Q. What tle music can be embarrassing in its is the main subject of the first movement? smog, never really has a chance; there's a lot overuse of hiss, too, adding td the aural pollution. of certain clichés-the trumpet calls,the A. The little theme introduced by the piano march to battle, and so forth. After a while in octaves after about ten minutes (the one The Boston reading is reined in by Leinsdorf, who producesafirm,clean,non -Slavic the effect is a bit tedious. There are, how- that goes di-duh, di-duh, di-duh, di-duh); ever,some entertaining moments in everything before is slow introduction and Tchaikovsky. I find the recorded sound a lit- the tle dullish although reasonably clear. E. S. Dandrieu and Neubauer pieces. The Biber is generally played about twice too fast. Q. a work of considerable originality: dedicated Who was the winner of the 1966 (Moscow) to Bacchus, it includes some unusual sound Tchaikovsky Competition? A. Russian Gri- RECORDING OF SPECIAL MERIT effects (the double bass is made to simulate a gory Sokolov, age 16, who edged out Misha C) C) TELEMANN:DerTagdes snare drum) and one movement in which Dichter, Shanghai -born ( !?) American pia- Gericbts. Cora Canne-Meijer (contralto) ; eight ditties are performed simultaneously nist, age 21. GertrudLandwehr-Herrmann(soprano) ; (not to say chaotically) to represent the sol- It is an axiom of the record business that Kurt Equiluz (tenor) ; Max van Egmond diers' drinking party the night before the the pieces that have always sold well are the (bass) ; four vocal soloists from the Wiener foray. The Mozart piece, like the Neubauer, pieces that will continue to sell well, and Singerknaben;HerbertTachezi(harpsi- celebrates the victory of the Russians and the Tchaikovsky competitions are as good an ex- chord) ;Monteverdi Choir of Hamburg; Austrians over the Turks in 1789. and is a cuse as any to get out more Tchaikovsky Concentus Musicus ofVienna, Nikolaus minute -and -a -half -longbagatellebutstill 84 HIFI/STEREO REVIEW worthy Mozart. Sampled in small sections, this program can be fun. The performances are properly energetic, and the recording is excellent in both mono and stereo. I. K. Ask this embarrassing C) C) LEONTYNE PRICE:My Favorite Hymns.Leontyne Price (soprano) ; George question when you're Decker (organ); Choir of Men and Boys of St. Thomas Episcopal Church, New York; WilliamSelf,choirmaster. RCA Vicrott shopping hi-fi: LSC 2918 $5.79, LM 2918 $4.79. Performance: Opulent -Does this automatic have a hysteresis motor?" Recording: Excellent Stereo Quality: Juxtaposes solo and choir If you were a sound engineer selecting a professional turntable or tape This isa pious program that will appeal transport for the studio, the hysteresis motor would be one of the first mainlytothose for whomLead Kindly features you'd look for. Reason? Speed accuracy. Light isthe epitome of the repertoire of re- The hysteresis motor is a synchronous motor. Its speed is locked in ligious music. Miss Price sings half a dozen hymns on this level, attributing the selection by the alternating frequency of the power source. Voltage may surge, each time to the taste of some relative or or it may drop as you turn on appliances. The hysteresis motordoesn't other. She brings to this banal material all care. It just keeps going round and round steadily, smoothly, without therichesofherluxuriantvoice,with missing a beat. glowing support from a well -trained choir. But the really exciting moments occur when Shouldn't you be entitled to this kind of performance when you're she and they tackle numbers which are not shelling out good money for a fine turntable? We think so. hymns at all-Schubert'sAve Maria,rising The only automatic with hysteresis motor, and lots of other quality incredibly to life once more under her full- features, is the Miracord 50H. The Lord's Prater, throated ministrations; See it at your hi-fi dealer, $149.50 less cartridge and base. For details never prayed with more fervor; andBless This House.The program notes by Francis write: Benjamin Electronic Sound Corp. Farmingdale, N.Y. 11736 Robinson are informative. Paul Kresh ARTURO TOSCANINI:Treasury 01 His- toricliroadrasts(see page 31)

C) RICHARD TUCKER:The World's Favorite Tenor Arias.Verdi:Aida: Celeste Aida.ll Trovatore: Ah si,ben mio; Di quella pira. Rigoletto: La donna e mobile; The Miracord 50H Questa o quella.Puccini: LsBoheme: Che CIRCLE NO. 6 ON READEF SERVICE CARD gelida manina. Taira: Recondita armonia; E luretan le sidle. Turandot: Nessun dor- ma.Cilia:L'Arlesiana: II Lament° di Fed- erico. Mascagni: Cavalleria Rusticana: uncomiltionai Mamma. quel vino e generoso.Bizet:Car- men: Flower Song.Gounod:Faust: Saba! demeure.Richard Tucker (tenor) ;orches- guarantee tral accompaniments.COLUMBIAMS 6957 $5.79, ML 6357 $4.79. Performance: High-powered on a kit? Recording: Uneven Stereo Quality: Voice favored To those wondering why Richard Tucker Who ever chose to record such a hackneyed and thoroughly unimaginative program at this stage heard of of his career, the answer is that he didn't. This is a recital drawn from the tenor's Ver- such a thing? di,Puccini,andFrenchariareleases, though four items (theL'Arlesiana, Card- ltria,andFaustarias andDi quella pira) It'sa fact.Build any Acoustech kit according to the seem tobe new additions. full color, simple and clear Tucker isin his usual dependable form: instructions.Ifitdoesn'twork to thisis tenor singing of top quality, with satisfaction, Acoustech will put it in passionateexpression,clearattacks,and working order at no charge. Now can we firmly focused tones of sensuous beauty. At make such an incredible offer? Acoustech times Mr. Tucker seems determined to prove has more experience producing quality solid his Italian credentials and resorts to emotion- state kits than any other firm.All the critical al exaggerations which distort his otherwise circuitry comes pre -wired, pre-lested on plug-in admirable phrasing, but his singing, in gen- printed circuit boards. We know you can't go eral, is likely to please partisans of the com- wrong. In fact, we guarantee it. Write today for posers involved as well as admirers of Rich- illustrated brochure on the complete line of unconditionally guaranteed Acoustech kits. ardTucker. The orchestralcontributions under Messrs. Cleva, Dervaux, and others Acoustech, Inc., Dept.SR -7 Columbia prefers to leave uncredited in this div. Koss Electronics instance are fine. The engineering, however, ACOUSTECH 139 Main Street, Cambridge, Mass. 02142 gives too much prominence to the voice, with a particularly unnatural, echo -laden quality Export: Koss-Impetus/Lugano, Switzerland in theFaustandCavalleriaarias. G.J. Canada: A. C. Simmoncis & Sons. Ltd. CIRCLE NO. 1 ON READER SERVICE CARD JULY1967 85 Beforeyouselectanautomatic turntable

letus arm youwith the facts.

Probably the most critical way to evaluate the matically returns and securely locks in quality of any changer is by closely inspecting this cradle to protect it and keep it the tone arm and its capabilities. Let's examine from movement. This is the low -mass the tone arm of the BSR McDonald tubular aluminum pick-up arm ... per- 500 automatic turntable. This is the fectly counter -balanced both hori- resiliently mounted coarse and fine zontally and vertically to make it less vernier adjustable counterweight. It susceptible to external shock. Of course, there counter -balances the tone arm are many other quality features on the BSR both horizontally and vertically and McDonald, just as you would find on other assures sensitive and accurate tracking. Here you fine turntables that sell for $74.50 and higher. see the micrometer stylus pressure adjustment The big difference is thattheBSR McDonald that permits 1/3 gram settings all 500 sells for much less. the way from 0 to 6 grams. This Now are you interested? ... assures perfect stylus pressure Write us for free literature ... or see it at your in accordance with cartridge nearest dealer. specifications. Here's another unique and valuable feature ... the cueing and pause control lever that lets you select the exact band on the record, without fear of ever damaging the record or the cartridge. It even permits pausing at any point and then gently floats the tone arm down into the very same groove! Whenever the turntable isin the "off" position the arm auto-

ei9 Mc DONALD BSR 500

PrecisioncraftedinGreatBritain BSR (USA) Ltd., Blauvelt, N.Y. 10913 CIRCLE NO. 8 ON READER SERVICE CARD 86 HIFI/ STEREO REVIEW HIFI/STEREO REVIEW'S CHOICE OF THE LATEST RECORDINGS

ENTERTAINMENTPOPS JAZZ FILMS TH EATER FOLK SPOKEN WORD tReviewed by NAT HENTOFF P:\lI.kKLJH REX REED PETER REILLY ® ADAMO:Chansons Non Commer- song?" asked another guest during Almeida's cropping up in the acts and recordings of a dales.Johnny Adamo (vocals) ;orchestra, own compositionSoft Mood.And so it went, multitude of performers, generally those in Oscar Saintal cond. and arr.Le Barbu sans until we had abandoned our game and sat the over -five -thousand -a -week bracket. They barbe; Le Train va; Les Mal alines: Nicole enraptured, concentrating on the sound of a seem to feel that an "inspirational" number Marie; andeight others.ODEONQELP 8156 man dispensing genius through the placid will explain to a sometimes mystified audience just why it is they receive star billing $5.79. showcase of popular music. "Genius" is a word I don't toss around lightly, but you and salaries. They imply that itisn't really Performance: Good don't need a thesaurus to see that it truth- talent, or voice, or in some cases sheer gall Recording: Good fully applies to Laurindo Almeida. This is a that made them into "stars." Unh-unh. It is Virtually unknown inthe United States, great album. R. R. because they believe in all therightthings.) is a nearly five-minute Adamo is a top star and something of a pop If You Go Away (see idol in France. In the French tradition he SUSAN BARRETT:Susan Barrett! harangue which runs Miss Bassey's emotion- composes the songs he sings, and in this al- Best of the Month, page 64) al gamut-that is, desperate to despairing bum we are treated to a fair sampling of and back to desperate. In IsMust Be Himher them. His voice is quite limited but fashion- distress over the fact that her erstwhile lover ably rough-hewn, and his songs are good no longer keeps in touch by telephone causes enough, though not sensational in any way. her to rant "HELLO! HELLO! My dear die,I shall But as a melodist he is practically nonexist- God, it must be H/M, or I shall every time the phone rings. I find it ent, and one song tends to sound distressing- DIE!" ly like another. If you are a Francophile, I irresistible to speculate on the chances of suppose you'll want this one. Otherwise, its being the telephone company inquiring P. R. about the bill. don't bother. I have no basic objections to melodrama in popular singing, and Miss Bassey has the RECORDINGS OF SPECIAL MERIT necessary vocal equipment to project her hy- C) ® LAURINDO ALMEIDA:A Man perthyroidal approach. However, after one Laurindo Almeida (guitar) ; or two bands it all begins to sound like a not and a Woman. very pleasant attack of hysteria. Also, Miss orchestra, Lex de Azevedo cond.A Man and a Woman; Call Me; Goin' Out of MyHead; Bassey does not seem to be the possessor of an Bluesette; Secret Love; Soft Mood;and five ounce of humor, a condition which only increases the tone of strident complaint. others.CAPITOLST 2701 $4.79, T 2701* The liner notes are in the form of a letter $3.79. from Rod McKuen to Miss Bassey. It begins Performance: Stirring with the confession that, "It's been a bang - Recording: Superb bang day. Too much work. Too much work Stereo Quality: Excellent undone," continues with the revelation that Laurindo Almeida plays the guitar the way with the help of the test pressings of this Rudolf Nureyev dances. His fingers snap, record and some scotch she has enabled him crackle, and pop over clusters of chords with LAURINDO ALMEIDA to "unwind," and concludes, "Thank you for absolute fluency. On this collection he is Absolute fluency on the guitar being beautiful in all ways .. . and tonight, backed by faint echoes of brass, columns of thanks for helping me to let go. I love you." soft flutes, bells, and an occasional string C) ® SHIRLEY BASSEY:And We Were Not quite up to the level of the Shaw - Terry correspondence, perhaps (in fact Miss section. The result is unhampered, polished, Lovers.Shirley Bassey (vocals) ;orchestra, Bassey may not be able to calm down long and joyous. Marty Paich and Ernie Freeman cond. and The skill of Almeida's playing, combined arr.And We Were Lovers; Summer Wind; enough to reply, things being so tense over at her place), but you know how those bang - with the lush richness of the arrangements Big Spender; If You Go Away; and six (silky, but full of ideas) provided by an un- others.UNITED ARTISTSUAS 6565$4.79, bang days do so take it out of one. P. R. UAL 3565 $3.79. known (to me) arranger -conductor named A Musical Lex de Azevedo, makes this album impossi- ® MAURICE CHEVALIER: Performance: Frantic Tour of France. Maurice Chevalier(vocals ble to listen to without full concentration. I Recording: Good and narration).DISNEYLAND ST3940 $3.79. played it one evening for a group of friends StereoQuality:Good during a card party. "Listen to that clock tick- Performance:Tres One Miss Bassey likes drama, melodrama even. ing," said the dealer during Almeida's ex- Recording: Very good traordinary version of Here's ThatRainy She performs that otherwise amiable song Day. "What's the name of that beautiful BigSpendewith such Medea -like ferocity Let me hasten to assure any worried parents that any sensible John would surrender his among our subscribers that the contents of wallet and Lion's Club pin on the spot and this little excursion for undersized tourists Explanation of symbols: run like hell. She is just as harum-scarum in are absolutely harmless, and probably guaran- C) = stereophonic recording The Impossible Dream,where her singing of teed, as are all products manufactured under the song's last word, "star,"is so frenzied the supervision of the late Mr. Disney, not to C) = monophonic recording impair the morals or in any way shake the = mono or stereo version that it sounds as if she were falling out of a not received /or review fiftieth -story window. (This song, by the way, faith or the delicacy of a minor. In addition, is becoming the IBelieveof the Sixties. It is this one is rather. charming. M. Chevalier, JULY 1967 87 accompanied by a chorus of children singing Jerry Stone (rhythm guitar), Jim Fairs (lead DELITY AFSD 6145 $4.79.AIrI.P 2145* in what Isuspect are fake French accents, guitar), Dave Purple (bass, organ, harpsi- $3.79. takes his listener -charges over familiar but al- chord).We Could Be Happy; Ben Frank- Performance: Thump, thump, clomp, clomp ways attractive musical territory, fromBon lin's Almanac; Hey Joe; July;and seven voyage, Monsieur DumolletandUn Olsean others. COLUMBIA CS 9389*$4.79 , CL Recording: Excellent Stereo Quality Deafening straightthrough iluClair de la lune, Le Roi 2589 $3.79. Dagobert,andII Etait une bergere. If I amto believe the liner notes, the band Each song is performed in French and Performance: Undistinctive Recording: Good organ that throbs and groans and tinkles again in English, and a pleasant itinerary is and buzzes throughout this recording was provided through a concise narration deliv- A rock group composed of electronified min- manufactured in France in the 1800's, served ered with infinite good will by the star, who nesingers from eighteen to twenty-one, the time on a carrousel in Grand Rapids, Michi- also throN, s in the merry songJoie de vivre Cryan' Shames so far are without a distinc- gan, then ruminated in a storage shed in from Disney's movieMonkeys, Go Home! tive sound and style. Most of their songs are Gulf Shores, Alabama, until 1963, and has (naturally) and winds up with the even more hollow in content and musically drab. By since been restored by its purchaser, a Mr. optimistic and jollyThere's a Great Big contrastwiththeLovin'Spoonful,the Paul Eakins, in an operation that required Beautiful Tomorrowfrom the same picture. Mamas and the Papas, and Simon and Gar- "2500 man hours" and probably enough It is all very reassuring. P. K. funkel (whom they occasionally try to emu- money to have accomplished the successful late), the Cryan' Shames are very much ap- restoration of the entire South after the Civil RECORDING OF SPECIAL MERIT prentices in the rock quarry. N. H. War. What comes out of this monstrous apparatus, which "getsits name from the L§)CM, CHRIS CONNOR:Chris Connora lovely female Director who stands in front Now!Chris Connor (vocals) ;orchestra, and directs as any band or orchestra leader Don Sehesky oond. and arr.Goin' Out of My does,"isI Scream, You Scream, We All Head; Carnival; You're Gonna Hear from Scream for Ice Cream; bedding Bells Are Me; Nowhere Man; Shining Sea; Love Life; Breaking up That Old Gang of Mine;and a I'm Telling Ybu Now; Autumn;and four reallyrousing rendition ofAway Down others. ABC S585 $4.79, 585* $3.79. South in Heaven-notto mention -MyMelan- Performance: Durable choly Baby, The Stein Song,anda Skater's Recording: Good Waltzthatlastssix minutes and twenty- Stereo Quality: Good four seconds. An ideal property, I must say, for anybody planning to go into the merry- I might as well come right out and admit it: go-round business or start an amusement I'm in love with Chris Connor. I always have park. The recorded sound isall too real. been. Back in the days when she was really P. K. singing jazz fresh from the Kenton school, the way she sang songs as if she were telling C) ® THE GRATEFUL DEAD: The stories, the way she phrased slightly behind Grateful Dead.The Grateful Dead: Bob the beat, and the way she waxed her notes Weir, Pigpen, Bill the Drummer, Jerry "Cap- around the musicians like a finely honed sax tain Trips" Garcia, and Phil Lesh (vocals -well, it was a new discovery for a group of and instrumentals).Viola Lee Blues; Cold college kids who previously thought music Rain and Snow; Cream Puff War;and six began and ended with Glenn Miller. others.WARNER BROTHERS WS1689 $4.79, Times being what they are, Chris has mod- W 1689 $3.79. ified herself, and she's trying not to sing jazz these days. The jazz clubs are dying, the Performance: Very loud jazz audiences are limited, and quite frankly, CHRIS CON NOD Recording: Fair there's no money in jazz. So Chris is trying A song's best friend Stereo Quality: Good for a hit on the op -pop -flop market, and al- ® ®BOBBY DARIN: If I Were a Car- Judging by some of the groups emanating re- though I pine for the way she used to sound, penter.Bobby Darin (vocals) ;orchestra. cently from San Francisco, that city must by I'm pretty content to settle for what I get. In Donald Peake cond. and arr.If I Were a now not only be swinging but literally rock- this album, the only thing wrong is some of Carpenter; Reason to Believe; For Baby; ing. Volume of sound seems to be one of the material. I won't forgive even so sensi- Red Balloon;and seven others. ATLANTIC the requisites of acceptance out there. On tive and intelligent an artist as Chris for in- SD 8135 $4.79, D 8315 $3.79. that basis the Grateful Dead are a smash. cludingStrangers in the Night.And Melina Performance: Imitative On all other counts they are only of moder- Mercouri is the only woman alive who can ate interest. Thechef d'oeuvreof this al- singNever on Sunday.The Beatles'No- Recording: Very good Stereo Quality Excellent bum, in length anyway, isViola Lee Blues. where Alanand Freddie and the Dreamers' It is uncompromisingly dull for at least nine big hitI'm in Love with You Now,on the Bobby Darin's career has been in the dol- minutes of that length, but from time to time other hand, are major surprises. The best drums of late, and this new release doesn't it is enlivened by some pleasant work on the thing, in the collection is Alex North's theme seem likely to put much steam back into it. electric- guitar. (I don't know who to praise fromWho's Afraid ofVirginiaWoolf. The majority of songs here are by Tim Har- by name for this since the album, in common Chris sings the songs with much more re- din, and Darin just doesn't seem to be able with so many group albums of today, is de- spect than they deserve and proves once to bring enough sincerity to his performances void of liner notes or any other information again that great singers can sing just about to make them work. He's good in a fast - save the address of the Grateful Dead Fan anything and convince. She has always been paced number such asSittin' Here Lorin' Club.) an artist with a head for lyrics, the technique You,but inReason to Believeand the title In any event the Grateful Dead are an av- to make her ideas come across, and above all, song, he sounds like a super -hippie trying erage psychedelic group which makes a great infinite good taste. All of these qualities are the folk bag. Speaking of bags, he sounds deal of noise.Iknow that these frenetic present in this current -chart stuff, but I get as if he had one over his head inMisty groups are often fun to hear in live perfor- the feeling from listening that her heart isn't Roses.Striving for what I can only guess he mance where the young audiences sit in rigor- really at home here. Still,I wont quibble. considers an "intimate" sound, he does so ously concentrated rapture while the unini- Anything from Chris Connor is better than much growling and panting into a close-up tiated begin to feel that their sinuses are vi- nine out ten albums from other singers. As microphone that the total effect seems not brating like tuning forks. Apart from their the notes on the back of the album hint: "No so much intimate as digestive. ability to produce that effect on recordings, song ever had a better friend than Chris." If you are a Darin fan (ah, where are the however, I feel there is less to the Grateful I'm inclined to agree. R. R. teenyboppers of yesteryear?) then buy this Dead than assaults the ear. P. R. one. If not, skip it. P. R. 0®THE CRYAN' SHAMES: Sugar and ® ® FRANCOISE HARDY: Je Vous Spice.Tom Doody (lead singer), Jim Pilster C) PAUL EAKINS: Big Bertha Band Aime.Francoise Hardy (vocals), orchestra. (tambourine),Dennis Conroy(drums), Organ.Paul Eakins (organ). AUDIO FI- La Nuit est cur la ville; Et Mime; L'Amour 88 HIFI/STEREO REVIEW s'en va; Tu ne dis rien; Bien longtemps;and seven others. FOUR CORNERS FCS 4238* $4.79, FCL 4238 $3.79. ' NEW! Rollei 35 from Honeywell Performance: Fashionable Recording: Good After listening to Francoise Hardy, I remain convinced that the two young French singers to watch are Mireille Mathieu and Barbara. I know that Mlle. Hardy is at present more popular with the younger generationin France than the aforementioned two ladies, but I think that may be due to Miss Hardy's super -cool aura, which I would assume the Frenchfind rathermore exotic than Mathieu's old fashioned gut -busting theatri- calityorBarbara'sessentiallytraditional "torchy" (there is a word everyone thought died about 1939) approach. This is not to say that Miss Hardy is not a good singer. She is. But not that much better than many others. Et Meme,with its fashionable tripletsand backbeat, is well done, but emotionally Miss Hardy remains so stony throughout it that I found myself paying more attention to the accompaniment than to her singing. In all of the bands I found her much more of a sound than a presence, which is a bit disturbing to an old admirer of Mistinguett, Polaire, Ar- SHOWN ACTUAL SIZE letty, Jeanmaire, Greco, and Piaf. I suppose IreallylikeFrenchsingers who sound French, not like transplanted ye -ye girls. (The French I find notoriously bad at this sort of thing. Have you ever seen a French- man dressed in what he considers to be good English taste?) The uncredited arrangements and orchestra are truly the best I have heard in some time-on a recording from any- world's smallest where.Je veux qu'il revienneis superb and perhaps worth the price of the album itself just to hear this arrangement and orchestra. Formidable! P. R. camerathat takes C) C) I, BRUTEFORCE: Confections of Love.I, Brute Force (vocals, guitar), unidentified string accompaniment. COLUMBIA CS 9415 $4.79, CL 2615 $3.79. full-size 35mm pictures! Performance: Crazy Recording: Excellent easy, even for beginning picture -takers. Stereo Quality: Frantic A little jewel-that's the new Rollei 35! Just a bit larger than a pack of cigarettes, Other big -camera features of the Rollei Here is a fellow with an ear alert to every this superb pocket or purse -size 35mm 35 include a rapid film advance lever, a nuance of the excesses and absurdities of the camera has all the features of a big cam- flash accessory shoe, and nine shutter music that holds the Pepsi generation in its speeds from to 1 /500 second. thrall, but I'm afraid his subtle travesties of era except size and weight. the rock-and-roll racket will not get through There's no other camera like it in the Priced at just $189.50, the Rollei 35 to everyone, and an inattentive listener might world! You'll carry it everywhere to bring is magnificently made in the Rollei tradi- even confound these light -handed lampoons back great pictures. You'll get the same tion to deliver a lifetime of enjoyment. with the originals. Mumbling over a messy full-size slides that big 35mm cameras Once you see it, you'll want to pocket it, background of pounding instruments souped make. And, your black and white or so ask your Honeywell Dealer for a up with echo chambers beyond the threshold color prints will be tack -sharp, even in demonstration soon ! Or, for free litera- of endurable pain, he unemphatically slips oversized enlargements. ture, please mail the coupon below. over lunatic lyrics about spicy doings "in A fine Carl Zeiss 40mm f /3.5 lens and Jim's garage," deplores the laziness of a fa- Honeywell takes the guesswork ther who won't leave his TV set to rescue his a highly accurate CdS exposure control daughter from a near -rape in the family car, system combine to make great results out of fine photography pines away for a wild Latin lass from Tierra del Fuego, and extols the pleasures of sitting "on a sandwich." If this sort of thing catches Honeywell Photographic 152 fire, we may well be in for an era of some- Mail Station 209, Denver, Colorado 80217 thing that I suppose might be called joke - Please send Rollei 35 literature to: rock. If so, this lad who calls himself I, Brute Name Force should easily win a reputation as the Gertrude Stein of the genre. P. K. Address City / State / Zip C) TOM JONES:Green, Green Grass of Home.Tom Jones (vocals) ; unidentified Honeywell accompaniment.Kansas City; My Prayer; PHOTOGRAPHIC My Mother's Eyes; If Ever 1 Would Leave _1 CIRCLE NO. 30 ON READER SERVICE CARD JULY 1967 89 You; and eight others.PARROT PAS71009 Lorin': Crazy; Stranger; Once a Da); Pride; //on; and four others. Dur,010.4 S 50014 54.79, PA 610090 53.79. Fall to Pieces; Unloved -Unwanted; and $4.98, 5001.1` 53.98. four others,COLUMBIACS 9385 S4.79, CL Performance: Imitative Performance: Jubilant 2585 53.79. Recording: Good Recording: Good Stereo Quality: Fair Performance: Lazy Stereo Quality: Good Tom Jones was the awful voice behind the Recording: Good Stereo Quality: Good Success has not spoiled the Mamas and the credits in the James Bond movie Thunder - Papas. If anything, they are better than ever, ball. He was perfect for that film because his Gerrie Lynn is the latest blossom to emerge and this is their most joyous recording. Rock- tawdry nasality fit in very well with the camp from the hillbilly orchard. She sounds like a and-roll fans get hysterical when reviewers atmosphere. A forgettable album followed, matronly Molly Bee, and on most of the praise their super -stars for being good musi- which included that theme along with assort- bands on this debut disc, she seems curiously cians; nothing matters less to the followers of ed other trivia. Now, on his second disc, he is out of place in the idiom. She is really more the Mamas and the Papas. Still, this fact is trying hard to sing standards in the way a of a pop stylist, and her slow. bluesy, almost an important part of their status.Ifthey fellow Britisher, Georgie Fame, does. Fame lethargic approach to reading lyrics makes were less capable performers, they would be is a much better singer, but has never caught her a very boring interpreter of Nashs ille no better than the other ten thousand groups on in America. Jones sounds like Little Rich- sounds. Occasionallythere's agood old- that rise up on the scene in their sandals and ard on Kansas City, like Little Anthony of the fashioned country-and-western sound, but on Carnahv Street ties and purple ponchos and Imperials on Some Day, like Della Reese on most of these bands Miss Lynn merely snaps vanish into the woodwork. No, the Mamas lin/ Came a Long li'iy front St. Louie, like her fingers (there's also a distracting tap -tap and the Papas are smashingly good musi- a poor man's Billy Eckstine on My Prater, and like a destitute man's Ray Charles on Georgia on My Mind. No matter how you look at it (or from which direction) the news is grim. Tom Jones tries so hard to sound like everybody else that lie has no voice of his own. Heoverphrases, wails. screeches. croons, and wraps the vowels around his tongue like bacon around a fork. The orchestra pumping itself into breakdown behind him is not credited, for what I can only assume to he obvious reasons. R. R. *tGERSHON KINGSLEY/JEAN JACQUES PERREY: The In Sound from Way Out! Gershon Kingsley, Jean Jacques Perrey (tape machines). Unidentified Fl)ing Object: Countdown at 6: Girl frontI 'eon,: l'isa to the Stars: and eight others.VAN- (At/tin)VSD 79222 Ss. -9,VRS 9222 $4.79. Performance: Gimmickry and nothing else Recording: Good Stereo Quality: Excellent

These, we aretold,are"electronic pop tunes." Their creators, we are further told, wanted to bring electronic music to a wide public,believing that"itdeserves to be 'I'll \ \I 5, 5o totl' si.ss :orol tper t i se and the joy of kooky liring raised to the level of a popular music, a music designed for fun and relaxation." Ac- throughout which sounds as though she's clans, and they should be proud of it. "When cordingly, they developeda process, "Elec- keeping time by patting her foot near the it's all over, we're the ones that will have the tronic Sono -syntheses," which uses musical mike) with two or three fiddles, an electric legend," they said recentlyina Saturday sounds from electronicsources(such as guitar. and a slushy Ink Spits chorus huin. Evening Post interview. I think they're smug, mules Martenot ) and sounds of natural ori- ming in the background. The songs are to- but I also think they're right. gin (musique concrete). After being modi- tally banal, with lyrics like "I'm so glad I'm In this collection, they really do deliver. fied and transmuted, "the sonorities were not like a girl I knew one time/She lost her Electric guitars, vaudeville piano, a carefully thenpainstakingly assembled bysplicing love then slowly lost her mind." controlled sequence of rhythms, and beauti- eachbitof tape together manually with Miss Lynn seems inclined to sing hillbilly fully structured harmonies that threaten to micrometric precision to form the 'melodic music with a pop flair, but there must he a turn into classical chamber quartets on a mo- line' and/or the rhythmic structure of the better way to bridge the gap between Nash- ment's notice-these arethe keynotes of piece chosen." The resultant tape track was ville and Tin Pan Alley than by changing their vocal expertise. But they also bring to synchronized with music played by live mu- Roger Miller's King of the Road to Queen their music the joy of kooky living-mink sicians on both electronic and natural instru- of the House. The lyrics on this one ("I got hats and champagne, chauffeured limousines ments as well as with additional electronic both floors to scrub, and there's a dirty ring and hop living in their Hollywood mansions sounds (from oscillators, tone generators, in the tub") are had enough to make Minnie (Denny lives in Mary Astor's old mansion, and feedback loops). At long last, a final Pearl blush. R. R. and John and Michelle live in Jeanette Mac - multi -channeltapemaster was produced Donald's old mansion). And underneath it through intricate overdubbing. All this re- ENRICO MACIAS:DouzeNouvelles all, a kind of innocence which has won them quired 275 hours of work in the laboratory. Chansons (see Best of the Month, page 63) the fans left behind by Donovan and the And it was all a waste of time. The music is Rolling Stones when they turned to LSD and utterlywithoutsustaininginterest.Itis RECORDING OF SPECIAL MERIT death for inspiration. The Mamas and the corny, coy, and rhythmically dead. But per- Papas sing songs that are all about love and haps this album should have been reviewed M THE MAMAS AND THE PAPAS: tenderness and all the corny things like that, by a computer, for I can think of no other The Mamas and the Papas Deliver. The but with great charm and taste. They even audience for it. N. H. Mamas and the Papas (vocals and accom- throw in the old Rodgers and Hart ever- paniment) and other instrumentalists. Dedi- green Sing for Your Supper with amazing (:) (D GERRIE LYNN: Presenting Gerrie cated to the One I Love; My Girl; Creeque modern results. This is a hot, cool, moving, Lynn. Gerrie Lynn (vocals) ;unidentified Alley; Sing for Your Supper; Twist and hip, unpretentious, free, bright, and breezy Western accompaniment.Ain't Had No Shout ;Free Advice; String Man ;Frm.tra- album. Great stuff. R. R. 90 HIFI/STEREO REVIEW ®Q FATHER COLUMBA Mc MANUS: Herb Bernstein cond. and arr. Goodbye Joe: Live Better Electronically With All About Love. Father Columba McManus Billy's Blues; Buy and Sell; He's a Runner: (vocals), unidentified accompaniment. The and eight others. VERVE/FOLKWAYS FTS Twelfth of Never; Guantanamera; A Shelter 3020 $4.79, FT 3020 S3.79. in the Storm; Yesterday; Ne me quitte pas; LAFAYETTE Performance Derivative and five others. AUDIO FIDELITY AFSD 6169 Recording: Excellent RADIO ELECTRONICS $4.79, 2169* $3.79. Stereo Quality. Excellent Performance: Cloying I wanted very much to like this album. Laura Recording: Excellent Model LR-1200T Nyro is nineteen sears old, and she is a very Stifling Stereo Quoli y gifted song writer from whom, I am sure, 120 -Watt Solid State Father McManus sings about love. In the much can be expected in the future. That FM/AM Stereo Receiver liner notes he says, ". . . I must contribute much is clearly evident in this new release. to a deeper understanding of human love. I However, as a singer Miss Nyro is, at this have involved myself in a 'love affair' with stage, only a good mimic. The first band, God ... I have consented to sing these songs Goodbye Joe, is a performance of the song as because of being a Singing PriestI wish to Dionne Warwick might sing it. Bills'! Blues reaffirm my love for my world, and my deep isthe most accurate imitation ofBarbra conviction that I am a part of it and wish to Streisand thatIhave ever encountered. A

communicate withit. . . ." What allthis few songs are done in alessidentifiable pompous palaver leads to is a series of drag- manner, but the majority suffer from the ging amateur renditions of Guantanamera, Warwick-Streisandtreatment.Occasionally Only 25995 Ne me quitte pas, Try to Remember, Where both styles are presentin the same song, Haze All the Flowers Gone, and other senti- which only enforces the impression of Miss No Money Down mental chestnuts, totally dependent for their Nyro's performances as being those of a Powerful 120 -Watt Amplifier ability to move us on the skill of unique versatiledemo -recordsinger-albeitone vocal resources invested with the ineffable who can sing a mean counterpoint with her- Transistor Overload Protection power of emotional inducement. The priest self and, on occasion, really swing. 1.5 ,AV FM Sensitivity from Montreal brings to them only a good As for the songs themselvesMiss Nyro Automatic FM Stereo/Mono but untutored voice and good intentions-or is a very, very good composer and lyricist. I Switching pretensions. Itis not enough. Not even to especially liked Wedding Bell Blues, And Variable AFC sing about love. P. K. When I Die, and the glowing I Never Meant Interstation Muting to Hurt You, The arranging and conducting 4 Position Tape Monitor Switch ® ROGER MILLER: Words and Music of Herb Bernstein are exemplary, as is the by Roger Miller. Roger Miller (vocals and production by Milt Okun. guitar). Husbands and Wives; Train of Life; The most unsettling thing in the album is RK-860 4 -Track Bills Bayou; Heartbreak Hotel; Less and the quote attributed to Miss Nyro that "I Solid State Less: Workin' Girl; Home: and five others. sort of grew up (italics mine) with Bob SMASH SRS 67075$4.98, MGS 27075* Dylan's music." It would seem that the gen- Stereo Recorder

$3.98. eration gap has now accelerated to every five -.ran AO Performance What you might expect years. Try conjuring with that, all you thirty- Only r. Recording, Good year old hippies, as you head toward your Stereo Quality. Good favorite discotheque to display your frug and advertise your membership in the Pepsi 21995 Idon't understand the title of this album, generation. Don't look now-but thereis sinceitincludes Heartbreak Hotel, which something sneaking up on you. Like about No Money was written by Elvis Presley. But then I don't three generations. P. R. Down understand anything about Roger Miller, in- oar cluding the key to why he is so popular. He RECORDING OF SPECIAL MERIT 99-1530WX" makes a good living writing songs and has 4 -Track Stereo and Mono earned the respect of such Buddhas as Johnny 4) 4(1)i RAPHAEL: Canta Raphael. Raphael Record'Playback Martos (vocals) ;orchestra. Manuel Alejan- Mercer. But even Mercer, who provided the Sound -on -Sound liner notes for this recording, offers no clues. dro cond. and arr. Poco a poco; El Torero; He says he likes Miller because he writes Mi regalo; No Vuelt.as; Piensalo; and seven Sound -with -Sound songs about trains, and almost nobody writes others. UNITED ARTISTS UNS 15514 S4.79, 3 Speeds: 71/2, 33/4 & PS songs about trains anymore. Doesn't seem UN 14514 $3.79. Stereo Headphone Monitor Facilities like a very good reason to me. Performance: Excellent For my money, Miller is a lousy perform- Fowerful 12 -Watt Stereo Recording: Very good Amplifier er, singing like a yodeler trying to make the Stereo Quality Exce lent big time. There is something distinct!), ama- 'Imported teurish about his music and something even Raphael Martos is currently Spain's most more talent -night-at- the -neighborhood -pic- popular male singer.Itis not difficultto ture -shove about the way he sings it. There is understand why, after listening to this new FREE an occasional flash of insight, present in this United Artists releaNe. He has a splendid 1967 CATALOG collection only in Husbands and Wires. But voice and an exciting presence. Cuando rfi no when he tries for self-conscious cuteness, he estds, the first song on the record, gives notice NO. 670 fumbles ("A chicken ain't chicken tillit's that you are listening to a spectacular talent. lickin' good fried, my uncle used to love me His performance of Aznavour's El Torero is 512 Pages but she died"). Ugh! better than any I have heard, and the limpid LAFAYETTE Radio ELECTRONICS Dept. FiMA-7. P.O. Box 10 He has a long way to go before he catches reading he gives to Esture enamorado makes SyossetL. I., N. Y. 11791 up with Hoagy Carmichael, who does this what is in essence just another Spanish love am. kind of thing well. But in the meantime, I ad- song into a compelling two -and -a -half minute Send me the FREE 1967 mire the sincerity with which he knocks ev- drama. The only fault I could find with this LAFAYETTE Catalog 670 HMG / erything off, as though he is singing in his disc was in the arrangements. Occasionally living room for a group of friends who really they smack a little too much of the traditional don't mind the fact that he is as bad as he zarzuela form. Otherwise, I found this to be Address reallyis. R. R. one of the best albums I have heard in quite a while. P. R. City C) C) LAURA NYRO : More than a Dis- State covery.Laura Nyro(vocals) ;orchestra, (Continued on next page) Zip ...... CIRCLE NO. 33 ON READER SERVICE CARD JULY 1967 91 0 THE ROLLING STONES: Between COLLECTIONS the Buttons. Rolling Stones (vocals, accompaniment). Let's Spend the Night Together; Yesterday's Papers; Ruby Tuesday; Connec- RECORDING OF SPECIAL MERIT tion; She Smiled Sweetly; Cool, Calm and ® STARS OF THE SILVER SCREEN Collected; Who's Been Sleeping Here?; and 1929-1930.Originalrecordingsby John fiveothers.LONDONPS 499 $4.79, LL Boles, Fanny Brice, Maurice Chevalier, Bebe 3499* $3.79. Daniels,Dolores DelRio, The Duncan Performance: Unbearable Sisters, George Jessel, Helen Kane, Charles Recording: Poor King, Dennis King, Jeanette MacDonald, Stereo Quality: Poor EverettMarshall,Helen Morgan, Gloria Swanson, Sophie Tucker, and Lupe Velez. Searching for something nice to say about RCA VICTOR LPV 538 $5.79. this collection of dross is like looking for the RECORDING OF SPECIAL MERIT least offensive worm in a rotten apple. The Performance: Historic Rolling Stones make the Beatles (and even Recording: Excellent remastering C) C) THELONIOUS MONK: Straight, 'ess savory groups like the Fugs) sound like This album makes the fifth release of the No Chaser.Thelonious Monk (piano), ^. Handel chorus by comparison. There is no RCA Victor Vintage Series, non -jazz divis- Charlie Rouse(tenor saxophone), Larry Illusion to taste, either in material or per- ion, and it is the third of them that should Gales (bass), Ben Riley (drums). Locomo- formance, and any resemblance to genuine be in every collection. It is invaluable mem- tive; I Didn't Know About You; Straight, talent is purely accidental. The cover of this orabilia, as are "1928" and "The Kurt Weill No Chaser; Japanese Folk Song; Between bizarre disc is a pretty good indicator of what the Devil and the Deep Blue Sea; We See. lies within: it looks like an ad for an em- COLUMBIA CS 9451 $4.79, CL 2651 $3.79. balming fluid, with a sneering, half -asleept Performance: Persistently original quintet of washed-out faces peering through Recording: Excellent a lugubrious blue soup of British fog. Stereo Quality: Very good The effect is probably deliberate, because the Stones sing in the same monotonous way, Thelonious Monk has always occupied his apparently reluctant to give us anything re- own principality in jazz. As has Duke Elling- sembling clarity of tone, message, intention, ton. And that's why the work of neither ever or purpose. Their sound is impossible to becomes dated. Both have organized melody, describe, because it resembles nothing I've harmony, and rhythm into a totally unified, ever heard, but the closest approximation of wholly personal musical language. In this how they sound can be obtained by playing album, Monk is customarily absorbing as a an LP transfer of Spike Jones' old Cock- soloist-he has exactly the technique for tails for Two at 78 rpm. One song, inciden- what he wants to say and as often as one has tally,is fun: Something Happened to Me heard him, he still surprises. I would suggest Yesterday, a bit of tom -foolery set to a mar- too that you focus one or more times on velous funky Dixieland beat, with humorous Monk as accompanist on these tracks. It is whistles and tuba thumps thrown in. I'd like not only his incisive, craggy chord sense that to hear it sung by a group that knows how to so stimulates his soloists, but also his re- sing. R. R. markable rhythmic plasticity. As the only horn soloist, Charlie Rouse indicates here RECORDING OF SPECIAL MERIT that he has learned well from Monk the val- ROBERT SHAW ues and satisfactions of taut musical logic. s M ROBERT SHAW CORALE: Sing Freshness and energy for a program of hymns (Monk's principality is no place for the senti- the Lord. Sixteen early American folk mentalist or the musical figure skater.) The hymns. Robert Shaw Chorale (vocals). God Classics: Lady in the Dark/Down in the Val- most delightful track is Between the Devil IsSeen; A Charge to Keep I Have; How ley." The album is beautifully produced, and and the Deep Blue Sea in which Monk is Firm a Foundation?; and thirteen others. seldom have I heard old discs sound as clear alone-an orchestra -of -one. N. H. RCA Vicrox LSC 2942 $5.79, LM 2942* and unmuffled in a transfer to LP as here. $4.79. The collection contains a number of sur- RECORDING OF SPECIAL MERIT Performance: Bright and crisp prises. These include: Everett Marshall, with Recording: Superb whom I was completely unfamiliar (and now -4) OSCAR PETERSON: Blues Etude. Stereo Quality: Ingenious I know why), singing Mr. and Mrs. Sippi Oscar Peterson (piano) ;Ray Brown and from something called Dixiana; the Duncan Sam Jones (bass) ;Louis Hayes (drums). These hymns out of early nineteenth-cen- Sisters, of whom I had dimly heard; Bebe Blues Etude; Shelley's World; Shadow of tury America have the austere beauty of Daniels, also a misty figure (she was pretty Your Smile; If I W'ere a Bell; Stella by Star- Shaker furniture, and although the perfor- good); John Boles ( John Boles??); Dolores light; Let's Fall in Love; and three others. mances suffer sometimes from the high gloss Del Rio (any woman that beautiful shouldn't LIMELIGHT LS 86039 $4.79, LM 82039* Mr. Shaw imposes on his interpretations, be expected to sing well); Lupe Velez, sing- $3.79. they make up in animation and fine recording a song by Irving Berlin; Charles King, Performance Slick and shiny ing whatever they sacrifice to slickness.If surely immortal as he sings and talks Broad- we must have hymns-and some of these, Recording Good way Melody; and Dennis King. Stereo Quality Good like Come Ye That Love the Lord, Come Of course, there are many represented here Away to the Skies, and Hark I Hear are a who fall into the expected category, includ- When Oscar Peterson broke up with his bass- lot more spirited than the contents of the ing Sophie Tucker, Helen Kane, Jeanette ist of fifteen years standing (Ray Brown), usual hymnal-then itis certainly good to MacDonald, Gloria Swanson, and George he was temporarily lost, because he is a man hear them infused with the freshness and Jessel. The three heavyweight talents are of such high professional standards that his energy that distinguish these performances. Chevalier singing Louise, the incomparable sidemen work along with him like Charlie There is also a good deal of variety in these Helen Morgan singing What Wouldn't I Do Chan's sons. But he soon found a fine Num- songs of praise to God for the wonders of for That Man!, and Fanny Brice singing ber Two Son in Sam Jones, Cannonball Ad- His creation and for the good life that must Cooking Breakfast for the One I Love with derley's bass man, and this album is proof apparently be led by those who would "with all her heart and soul and perceptive magic. that Peterson never sounded better.Idon't singing to Paradise go." The arrangements, How good it is to hear performances from quite understand why Gene Lees,inhis by Alice Parker, together with the suggestion such an innocently romantic time, and how liner notes, insists that this is a "new" Oscar in her excellent notes that hymnbooks of lucky we are to have such an unfaded sou- Peterson. Peterson sounds to me just as he today should be enriched with "this wealth venir of that era. The liner notes by Miles always did, and that's good enough. I've of new -oldmusic,"areentirelypraise- Kreuger are a model of informed, intelli- never heard ballads played with such pas- worthy. P. K. gent, and amusing writing. P. R. sionate lyricism (witness Stella By Starlight) 92 HIFI/ STEREO REVIEW or sophisticated show tunes swung with musicaltemperament,theModernJazz such calm but relentless drive (dig ifI Were Quartet and the Swingle Singers are akin. a Bell).And I'm happy to see Oscar include Both groups are fond of the challenges to Ray Brown's own compositionI Know You improvise in such formal structures as those Oh So Well.Brown, by the way, knocks me of Bach and Purcell. Both stress subtlety of sonotone's out with his shattering contrapuntal rhythm dynamics andlucidityofharmonic and shifts onBossa Beguine.This is one of the melodic development. My only reservation is most hauntingly beautiful and elegant discs that much of the music, while elegantly at- of the year. R. R. tractive,lacks visceral depth and strength. dynamic cardioid But one doesn't always want to be shaken by C)C) SHIRLEY SCOTT:On a Clear Day. the phonograph, and for those times of Shirley Scott (organ), Ron Carter (bass), placidity, this is a beguiling album. N. H. mike for taping Jimmy Cobb (drums).What'll I Do?; All Alone; Cortorado; Instant Bluer;and four RECORDING OF SPECIAL MERIT others. IMPULSE AS 9109 $5.98, A 9109* Are unwanted sounds spoiling $4.98. C) FATS Vt, ALLER:Fractions Fingering. FatsWaller (piano,vocals) ;Herman your home tape recordings? Has Performance: Not her best Autrey (trumpet); Gene Sedric(clarinet, everyday house- Recording: Excellent tenorsaxophone I; Al Casey (guitar); hold noise Stereo Quality: Very good Charles Turner (bass) ;Slick Jones, Yank ..1.1.:1i$ got you 1.1!.. Shirley Scott is one of the relatively few jazz Porter (drums).The Curse of an Aching Lt. 4 down? Heart ;Nero;My Feelin's Are Hurt :Swingin' Sonotone ...r*". *A Them Jingle Bells;and fourteen others. RCA has the VICTOR LPV 537 $4.79. unidirec- Performance: High-spirited tional an- Recording: Good swer: Our CDM8O dual The third album in RCA Victor's commen- impedance dable vintage series of Fats Wailer reissues, microphone. this one includes thirteen small -combo sides recorded in 1936 and three 1929 piano solos. This Sonotone (One of the latter,Gladise,is a previously microphone fea- unissued take.) It's all quintessential Waller tures the discrimi- -the mocking vocals; the infectious, robust, nating cardioid pat- two-handed piano swinging; the brio of a tern that professional compatible combo. And the piano solos re- performers prefer. Cap- veal again how strong a force Vi aller was in tures every word, note the evolution of the jazz piano. My own and nuance directed into favorite track is the 1929 MyFeelin's Are it, while suppressing extra- Hurt,but there is substance in all the performances. Substance, and an invigorating neous, distracting noises, affirmation of life. N.H. boominess and feedback. C omplete with on -off switch, IS -foot ca- FATS WALLER COLLECTIONS ble and shield. Impedances of 200 ohms and SOK ohms. Price: $43.50 Infectiously swinging jazz piano RECORDING OF SPECIAL MERIT

organists who does not exploit the power of s 1@,) THE ART OF THE BALLAD, that instrument. Her touch and textures are Volume Two. Sonny Stitt, Johnny Hodges, light, her conception is crisp, and her beat is Lee Konitz, Charlie Parker, Stan Getz, Benny sinewy. Unfortunately. since her conception Carter, Gerry Mulligan. Art Pepper, Ben occasionallyflagsinins entieness during Webster, and others. VSP S38 $2.49, 38 this session, she could have used some solo $2.49. support. And present was one of the most creative of all bass soloists-Ron Carter. In- Performance Colossal explicably, however, he has been confined Recording:Good here to what's essentially a rhythm section Stereo Quality: Good role. Accordingly, the proceedings are pleas- Verve deserves congratulationshere. The ant-particularly in two Shirley Scott blues concentration is on the various playing styles -but not memorable. N. H. of some of the greatest jazzmen ever assembled on one disc, showing off the fine art of C) C) THE SWINGLE SINGERS/ THE how to play ballads. Thereis one really Write MODERN JAZZ QUARTET:Encounter. smashing band by Charlie Parker, live with TODAY John Lewis (piano), Milt Jackson (vibra- strings at Carnegie Hall playingApril in for Latest harp),Percy Heath(bass), Connie Kay Paris,that is a collector's item. That's not all. (drums), the Swingle Singers (vocals).Air Gerry Mulligan and Art Pepper perform a Catalog on for G String; Ricercare a Six; Alexander's sensuous duet from the neglected score of Sonotone Microphones Fugue; and four others.PHILIPS PHS 600- the MGM filmThe Sublerianeanson which 225 $4.79, PHM 200225* 53.79. they team up with Andre Previn's trio and a large orchestra of strings. Gorgeous! Stan Performance: Elegant Getz has always been a king of ballad playing, Recording: Very good Stereo Quality: Excellent and his version of ItNever Entered My Mindrecorded with a big hand conducted Recorded in Paris, in vocal and instrumental by Russ Garcia in Stuttgart, Germany, has SONOTONE arrangements by John Lewis, this is the first gottohe heardtobe believed.Simply MICROPHONES meeting on records of the Modern Jazz Quar- everything about this collection is the living tet and the Swingle Singers. The composers end and an absolute must for any basic li- ° ELECTRONIC APPLICATIONS DIVISION brary, of jazz. R. R. include Bach, Purcell, and John Lewis. The SONOTONE CORPORATION Elmsford. N Y.10523 performancesaregraceful,precise,some- (.rolls5.nger Prods Co . NYC Cable. Etregn.s N V times lovely (as in theAir for G String).In (Continued on next page) CIRCLE NO. 44 ON READER SERVICE CARD JULY 1967 93 Vs Shur{ later recorded the songs, and, as he oncere- called with pride, "the records were played at all sorts and sizes of meetings where peo- To Be Thrifty! ple bought bonds to bring the power lines over the fields and hills to their own little places." Nine of the recordings have been remasteredforthis album, and the per- STEREO & formances remain singular in terms of Guth- rie's idiomatic ease and a/frescoebullience. HI-FI BUYERS The songs, too, have endured, and will continue to be a vital part of the American folk- BEFORE YOU BUY GET A RABSONS song heritage because Woody was the most QUOTE... YOU'LL BE GLAD YOU DID! authoritative writer of folk -like material of C) C) FERNANDO FARINHA:The Por- At Rabsons CompetitivePrices his generation. In the notes are reproductions bility and Personal5ervicghave been tuguese Hits of Fernando Farinha, Volume of documents concerning the 1966 Interior bywords for over 61 years Two.Fernando Farinha (vocals) ;Conjunto Department Conservation Award given to It's so EASY and SAFE to deal with Rabsons de Guitarras de Raul Nery; orchestra, Joa- Guthrie (a corollary of the award was the quim Luis Gomes cond.There Is but One naming of a Bonneville Power Administra- Up to 36 months to pay on Easy Pay Plan Centrally located-as close as your telephone Mother; The News Boy; Old Lisbon: Life; tion Substation in the Pacific Northwest the -as near as your mail box Free Mail Order - and eight others.MONITORMFS 467 $4.79, "Woody Guthrie Substation"). Woody was Hi Fi Clinic Service Fast Air Mail Response on Quotation Requests Franchised Distribu- MF 467* $4.79. always committed to conservation-of the tor for HiFi Lines 62 Years of business human spirit as well as our other natural "Know How" to serve you better Ship- Performance: Ardent ments DOUBLE PACKED and FULLY INSURED Recording: Good resources. N. H. "Attractive" Prices Warehouse on prem- Stereo Quality: "Enhanced' ises Fast Delivery-Large inventory permits

processing and shipment promptly All merchandise brand new InFactory sealed At thirty-eight, Fernando Farinha is one of cartons Save even more on complete sys- the most popular singers in Portugal and a tem quotes Export Packing -220 Volts 50 Cycle merchandise a specialty Freelist rising movie star. He has an unusually pli- of monthly specials. able voice,and,like other superiorfado singers, he delights in subtleties of phrasing and dynamics. Since Farinha is so compelling a singer of lyrics, it is all the more absurd that Monitor has provided no translations or paraphrases. For this listener, one who understands no Portuguese, the experience is RABSONS57 ST. INC. gratuitously frustrating. N. H. 119 West 57th Street, New York, N. Y. 10019 Tel, Area Code 212-247-0070 g BLIND BOY FULLER:With Sonny CIRCLE NO. 42 ON READER SERVICE CARD Terry and Bull City Red.Blind Boy Fuller (vocals, guitar), Sonny Terry (harmonica), Bull City Red (washboard).Bye Bye Baby ELLING HI -Fl Blues; Jitterbug Rag; Careless Love; Big House Bound;and ten others.BLUES CLAS- SICS11 $4.98. ORLD WIDE Performance: Straightforward Recording: Competent NCE 1948 Brought up in North Carolina, Blind Boy COMPONENTS RECORDERS Fuller (Fulton Allen) was a considerable influence on a number of Atlantic -Coast blues DAVE RAY KITS SPEAKER SYSTEMS TAPE singers until his death in the late 1940's. The finest interpreter of the blues revival LOWEST PRICES This useful set consists of recordings made RECORDING OF SPECIAL MERIT SAME DAY REPLY by him between 1935 and 1940. His reper- TO YOUR INQUIRY toire of blues,rags,and country dances (§)4..,t) DAVE RAY:Fine Soft Land. Dave makes for a diversified program; and while I Ray(vocals,12 -stringguitar,harmonica, MFRS. SEALED CARTONS don't find Fuller as deeply affecting as Robert piano).Alabama Women; West Egg Rag; DOUBLE BOXED Johnson or some of the other classic blues Death Valley Blues; You Can't Go;and WHEN POSSIBLE singers, his singing is forceful and is obvi- twelve others.ELEKTRAEKS 7319 $5.79, FAST, INSURED SHIPMENTS ously seasoned by experience absorbed with EKL 319 $4.79. perception. Sonny Terry's harmonica provides Performance: Impressive PACKAGE DEALS a buoyant and tart commentary. Blues Classics SAVE YOU MORE Recording: Excellent is at P.O. Box 863, Berkeley, California. Stereo Quality: Good FRANCHISED DISTRIBUTORS N. H. FOR OVER 50 MFRS. Itis the opinion of Paul Nelson, who wrote OPEN MONDAY RECORDING OF SPECIAL MERIT the notes, that this album represents "the THRU SATURDAY very best work of the finest blues interpreter - M 001)l G1 -I IIKII : Bonneville Dam creator to emerge from the folk revival." I'd TEN CENT-ONE HOUR and Other Columbia River Songs.Woody be inclined to agree if Ray were to be called PARKING METERS Guthrie (vocals, guitar, harmonica).Talking "the finestinterpreterof the blues revival." AT PREMISES Columbia; End of My Line; This Is Your Of all the young white singers and players Land; Goin' Down the Road;and five others. Send for immersed in the Negro blues tradition, Ray VERVE/FOLKWAYS FV 9036 $4.79. -as of this, his best recording-is pre-emi- FREE "MONTHLY SPECIALS" Performance: Triumphant nent in his musicianship, both instrumentally Components, Tapes, Cartridges Recording: Adequate to good and vocally. His use of a strong, declaratory WRITE FOR MONTHLY SPECIALS voice has evolved markedly, and he can now VISIT OUR STORE Fora time in the 1940's, Woody Guthrie convincingly span a diversity of moods and CA f7 .5 TO Al was employed by the Bonneville Power Ad- musical challenges. A superb guitarist and a 1686-A Second Ave. (Nr. 87), N.Y. 10028 ministration to write songs celebrating the fine harmonica player, Ray certainly merits achievements ofthe men who builtthe an all -instrumental album if he wantsit. CIRCLE NO. a ON READER SERVICE (-Alan Grand Coulee andBonneville dams. He However, he is still in the black blues tradi- 1)4 HIFI/STEREO REVIEW tion, in his original songs and in those he chooses from the past (by Leroy Carr, John Estes, Arthur Crudup, and Curtis Jones). Accordingly, he remains an interpreter-not a creator. Itis certainly an estimable voca- tion, but I hope that a man with this degree of talent will eventually be driven to create his own material in his own style reflecting who he is in this time and whatever places he explores in this time. In any case,although I have not been enthusiastic about most white blues revival recordings, I strong- NOW ly recommend this one. N. H. HOW TO SUCCEED IN BUSINESS C) DUANE STARCHER: Woods and WITHOUT REALLY TRYING (Frank Water. Duane Starcher (vocals, banjo, gui- Loesser).Originalmotion -picturesound- tar, dulcimer). The Little Brown Bulls; Red track. Robert Morse, Michele Lee, Rudy Val- Iron Ore; The Beaver Island Boys; The Jam lee, Anthony Teague, Maureen Arthur, and on Gerry's Rock; and seven others. WEST- others(vocals) ;orchestra, Nelson Riddle ERNMICHIGAN UNIVERSITY AURAL PRESS cond.UNITED ARTISTSUAS 5151$5.79, 2000 $5.00. UAL 4151* $4.79. Performance: Enthusiastic Performance: Fresh -faced FREE' Recording: Good Recording: Good Apparently the major avocation of Duane Stereo Quality: Realistic Starcher, manager of television services at Like its slippery hero J. Pierrepont Finch, STEREO Western Michigan University,isfolklore whose innocentreposefulairbeliesthe and folk singing. One of his specialtiesis deadly malevolence with which he knifes folksongs from Michigan history, and in this hisfellow creaturesinhislightning ad- set,he performs eleven that, as the notes vance to the apex of the industrial pyramid, INFORMATION say,"telltales of the people who passed How to Succeed in Business has made its through and around Michigan in the nine- way spectacularly up from book to Pulitzer FM Station Directory teenth century." These are vigorous stories Prize-winning musical to wildly acclaimed of lumbermen, sailors, farmers, and lovers. movie. "Nothing succeeds like'Succeed', - The directory lists 1571 FM sta- They chronicle disaster, protest, hard -drink- boastthebillboards.They cansaythat ing, boasting, and various other aspects of again. And since almost all of the principals tionsinthe United States and thelifeofnineteenth-century rovers and who kept the ball in the air on stage have Canada. All the stations broad- settlers. Starcher has a strong, clear, pliable beenretainedforthescreenproduction, voice and a good actor's sense of role-play- this second album of the songs offers ad- casting in stereo are listed. ing. He communicates his enthusiasm for vantages similar to those of the RCA Victor this lore with gusto and affection, and has Broadway -cast recording (LOC/LSO 1066). made a convert of this listener. The record Itofferssimilar disadvantagestoo,for Test Reports isavailablefromAuralPress,Western the whirlwind cartoon exuberance ofthe Test reports full of facts. The test Michigan University, Kalamazoo, Michigan. storyis not reflected to best advantage in N. H. an alwaysaptbutnotalwaysinventive reports were made by independ- score. Thereisstill much to recommend C) C) JOSH WHITE: Josh White. Josh severalof the songs, and throughout the ent laboratories. Tests cover tun- White (vocals, guitar), and various uni- lyrics are spruce and the tunes are pleasant ers, preamps, power amp, pre - dentified instrumental and choral accompani- even if they stand on their own only half- ments. What 1 Want from You; So Soon; heartedly.I kept wishing that Rudy Vallee amps. Read the facts from test Bury Me High; Golf:4y from M) Window; had been tossed more material. Things real- experts. Evil -Hearted Me; Green Corn; and two ly sparkle when he's doing Grand Oid Ivy. others.ARCHIVE OF FOLKMusic FS 209* A word of praise also for the winning voice $5.79, FM109$4.79. ofMichele Leewho playsFinch'sgirl Big 36 -Page Catalog Performance: Thin friend. For the rest, the disc is to he recom- Recording: Below standard mended mainly tothose who willenjoy You get a 36 page catalog.It itasahappy souvenir afterseeingthe According to the credo of the Archive of movie. P. K. tells you about tuners, power Folk Music, a subsidiary of Everest Records, amplifiers, preamplifiers, pre- this project is a high-minded attempt to res- Qs ® OLYMPUS 7-0000 (Richard Adler). cue outstanding folk performances of the Original -cast recording from the ABC-TV amp/power amplifier combina- past from 78-r.p.m. limbo. Something went Stage 67 spectacular. Larry Blyden, Phyllis tion and tuner preamps. wrong here. No dates are given for these Newman, Eddie Foy, Jr., Fred Clark, Lou performances, but my guess is that they're at Jacobi, the New York Football Jets(vo- least twenty years old, and they come from cals) ;orchestra, Philip Della Penna cond. ALL FREE the most expendable commercial period of COMMANDCS 07 SD$5.79,CS 07" $4.79. White's career. His own singing is as if by rote, and the backgrounds couldn't be more Performance: Valiant but in vain inappropriate for what this company calls Recording: Terrific "indigenous and unselfconscious music of Stereo Quality: Superb 7- tIntash the people." There are syrupy vocal groups Everythingisterribleabout Olynpus PLEASE SEND ME YOUR CATALOG and even a soap opera organ behind the once 0000, most of all the fact that the album McIntosh Laboratory, Inc. hard-bitten blues Evil Hearted Me. Accord- was releasedinthefirstplace. The pro- 1 Chambers St. Binghamton, N. Y. 13903 ing to the label, there is also a stereo version ducers of the ambitious ABC television series of this disaster, but fortunately itis not at Stage 67, which has promised so much and NAME hand. ("Enhanced" mediocrityisjusttoo come forth with so little, have not as yet STREET much of a bad thing.) Total playing time, by recovered from the embarrassment of put- the way, is about twenty-three and a half ting on this vapid hour-long musical about CITY minutes. For once, such parsimony is quite how the god Hermes intervenes in the affairs STATE ZIP_ _ _ _ _ welcome. N. H. of a college football team and of an archi- CIRCLE NO. 38 ON READER SERVICE CARD JULY1967 95 tecturalstudent who isinlove with the dean's daughter. WRITE FOR The enormously capable Donald O'Con- SPOKEN WORD nor sings and tap dances his way through some of the dreariest material an entertainer ever had to carry. Here's a sample lyric: QUOTATION "Volcanoes I'll gladly plunge in/ Or rot in FACTORY SEALED CARTONS a rat -filled dungeon." And tunes to match! Phyllis Newman, anotherfirst-ratetalent, FRANCHISED DISTRIBUTOR barely gets by with a couple of other innocu- QUICK SHIPMENT ous numbers, indistinguishable one from the other. Command's sound is stunning.P. K.

(M; THOROUGHLY MODERN MIL- 0 J HAL HOLBROOK: Mark Tu'ain WE GIVE LIE. Original sound -track albums. Julie An- Tonight. Highlights from the CBS television drews, Carol Charming (vocals) ; orchestra, networkspecial. Andre Previn arr. Thoroughly Modern Mil- HalHolbrook(mono- lie; Poor Butterfly; Rose of Washington loguist). COLUMBIA OS 3080 $5.79, OL 6680 54.79. DISCOUNTS Square; Baby Face; The Tapioca; and four others. DECCA 71500 $5.79, 7150* 54.79. Performance: A ca'culated twinkle ON HI-FI Recording: Excellent Performance:Right forthis material Stereo Quality:Superfluous Recording: Good COMPONENTS Stereo Quality: Good In presenting his one-man show about Mark Twain, complete with long white mane, Thoroughly Modern Millie is a thoroughly beetling brows, moustache, and cigar, actor unoriginal movie musical, derivative in al- Holbrook has kept himself on his own toes SOUND most every way; and much of what's wrong by varying the material in his presentations with it is disturbingly in evidence on this from one night to the next. Those who en- sound -track recording.Iwon't waste space REPRODUCTION joyed thefirst two superb albums inthis dwelling on the flaws in the movie. But taken series will not he squandering their money, on its own terms, the score is flat, dull, and therefore. if they go ahead and acquire the INC. borrowed. This is the Roaring Twenties, yet third. This latest disc is based on the con- nobody ever seems capable of writing any- 34 New Street, Newark, N. (01102) tents of a CBS network special presented in thing new about the Jazz Age without pick- the spring of 1967, and it covers such sub- (201) Mitchell 2-6816 ing up all the old songs. In abundance here jects as religion, sunrise on the Mississippi, are medleys of orchestral favorites, played in the United States Congress as a "grand old rinky-dink style: Baby. Face, Stumbling, Jap- benevolent national asylum for the helpless," anese Sandman. You get the picture. Then the evils of slavery, and the smugness of CIRCLE NO. 54 ON READER SERVICE CARD there are a couple of numbers thrown in for men who will defend any war once we're in Julie Andrews, all of which seem taken from it-leavingthecontemporarylistenerto her big stage success, The Boy Friend. And draw his own analogies. Live it up, there's a Jewish wedding dance which has Itis no secret by now that the magic of nothing whatever to do with Millie's feeble Holbrook's success has been his abilitt, to lose Live it over! plot and sounds suspiciously like something himself completely in this character. humph- rejected from the Boston tryout of Fiddler ing, hemming, and chuckling his way through on the Roof. The only bright spotin the atreasury of consistently witty se'eaions. film-and on this disc-is Carol Charming, There is no one who can make more of a who sings a lively bit of memorabilia called pause than Mr. Holbrook when he is being Jazz Baby. Julie Andrews is her customary Mr. Twain, sometimes so shamelessly that vapid self and perfectly cast as a brainless I thought he must have left the cameras al- flapper. Beatrice Lillie, who was amusing in together-but the audience eats it up every the film,is not heard from atall. Simply time, and it would be grumpy to deny the everything about Thoroughly. Modern Millie effectiveness of this and other devices in the is thoroughly expendable. R. R. actor's hag of tricks. Yet over the years the use of these has become broad enough to M THE 25TH HOUR. Original sound - swamp the subject matter at times in man- :1,1,k recording. Orchestra, Georges Delerue nerisms, especially in the telling of one in- cond. MGM SE 4464 ST 55.79, E 1464 ST* terminable tale about an old man and a ram, $4.79. where it became almost impossible tofol- low the story for the eccentricities of the ...with the most alive AIR Performance: Oversized Recording: Excellent narrator. Despite the excesses, though, the color movies ever Stereo Quality: Dangerous record is a valuable addition to a delightful CI set. P. K. made...automatically!IV.--. The 25th Hour is a movie about a simple, Drop in the instant -load film car-4, stolid, Rumanian schlemiel, a peasant who 0 g I WERE A HIGH SCHOOL GRAD- tridge.Aim and shoot. Nothing gets himself packed off to a labor camp at UATE. Kenny Solms, Gail Parent (perform- else to do...for the sharpest, the start of World War II. He is mistaken ers). EPICFI.S 15112 54.79,FLM 13112 for a Jew, browbeaten, tortured, and finally S 3.79. brightest, most alive color movies . 4 put on trial at Nuremberg as a war criminal. you've ever seen! Push button elec- Performance: Undergraduate tric power takes care of everything This cheerful tale is accompanied by an over - sweetened Enesco-type music track, heavily Recording: Good including automatically correct Stereo Quality: Marked exposure. Less than $80 at your flavored withersatz Rumanian overtones. camera store or write for full color On the record the sections are designated by Lower the hatches. It looks as though we're folder today. such captions as "Deportation of the Jews," in for aspell of sophomore humor about "Johann in the Wheat Field," and "Arrival the hilarities of high-school years. Not long FUJICA (single -a) of the Germans." The last is a march that enough ago there was Sandy Baron's"I ®FUJI PHOTO FILM U.S.A., INC. tramped out of the stereo speakers and across Never Let High School Interfere with My U.S.Distributor: Ehrenreich Photo -Optical Ind., Inc. my living room so heavily that it knocked a Education." Now there's this item, which Oept. 12, Garden City, New York 11533 copy of War and Peace right off a bookshelf. goes over the same ground more clumsily: In Canada: R. & H. Products, Ltd. It's a big score. P. K. the sexy girl who getsallthe dates, the CIRCLE NO. 27 ON READER SERVICE CARD 96 HIFI/STEREO REVIEW married student couple, the guidance coun- endless sagas could take another look at the selor, the prom. Twice I brightened up as economy of Sophocles! In one hour and ten Mr. Solms and Miss Parent ("the youngest minutes we are hauled up to the heights of MORE and BETTER comedy writing -performing team in the bus- tragedy, instructed,shattered, swayed, and iness," boast or complain the liner notes) dropped back into the world with a new tackled promising material-once at afa- understanding of the twin spirits of defiance ther's lecture to his son for failing to wear and obedience which wrestle eternally in the FM Stereo Multiplex dirty sweaters or hair long enough toat- souls of men. tract attention ("Look at you-you're seven- The present recording flows with the clari- teen and you've never even been arrested ty of a crystal stream. Max Adrian as the BROADCASTS yet!), and again during a casual noontime furious Creon, Dorothy Tutin as the woman session in the teachers' lunchroom in the who defies and defeats him, Eileen Atkins FOR YOU course of ariot. The rest,as the record as her conventional sister lsmene, Jeremy labelwarns, is"notrecommendedfor Brett as the ardent Haimon who dies for with adults." Some ofit,infact,sounded a Antigone, and Geoffrey Dunn as the pro- trifle young for teenagers. P. K. phet Tiresias who predicts the downfall of Creon are welded into an ensemble of as- RECORDING OF SPECIAL MERIT tonishing eloquence by the directorial genius INCO of Howard Sackler. The chorus, voicing the s m SOPHOCLES: Antigone. Dorothy mundane reactions of the Theban populace, AWARD -WINNING FM Antenna Tutin, Max Adrian, Jeremy Brett, Eileen speak with golden tongues from the midst of a discreet and singularly apt fretwork of music. It is they who remind us finally that "there is no happiness where thereis no Model FM.4 wisdom," and that humility before the gods $24.90 List is all, for "big words are always punished." P. K. World's Most Complete RECORDING OF SPECIAL MERIT line of HI -Fl Phased C)J. M. SYNGE :The Playboy of the Western World. Siobhan McKenna, Cyril Cusack, and others; Cyril Cusack, director. FM ANTENNAS SERAPHIM IB 6013 two discs $4.98. Write forCatalog20-213. Performance: Authentic Recording: Excellent THE FINNEY COMPANY 34 WEST INTERSTATE BEDFORD, OHIO 44146 In addition to allit owes to him for his DEPT. H. D. verse, Ireland must also be indebted to Yeats for the discovery of Synge, who at the turn CIRCLE NO. 24 ON READER SERVICE CARD of the century became the high priest of Irish drama. In The Pliobery of the Western World, as in his other plays, he brews a wondrous mixture out of all that is romantic in the Celtic tradition and all that is matter- of-fact in hard-headed realism. Here, how- Why? DOROTHY TI TIN ever, unlike the heartbreaking Riders to the Eloquent as .Sophocles' Antigone Sea or the unfinished Deirdre of the Sorrows, DO THOUSANDS OF HI-FI he is writing a comedy-the tale of a young ENTHUSIASTS BUY FROM Atkins, Geoffrey Dunn, and others; Howard nobody named Christy who is able to be- Sackler, director. Dudley Fitts and Robert come the adulated hero of a whole town on Fitzgerald(translators).CAEDMON TRS the strength of his claim that he has actually AUDIO UNLIMITED 320S two discs $12.90, TRS 320M $12.90. murdered his own father. Christyis even about to get the biggest prize in the com- Performance Towering munity-the pub owner's spirited daughter It's Obvious! Recording. Excellent Pegeen as his bride-when his supposedly Stereo Quality: Striking deadprogenitorinconvenientlyturnsup LOWEST PRICES Although he wroteitfirst,Sophocles in- in the neighborhood. Christy triesseveral tended Antigone to serve as the finale of times to make good his boast and really FAST SERVICE his trilogy of Theban plays, which have been murder the old man, but Mahon, the fa- running for some 2,400 years now and seem ther,likeIrelanditself,isindestruct- FACTORY SEALED UNITS to have more to say about us and to us than ible. most of the works of our own contemporar- Whether or not Synge intended The Plea - FULLY INSURED SHIPMENTS ies. When Antigone opens, Oedipus is dead boy as a satire on his native land, the real and Creon has taken power. He rules ab- hero is not Christy but the language of the PACKAGE DEALS-SAVE MORE solutely over all of Thebes, yet feels that dialogue, earthy as the soil of the Gaelic his great might is threatened by the intransi- countryside, ar.dlyricalas a well -wrought FRANCHISED DISTRIBUTORS gence of one stubborn woman. She ishis ballad. And because the rich allusiveness of Write for FREE Listing today niece Antigone, who defies Cretin's orders that dialogue is what crucially distinguishes notto bury the corpse of her traitorous this comedy from other attempts in its vein, brother Polyneices. The issue of the drama this performance, thanks to the authoritative SEND US YOUR LIST soon emerges: where does an individual owe presence of Siobhan McKenna as Pegeen FOR OUR AIR MAIL allegiance-to state or clan, to society or to and Cyril Cusack asthe young parricide QUOTE TODAY self? There are no villains here, nor flawless manque, surrounded by other Celti; players heroes either. The arrogant Creon shows with a total comprehension of their assign- himself capable of change, and the noble ments, is ideal in all respects. The album, a Visit Our Showroom and Warehouse Antigone is revealed as less than reasonable re-release from the vaults of Angel, should CLOSED MONDAYS in her contempt for law. All this unfolds exasperate and serve as goad and unattain- like a march of invading forces inexorably able model to all those groups forever at- CtAUDIO unlimited, inc. storming our emotions. I wish the despoilers tempting tostage Synge revivalsinlittle 715 S Second Ave. (Nr. 38.. N Y.N.Y. 10016 of our screens and stages who detain us with theaters everywhere. P. K. JULY 1967 97 The TEAC A-6010: If allyou want is a tape deck, forget about thisone.

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TAPE TENSION CONTROL SWITCH for total protection of thin long-playing tapes.

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FOUR SOLID-STATE AMPLIFIERS. Two for recording, another two exclusively for playback.

INDEPENDENT LINE AND MIC INPUT CONTROLS permit mixing signals from two recording sources.

A6010 Specifications: Four heads, 4 track, 2 channel.7' maximum reel size. Tape speeds 7'. and 3 ,ips (±0.5T). Dual speed hysteresis synchroiobs motor for capstan drive, 2 eddy current outer -rotor motors for reel turntables. Wow andflutter: 7'. ips: 0.08 3); ips: . Frequency response: 7ips: 30 to 20,000 Hz (±2 db 45 to 15.000 Hz'; 3ips: 40 to 14,000 Hz (.1.2 db 50 to 10,000 SN Ratio: 55 db. Crosstalk: 50 db channel to channel at 1,000 Hz. 40 db between adjacent tracks at 100 Hz. Input: (microphon&:10,000 ohms. 0.5 mV minimum. (line): 300.000 ohms, 0.1 V minimum. Output: 1 volt for load impedance 10,000 ohms ormore.

The A-6010 is what happens when a company with more than 1,000 innovations it the magnetic tape industry decides to create some excitingnew standards for the knowledgeable music lover. It has features no other comparably -priced decks have, and to go it one better you'll have to go shopping for studio recording equipment.Isn't this the day to see it? TEAL. TEAC CORPORATION OF AMERICA 1547 18th St., Santa Monica, Calif. 90404 CIRCLE NO. 55 ON READER SERVICE CARD 98 HIFI/STEREO REVIEW HIFI/STEREO REVIEW'S CHOICE OF THE LATEST RECORDINGS STEREO TAPE

Reviewed by WILLIAM FLANAGAN DAVID HALL IGOR KIPNIS REX REED PETER REILLY

® BEETHOVEN: Missa Solemnis, in D Philharmonic, Leonard Bernstein cond.; Sey- RECORDING OF SPECIAL MERIT Gundula Janowitz(so- mour Lipkin, asst. cond. (Also included is a Major, Op. 125. ,) ROSSINI: Semiramide. Joan Sutherland prano) ;Christa Ludwig (mezzo-soprano) ; discussion of Charles Ives by Leonard Bern- Horne (tenor) ;Walter Berry stein.) COLUMBIA MQ 857 S7.95. (soprano),Semiramide;Marilyn Fritz Wunderlich (mezzo-soprano), Arsace; Joseph Rouleau Vienna Singverein Choir;Berlin (bass) ; Performance: Handsome (bass), Assur; John Serge (tenor), Idreno; Philharmonic Orchestra, Herbert von Kara- Recording: A-1 Spiro Malas (bass), Oroe; Michael Langdon jan cond. DEUTSCHE GRAMMOPHON DGK Stereo Quality: Wonderfully effective (bass), Ghost of Nino; other soloists; Am- 9209 511.95. Speed and Playing Time: 71/2 ips; 55'17" brosian Opera Chorus; London Symphony Performance: Intensely lyrical With thisrelease,allfour symphonies of Orchestra, Richard Bonynge cond. AMPEX Recording Good Charles Ives, the prophet -patriarch of Ameri- LONDON LOR 90123 two reels $21.95. Stereo Quality: Excellent can music, are available on four -track tape. Performance: Sutherland's and Horne's show Speed and Playing Time: 71/2 ips; 86' The sprawling yet curiously moving Second Recording: Superior This is the third recording of Beethoven's Symphony gets a broadly expansive perfor- Stereo Quality: First-class Missa Solemnis to be made available on Speed and Playing Time: 71/2 ips; 168'27" four -tracktape.Ihave heard neither the Having read a number of reviews of the disc nor the tape of the performance con- disc version of this recording, not many of ducted by Klemperer, but the fact that that them thoroughly favorable, I rather expected tape is recorded at 33/4 ips would most likely to listen to this tape of Semiramide (heavily put it out of the running from a sonic stand- cut, perhaps advisedly) with something less point. The other 71/rips reading is Leonard than total pleasure. It is true, of course, that Bernstein's(Columbia 1\12Q529). That among the male singers there are some less - Bernstein's performance is nearly ten min- than -idealvoices:tenor John Sergegets utes shorter than Karajan's here is a hint at around the notes very well, but his is not a the basic difference in character between the very attractively produced sound, and of the two interpretive approaches. Karajan does basses only Spiro Malas makes a satisfactory not storm the heavens, but rather seeks to impression. But when the two leading ladies lyricalessence of Beethoven's expose the get going, either in their separate arias or to- noble and poignant score. This is especially gether in duets, one listens with rapt aston- evident in the Qui Collis of the Gloria and in ishment. Bonynge does not convey the ex- the Et incarnatus. citement of a Toscanini, perhaps, but this The solovocalistsareunusuallywell matched, and meet, with no audible effort, performance still has much to recommend it. rate,Ifound myself enjoyingit the exacting demands of phrasing and tessi- At any tura imposed by Beethoven. The Vienna thoroughly. The sonic reproduction on tape is full and brilliant. There is a slight tape Singverein is altogether superb, and the Ber- hiss, but altogether this is sonically a closer lin Philharmonic-particularly solo violinist Michel Schwalbe in the Benedictus-is in JOAN SUTHERLAND ANDNI uiii.vN HORNE match for the disc version than I have heard on tapes over the last year or so. Ampex has top form. The DGG recording is eminently As Semiramide and Arsace in Rossinis opera always beenverygood aboutincluding satisfactory on the whole, if rather unusually mance: Leonard Bernstein clearly revels in librettos with their tape boxes; with this re- spread out in depth and breadth. the rich organ -like sonorities written into the lease, for the first time, to my knowledge, As I have noted with respect to some of slow sections, and indeed, the lyrical empha- they have resorted to the system of including Karajan's other recorded performances, the sis here makes the "barbaric gawp" of the a not evenself-addressedor Austrian maestro seems at his best in large- postcard, last movement that much more of a shocker. stamped, requiring the purchaser to obtain scale choral and operatic works such as this, Some of the popular and patriotic musical the libretto by mail. I. K. which emerge without the annoying over - materials heard in the Second Symphony also refinements of phrasing that have marred turn up in The Fourth of Jul), the rhythmic RECORDING OF SPECIAL MERIT some of his purely orchestral recordings. If complexities of which demand the services of Leonard Bernstein's treatment of the Missa a second conductor (Seymour Lipkin here) 0 SHOSTAKOVICH:The Execution of Solemnis is too high -voltage for your taste, for most effective results. Stepan Razin,Op.119; Symphony No. 9, this tape by Karajan represents a fine alterna- The subtle inner -voice lines of the Second in E -fiat Major,Op. 70. Vitaly Gromadsky tive with first-rate sonics. D. H. Symphony and the dense texture and con- (bass); RSFSR Russian Chorus; Moscow flicting rhythms of The Fourth ofJulyare Philharmonic Symphony Orchestra,Kiril RECORDING OF SPECIAL MERIT brilliantly set forth by Bernstein and Colum- Kondrashincond.MELODIYA/ANGEL ZS bia's recording engineers. The results, to my 40000 $7.98. Ci)IVES: Symphony No. 2 (1897-1902); The Fourth of July (1913).New York ears, are clearer on tape than on the corres- Performance: Virile ponding disc. Bernstein's talk on Ives is a Recording: Excellent welcome and illuminating bonus, and will Stereo Quality: Superior Explanation of symbols: increase the value of this tape for those who Speed and Playing Time: 71/2 ips; 51'54" C) = stereophonic recording have yet to sample the Ivesian tonal fabric in its vitality, complexity, and richness of Shostakovich's scoreThe Execution of Stepan (RI = monophonic recording all substance. D. H. Razin (1964),based on a poem by Yevgeny JULY 1967 99 Yevtushenko, starts off by sounding a little and five others. COMMAND CMC 91/5 55.95. who put like updated Moussorgsky, but winds up with an impact thatseemsmore than the Performance: Powerful but relaxed sum of its musical contents. The seventeenth - Recording: Excellent HIGH in century Cossack brigand is presented as an Stereo Quality: Very good anti -Tsaristrevolutionary,aconceptthat Speed and Playing Time: 71/2 ips; 34' 52" must have obvious appeal for Soviet ide- A jazz treatment of standards from Broad- ologists. The music, full of insistent ham- way shows, this set presents the Basie band merings, has a strange fascination, and the -in arrangements byChico O'Farrill- performance isextremelyeffective.The without gimmicks or intrusive ornamenta- Ninth Symphony, composed in 1945, is, in tion. The playing,in the Basie tradition, almost total contrast, light and witty, with a is straightforward and swinging, with space large share of Shostakovich's irony. Here for such substantial soloists as trombonist again,theinterpretationisexcellent and Al Grey, tenor saxophonist Eddie Davis, FINCO sharply detailed. Certainly this is the most and trumpeter Roy Eldridge. There are two satisfactory recording of the symphony since rarities here: the presence of Eldridge, who that's who! Koussevitsky's 1946-47 album (recently re- was a Basie sideman for only a brief time, issued in mono form in the RCA Victor disc and of drummer Eddie Shaughnessy. The album VCM 6174). The present Russian- clarity and presence of the recording are made recording has astonishingly good sonic even more satisfying on tape thanthey with a FINCO high reproduction; orchestral details come through were on the Command disc. N. H. performance FM Antenna and FM with unusual clarity, brilliance, and presence. Booster The tape version, in comparison with the disc, is slightly lacking in bass, but it also FINCO has a brighter -sounding top. Having com- a Model plained for some time of Angel's practice of not including texts and translations with 65-7 their tape packages, I must report with plea- FM BOOSTER sure that a text leaflet (including translitera- Increases signal strength. Delivers 20 tion and translation) is provided here. I hope DB Gain with low noise. Distortion neg- ligibleatallfrequencies and power this is a permanent change of policy. 1. K. levels. Easy indoor key -hole mounting. Factory warranty. $24.95 list COLLECTIONS For additional information write: ® E. POWER BIGGS: Holiday for Harp- THE FINNEY COMPANY sichord. Schubert: Marche Militaire, Op. 34 WEST INTERSTATE DEPT. HD .51, No. 1; Moment Musicale, Op. 94, No. 3. BEDFORD, OHIO44146 Mozart: Rondo alla Turca. Haydn: Minuet THE WORLD'S ,wOST COMPLETE LINE from Symphony No.104.Beethoven: Turk- OF FM ANTENNAS AND ACCESSORIES ish March from "The Ruins of Athens''; CIRCLE NO. 25 ON READER SERVICE CARD Minuet in G Major.Falla:Ritual Fire Dance. Chopin: Polonaise in A Major. Op. w w w 40, No. 1; Preludes in C Minor and A Major, i Op. 28. Nos. 20 and 7. Weber: Country We OW/ Dance. Five other pieces. E. Power Biggs JACKIE CAIN AND Hut'KRAL (pedal harpsichord). COLUMBIA MQ 804 Hip, sunny, unbelievably brilliant char/N.4Peucth $7.95. ® JUDY COLLINS: In My Life. Judy jotoid Performance: First-rate Recording: Excellent Collins (vocals) ;orchestra, Joshua Rifkin Stereo Quality: Good cond. and arr. Hard Lorin' Loser; Pirate Speed and Playing Time: 71/2ips; 39' 03" Jenny; In My Life; Sunny Goodge Street; and seven others. ELEKTRA EKC 7320 $6.95. If this particular collection of musical bro- mides is, as the release title would have it, a Performance: Cerebral "holiday"-well, I'll Recording: Good just stay home. And Stereo Quality: Good YOU SAVE MORE while Biggs' program note suggests that N.% Speed and Playing Time:71/2 ips; 44'10" ON 11141 much of it was done as a sort of camp, cour- COMPONENTS & TAPE RECORDERS tesy of harpsichord -maker John Challis, I do On the cover of this tape box there is a We invite your test of our not find myself splitting my sides with laugh- smashing picture of Judy Collins sitting in a "We Will Not Be Undersold Policy." ter at a harpsichord rendition of Schubert's surreal garden wearing a long dress and 15 -day money -back guarantee. Marche Militaire, as Mr. Biggs' liner notes cowboy boots; in it she looks astonishingly 2-yr. unconditional guarantee parts & labor no suggest that innumerable people have. Put like Vanessa Redgrave. On the tape itself, charge,atlocal warranty station,factory or our service dept. briefly, I'm not strongly persuaded by con- she offers a program that sounds like an up- cert -hall humor; if Trade -ins -highest allow. Send your list. I want to laugh, I'll re- dated version of a concert that might have Most items shipped promptly from our 250,000 read Thurber, have anotherlookatAll been given by Mother Bloor for a WPA Arts inventory, fully insured. About Eve, or simply think back on either Committee down atthe old Union Hall Our specialty-APO & Export. Tallulah Bankhead's or Nancy Walker's re- about1933.Miss Collins, judging by her 21st yr. dependable service world wide. vivals of Noel Coward's unforgettable Pri- selection of material, would appear to be as RATED #1 SERVICE -SATISFACTION vate Lives. doggedly "liberal" as she is desperately "in- ACCORDING TO NATION WIDE SURVEY. The playing, of course, is absolutely su- volved"in"awareness" of herselfasan Easy-Pay-Plan-Up to 24 mos. to pay. perb. And the recorded sound is excellent, "active member" of a "society in which we Write for our priceFirst! the stereo effect suitable. IV. F. all have to struggle to keep our identity but not lose sight of our group goals." The HI -FIDELITY ENTERTAINMENT phrases quoted above are interchangeable and, arranged in any order and dropped at CENTER ® COUNT BASIE: Broadway Basie's will into any conversation, will insure you "The House el Low Low Prates" Way. Count Basie (piano); orchestra. Hello the attention of any number of attractive 2 3 9-A East 1 4 9th St., Young Lovers; Mame; From This Moment young women going through their "socially New York, N.Y. 1 04 51 On; People; A Lot of Livia' to Do; Just inconscious" phase. Or even better,ifyou Time ; On a Clear Day (You Can See Forever); really want to make an impression, CIRCLE NO. 29 ON READER SERVICE CARD give one 1 0 0 HIFI/STEREO REVIEW of the attractive girls this tape. Her reaction should run something like this: !IP "Oh, God! You've got to come over some night and listen to it with me. It's devastating! She sings some of those songs from Marat/Sade.It'schilling! Isaw Maras/ Sade three times, anditwasn't untilthe third time thatIgot the full impact! And she sings two songs by that brilliant Canadi- an poet -novelist Leonard Cohen! And one by Don't fiddle Dick Farina-you know, the one that got killed on a cycle just before his first novel came out? And she sings La Colombe by Brel! What do you mean Brel who? Jacques Brel. I think Judy Collins is marvelous! The way she sings Pirate Jenny-that song from while The Threepenny Opera, you know? Some- times I think that there is a lot of me in that song. Well . . . oh God! Let's not gointo that! Look,Inever realized when we met you roam. at that awful party with all those old types that you were interested in so many of the important things. Some friends of mine and The KODAK INSTAMATIC 804 Camera lets you pay atten- Iare going to an electronic happening tonight and maybe you might like to come tion to the sights you're seeing instead of the camera. Drop along? After that we could come back here in the film cartridge. Then wind the spring motor-and the and we could listen to the tape together and I film will advance automatically after each shot. could point out some of the really significant things that are in these songs...." Your 804 adjusts itself for the speed of the film; makes The arrangements here are fine through- the correct outdoor exposure setting for each picture-arns out, hut someday I'd like to hear Miss Col- you when to use flash; switches to flash speed as y lins sing songs less frightfully fraught with P. R. a flashcube; tells you whether flash is ready; a or meaning. flash exposure as you focus; and turns the cube for the next RECORDING OF SPECIAL MERIT flash. All automatically. The lens is a sharp, fast f/2.8, the viewing bright, the range -finding accurate. 4) JACKIE AND ROY: Changes. Jackie Cain and Roy Kral(vocals) ;orchestra, See how good the world looks when you have total auto- Claus Ogerman, Oliver Nelson, and Charles mation and Kodak dependability going for you. The KODAK Calello arrs. Dedicated to Love; Yesterday; INSTAMATIC 804 Camera is less than $130 at your Kodak In My Life; Counting; Norwegian Wood; Bye Bye; Changes; The Irord; and three dealer's.Price subject to change without notice. others.VERVEVSTX 368 $5.95. Performance: Sensational Recording: Superb Kodak Instamatie 804 Camera Stereo Quality: Superb Speed and Playing Time: 33/4 ips; 29'41"

Oneicy day last winter, I reeeis ed all advance copy of a new record album by Jackie Cain and Roy Kral called "Changes," and when I played itI almost could not believe my ears. For longer than I care to remember they have been two of the hippest, sunniest, most unbelievably brilliant musicians Amer- ica has produced-the two people in jazz who could do anything. Long before the Swingle Singers, the Hi -Los, and Lambert, Hendricks, and Ross, when Jackie Cain was a beautiful young daisy -blonde still in bobby sox,she and Roy were integratingvocal sounds withjazzscoredfor instruments. Since then, they have sung salutes to classical composer Darius Milhaud (accompanied by a tuba player from the St. Louis Symphony), Miles Davis trumpet solos in fractious big - band arrangements, and everything inbe- tween. And I have heard them praised by everyone from Alec Wilder and Richard Rodgers, who flipped when he heard their arrangement of Mountain Greenery, to John Sebastian of the Los -in'Spoonful. InLas Vegas, they are the favorite after-hours musicians of such people as Stan Kenton, Frank Sinatra, and Julie London, and once, when they tried to close an engagement that had already been held over six months, Jerry Lewis offered to pay them out of his own pocket to stay. I tell you all thisonly because you'll never CIRCLE NO 20 ON READER SERVICE CARD JULY1967 101 hear it from Jackie and Roy. They do not blow their own horn or hire pressagents. PERMANENT PROTECTION ! They sing because they lose what they do. And what they do has always been ahead of HI-FI its time. And now we have "Changes," which shows Review Jackie and Roy's maturity and keenaware- COMPONENTS ness of the current trends in music and the Deluxe Magazine Files world around them. There has always been that hold a full TAPE excitement and swing intheir work, but year's copies! here they even interpret theNOWstuff and manage to make it sound humorously gay, Designed tokeep your RECORDERS with crisp,floating beats and electrifying periodicals orderly and easy to refer to. These durable files guard against soiling, tearing, wear TAPES, ACCESSORIES two -voice counterpoints. They communicate emotionally in such an incredible way that or misplacement of issues. They look, feellike SLEEP LEARN KITS the Beatles' Norwegian Wood sounds like leather and are washable! 23kt. gold lettering and a exquisite 2 -color binding make them highly -deco- MERITAPE composition for symphony orchestra. Jack- rative additions to your bookshelves. ie's impeccable solo on Yesterdayisthe grooviest, most soul -stirring vocal I've heard Shipped POSTPAID! FULLY GUARANTEED! on this song, and I even got involved withOnly $3.50 each -3 for $10, 6 for $19 SAVE MONEY John Sebastian's absurd Can't Buy Me Love, which has a raunchy rock beat that sounds Order several today-for HIFI/STEREO REVIEW like a revival meeting and a jam session at and all your other favorite magazines. LOWEST PRICES the same time. None of the songs are really Jesse Jones Box Corp., Dept. HF INTEGRITY SERVICE monumental, yet Jackie and Roy do breath- Box 5120 FRANCHISED DISTRIBUTORS taking things with all of them. Philadelphia 41, Pa. BLACK MAROON BACKING/BACKING/ Jackie and Roy are ahead of their time, send me: WRITE FOR OUR VERY LOW Please MAROON BLACK but what a wonderful thing to be, considering TITLE PACKAGE QUOTATIONS CITY. SIDES SIDES the time they're in. On this tape they have HiFi/Stereo Review Nationally Advertised Brands added the spice, the herbs, and the occasional (Other publications Factory Sealed Cartons shipped in colors mushroom to the tasteless brew that passes available.) forNOWmusic, and they prove that with all Wore FREE CATALOG Total amount enclosed $ Visit Our Showrooms ourKitsch there's plenty of art around too. You just have to know where to look for it. DRESSNER R. R. name 1523 G JERICHO TPKE. NEW HYDE PARK, N.Y. RECORDING OF SPECIAL MERIT address 11040 MIRIAM NlAKEBA :All About Mir- city state zip -code iam. Miriam Makeba(vocals) ;Harold - - (Payment Must Accompany Order) - - - - CIRCLE NO. 17 ON READER SERVICE CARD Dodson(bass) ;Leopoldo Flemming (drums) ; Sivuca (guitar). Ballad of the Sad Young Men; Click Song; Four -Letter i Fi/Stereo Review DMABECTRONICS Words; Mds que nada; Mammy, What I, Heaven Like?; The Sound of a Drum; U SUBSCRIBER SERVICE Shaka; I Think I Ought; Yetentu Tizaleny; Please include an address label when writing about STEREOPACKAGE SPECIAL Maria Fulo; and two others. MERCURY STC 61095$5.95. your subscription to help us serve you promptly. BOGEN RT 7000 SOLID STATE 65 WATT Write to: Portland Place, Boulder, Colo. 80302 ALL TRANSISTOR STEREO RECEIV ; HeadphoneJack on Performance: Stirring FrontPanel. Meter, CHANGE OF ADDRESS: *-'AFFIX LABEL --* Recording: Superb TapeMonitor, Please let us know you automaticstereo Stereo Quality: Superb 1. - 1`1' 1 ItItte rert are moving atleast Ig. . switchingwith the Speedand Playing Time:71/2 ips; a "Stereo-Minder" 34'16" four to six weeks in a 3 `t§ 2 AR 40 SPEAKER SYSTEMS ,r. I signallight. ,-i Acoustic suspension Every single band on this tape is a knockout. advance.Affixmaga- - - - woofer for smoothness & zine address labelin quality. Dispersion cone Though I don't think it is Miriam Makeba's tweeter gives unmatched greatest collection (she'll have to go a long space to the right and power response & print new address be-be- ' I dispersion. Finish: oiled way to beat "The Magic of Makeba," the low.If you have a walnut cabinetry with g I last album under her old RCA Victor con- questionabout m GARRARDNEW 60 MK II grille fabric. your 5 Year Guarantee I 4 SPEEDAUTOMATIC tract), the whole thing seems happily re- subscription, attach TURNTABLE laxed. I'm glad to see that she drew upon her address label to your 1 c-=I Manynewfeatures marvelous way with American jazz ballads. letter. incl:Manual cueing 4La., I & pausedevice. Allthe distinctive South African clicking TO SUBSCRIBE: a'. P. , PLUS:SHURE M55E ------...\\-...... 4 ;-. Cartridgewith bi.radical sounds that made her reputation are heard Check boxes below. ------1 enI ellipticalstylus. Fine L'a here, but the real marvel D New D Renewal G, $74 5G '[ is the way she soundreproduction. li 13a,.. 4 50 - does Tommy Wolf's Ballad of the Sad Young CI 5years $21 I YOUSAVE TOTAL LIST 5508.45 i ,0 Men, whichisfast becoming one of the O 3 years $15 $158.95on the -I ampia jazz 1=1 1 year $6 FullPackage V ED" classics of American music. Listening to her bluesy, no -holds -barred voice let go on SPECIFY: 1 Year Warranty on Components this mournful and depressing song gave me T.I Please Write For Other Packages Ei Payment enclosed- the same kind of chill I felt when Ifirst You get 1 extra issue L-- ...e %._ _ .J heardEthelWaters singSupperlime.It per year as a BONUS! STEREO SYSTEMS -COMPONENTS Add.' postage SI per year outside I would be hard to find a more sympathetic 0 Bill me later. u S..Its possessions & Canada 1 AT LOW DISCOUNT PRICES rhythm section than the one that backs her 0339 uphere. Send For Our Quote Today! name please print We CarrAll the Famous Brands. Makeba's voice is by now overly familiar. I wish she would sing more and cut out the address DEFA ELECTRONICS CORP. tongue -on -palate tricks.Still,in everything 2207 Broadway, N.Y., N.Y.10024 she does she shows enormous responsibility city PHONE 874-0900 & 87443901 to her art. This tame is a valuable experience. CIRCLE NO. 15 ON READER SERVICE CARD R. R. state zip -code Ind HIFI/STEREO REVIEW VOW, get even lower price quotes from Connecticut's 10 nit.DISCOUNT SAVE $ ON i*)AA& HI -Fl TAPEHORIZONS EQUIPMENT By DRUMMOND Mc INNIS AND everything TAPES FOR TROOPS else: Accessories Anteinas Idon't know offhand what military uses there are for tape recorders, but Car Tape Players they seem to be extremely important in the leisure -time activities of our P,A..Nuipment Phor ographs servicemen. Judging from the many letters the editors of HIFI/STERE0 RadiDs receive from soldiers in Vietnam, their two principal uses for the Rotors REVIEW Test equipment recorder are (predictably) listening to music and corresponding with their TV's families on tape. Walkie-Talkies Although I am an old hand at corresponding on tape, I have never been II FRANCHISED DISTRIBUTOR MI FACTORY SEALED CARTONS more impressed with the effectiveness of this medium than when Iheard a SAVE MORE ON PACKAGE DEALS tape letter from a soldier in Vietnam to his parents. It was played on a radio station that I happened to tune in by chance, and I have not been One of the largest electronic centers able to get it out of my mind. On the night before a planned attempt to 1110in the Northeast. capture a hill from which enemy forces had been shelling his unit, the OUR 21st YEAR young man obviously felt an urge that must be common to allsoldiers who 565 Long Hill Rd. U.S. Rt. 1 Groton, Connecticut know that they will soon be going on a dangerous assignment-he wanted to Member Chamber of Commerc send a few words to those he loved. But instead of taking pen in hand, as CIRCLE NO. 23 ON READER SERVICE CARD those of an only slightly older generation would have done, he turned to his tape recorder. There was nothing maudlin on the tape, but the effect of a young soldier's voiced message to his family against the background of shells exploding around him was chilling. While there seems to be a good bit of this kind of "tapespondence" between the men in Vietnam and home, members of the Indiana Recording Club decided there could be more, and with the praiseworthy community spirit for which this organization is noted they formed what they call a Bridge from Home. Members of the IRC volunteered to record voice letters for local servicemen's families who did not have tape recorders. Newspapers and radio and television stations in several Indiana cities gave the project good coverage, which put the club in touch with a number of families who wished to send tape letters to sons, husbands, or fathers in the war zone. A similarly praiseworthy gesture was made early this year by Charles CELANESE D. Tandy, president of the Radio Shack chain of electronics stores: he invited the entire public to cooperate in keeping G. I. morale high by send- ing taped messages. A voice letter to any serviceman in Vietnam can be Acetate recorded free at any of Radio Shack's more than 150 retail stores; Radio Shack contributes the tape, the use of a recorder, and even postage. For those who do not know a serviceman in Vietnam but would like to When you think high fidelity, think acetate. No participate in providing recreation for the men, there is the Tapes for other film base has taken the place of acetate for fidelity of reproduction... resistance to Troops program. Many individuals, tape clubs, church groups, and profes- stretch...freedom from print through. With all sional societies send tapes of general interest to Vietnam (via Tapes for these advantages, acetate based tapes cost less. Troops, Headquarters 1st Logistical Command Special Services, APO San Celanese does not manufacture recording Francisco 96307). Here variety of material is stressed-comedy, music, tape. It produces and supplies acetate film for this purpose to leading tape manufacturers. excerpts from radio and TV shows, and so forth-because the tapes are passed from unit to unit, and the soldiers have the same variety of tastes that the rest of us do. According to Major M. L. Whiting, a special services officer in Vietnam, one of the principal benefits of the program is that it lets the men there know they have not been forgotten. He adds that stereo CELANESE MAN, TICS COMPANY equipment is available in most units, but mono tapes are also welcome. CIRCLE FO. 10 ON READER SERVICE CARD JULY1967 Ills HI-FI /STEREO REVIEWCLASSIFIED

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GENERAL INFORMATION: First word in all ads set in bold caps atno extra charge. Additional words may be set in bold caps at 100 extra per word All copy subject to publisher's approval. Closing Date: 1st of the 2ndpreceding month (for example. March issue closes January 1st). Send order and remittance to: Hal Cymes. HIFI/STEREO REVIEW, One Park Avenue, New York. NewYork 10016

EQUIPMENT SUDYMONT acoustic baffles. Plans $5.95: Baffle NOW AVAILABLE JAPAN'SFINEST AUDIO $26.95; with cabinet from $39.95. Send speaker EQUIPMENT -Turntables: TEIC (Magnefloat), size. SUDYMONT, 120 Liberty Str., New York KS. NEAT. Tonearms: Grace, Fidelity Research. WRITE for quotation on any Hi Fi components: City 10006. Sound Reproduction Inc.. 34 New St., Newark, Audio Technica, NEAT. Record Players: NEAT, N.J. 07102. Mitchell 2.6816. EVERYONE can afford HIGH FIDELITY com- KS, CORAL, CEC. Cartridges: Satin, NEAT, Micro ponents -because of our DISCOUNT policy. In- Seiki,FidelityResearch.Amplifiers,Tuners: KIT Experts-Dynaco Specialists -Kits at reason- suredguaranteed.Sendforour LOW -LOW Lux, CORAL. Receivers: Chryslers, Eroica, Tokai. able prices are our specialty. Also custom wired quote today. Sound and Sight Audio, Inc. 106 Speakers: CORAL. Chrysler, Lux, Sonics. Dealer kits guaranteed to exceed factory standards at West 32 Street, New York. N.Y. 10001. substantial savings. Beautiful handcrafted Wal- Inquiries invited, direct from importer toyou. nut cases for complete Dynaco line, plus every- DON'T THROW YOUR OLD CARTRIDGE AWAY. We can secure special items on request, advise Send us $19.95 and any old cartridge. We will make and model number. Audio Imports, 1415 thing in audio. Kitcraft, Dept. HS767, 738 Wash- NorthLilac Drive, ington Avenue, Brooklyn. N.Y. 11238. MA -2.5230. ship PREPAID any one of the following top rated Minneapolis,Minnesota elliptical diamond stereo cartridges NEW: Pick 55422. HI-FI ComponentsTape Recorders, at guaran- ering V15AME3, Empire 888SE, Shure M55E, teed "We Will Not Be Undersold" prices. 15 -day Stanton 500E, Shure M80ED (for Lab 80), M80- money -back guarantee. Two-year warranty. No ED19(for Dual1019). DEFA ELECTRONICS, FOR SALE Catalog. Quotations Free. Hi -Fidelity Center. 239 2207 Broadway, New York, N. Y. 10024. (HC) East 149th St., New York 10451. DYNAKIT, ACOUSTIC RESEARCH AND OTHER FREE! Send for money saving stereo catalog NAME brand stereo components at 10% over VIOLIN MAKERS SUPPLIES, Catalog 100-Artiar. H7R and lowest quotations on your individual dealer's cost! Interested? Send 100 for details Box 25, Torrance, Calif. 90507. component, tape recorder, or system require- to Stereo Club of America. PO Box 2474, M l- ELECTRONIC Bargains -Diodes. Transistors, ments. Electronic Values,Inc., 200 West 20th waukee. Wisconsin 53214. Tubes, Courses. Free Catalog -Immediate Ship- St., N.Y., N.Y. 10011. RECEIVING & INDUSTRIAL TUBES, TRANSIS- ment. Cornell, 4215-H University, San Diego. FREE Catalog Electronic parts, tubes. Wholesale. TORS, All Brands -Biggest Discounts. Techni- Calif. 92105. Thousands of items. Unbeatable prices. Arcturus cians, Hobbyists, Experimenters -Request FREE TELEPHONE RECORDER -ACTUATOR (TWI-007). Electronics ZD, 502.22St.,UnionCity,N.J. Giant Catalog and SAVE! ZALYTRON, 469 Jeri- SOLID STATE MODULE AUTOMATICALLY 07087. cho Turnpike, Mineola, N.Y. 11501. TURNS TAPE RECORDER, AMPLIFIER, INDI- TAPE recorders. Hi-Fi components. Sleep Learn- HI -Fl Equipment at largest discount. Catalog. CATOR LIGHT ON WHEN TELEPHONE IN USE. ing Equipment tapes. Unusual values. Free cata- Macalester Corporation, 355 Macalester, Saint CONNECTED ANYWHERE ON LINE. SIMPLE log.Dressner,1523R Jericho Turnpike, New Paul, Minnesota 55105. INSTALLATION INSTRUCTIONS INCLUDED. Hyde Park, N. Y. 11040. PREPAID $22.85. SURVEILLANCE RECORDERS: SEND us $9.95 and any old cartridge. We will LONDON CALLING AMERICA! BUY BRITISH (TWI-1000), (TWI-1010). TWILIGHT ELECTRON- ship you prepaid any one of these cartridges ICS, BOX 11595-H, ST. LOUIS, MISSOURI 63105. HI -Fl EQUIPMENT DIRECT FROM THE U.K. HI- New -Shure M3D, Empire 880P, ADC 770, Pick- FI MAIL ORDER SPECIALISTS AND SAVE UP ering V15AC2, Empire 808. Pickering V15AT2, JAPAN & Hong Kong ElectronicsDirectory. TO 40%. FREE PRICE LIST AVAILABLE OR Shure M7/N21D, Grado BTR. Write for lowest Products, components, supplies. 50 firms -just MAIL $1.00 BILL FOR FULLY ILLUSTRATED quotationsallstereo components, Defa Elec- $1.00. Ippano Kaisha Ltd., Box 6266, Spokane, CATALOG. ($2.00 AIR POST.) C. C. GOODWIN tronics, 2207 Broadway, N.Y., N.Y. 10024. Washington 99207. (SALES)LTD., 7, THE BROADWAY, WOOD JAPANESE PRODUCTS CATALOG by air mail $5. GREEN, LONDON, N.22, ENGLAND. ADC Point 4-E cartridge $12. Shure M33-5 $8. M3 -21D $5. Steelman Transitape recorder $25, sea$3. Intercontinental,CPO1717,Tokyo. LOW, Low quotes: all components and recorders. Phonotrix 88 with case $15. Sharp HA -10 head- Japan. HiFi, Roslyn, Penna. 19001. phones $10, HA -8 $5. Jack Atkins, 1375 27th, POLICE RADIO. Hear all police calls, fire depart- GOVERNMENT Surplus Receivers, Transmitters. Ogden, Utah 84403. ments, Sheriffs, taxis, ambulances, Highway Pa- Snooperscopes, Radios. Parts, Picture Catalog THE Price Is Right! Hi-Fi Components. J. Wright trol. New 5 band portable radio and direction 25c. Meshna, Nahant, Mass. 01908. Co., 65-B Jensen St., East Brunswick, N.J. 08816. finder. Free booklet. NovaTech, Dept. 204, Re- dondo Beach, Calif. 90278. EICO RP100 Tape Deck. Year old. Perfect con- .- CLASSIFIED ADVERTISING ORDER FORM dition. With carrying case, $250.Pickett.117 Please refer to heading on first page of this section for Hackberry Avenue, Houma. Louisiana 70360. frequency discounts, closing dates, etc. complete data concerning terms, ALUMINUM Soldering Handbook -solder aluminum with regular 50/50 wire solder, no special fluxes.Complete stepbystepinstructions. 1 2 4 5 Handbook $1.00. Non-ferrous Metals, Box 1024, Project City, Calif. 96079. 6 7 8 10 MESHNA'S TRANSISTORIZED CONVERTER KIT. Converts car radio to receive police and fire. 11 12 13 14 15 30.50 MHz and 100-200 MHz (one MHz Tuning). $5.00 with easytofollow step instructions. 16 17 18 19 20 Meshna, No. Reading, Mass. 01864. 21 22 23 24 25 PHOTOGRAPHY -FILM EQUIPMENT, SERVICES 26 27 28 29 30

31 32 33 SCIENCE Bargains -Request Free Giant Catalog 34 35 "CJ" -148 pages -Astronomical Telescopes. Mi- ) @ $.45 Reader Rate croscopes. Licenses, Binoculars, Kits. Parts, War Words surplus bargains. Edmund Scientific Co., Bar- @ .75 Commercial Rate = rington, New Jersey 08007. Insert time(s) MEDICAL FILM -Adults only -"Childbirth" one Total Enclosed $ reel, 8mm $7.50, 16mm $14.95. International H. NAME Greenvale, Long Island, New York 11548. WALL MURALS from your 35mm Black and ADDRESS White negatives 40X60" $20.00, 60X90" $40.00. ENDACOM, Box342, EastHartford,Conn. CITY STATE ZIP 06108. SIGNATURE HYPNOTISM WORD COUNT: Include name and address. Name of city (Des Moines)or of state (New York) counts as one word each. Zone or Zip Code numbers not counted. (Publisher reserves right to omit Zip Code ifspace does not permit.) Count each abbreviation, initial. single figure or group of figuresor letters as a word. Symbols such as 35mm. FREE Hypnotism, Self -Hypnosis, Sleep Learning COD, PO, AC. etc.. count as one word. Hyphenated words countas two words. HF-767 Catalog! Drawer H400, Ruidoso, New Mexico L 88345. 104 HIFI/STEREO REVIE\V FREE CATALOGS Broadcasts, Sound Tracks of Thirties. ARG, 341 Cooper Station, New York MUSICAL INSTRUMENTS City 10003. TUBES

RECORDERS (Flutes), Gambas, Lutes, Catalog- DON'T BUY TUBES -Radio, TV-Xmitting, spe- Artlar, Box 25, Torrance, Calif. 90507. WANTED cial-purpose types until you get our price list! Lowest pricesinU.S.A. 5,000 types -Guaran- QUICKSILVER, Platinum, Silver, Gold. Ores Ana- teed Brand New. Send postcard for TV -Special TAPE AND RECORDERS lyzed.Free Circular. Mercury Terminal, Nor- Purpose Price List. UNITED RADIO COMPANY, wood, Mass. 02062. P.O. BOX 1000, NEWARK, NJ. 07101. RENT Stereo Tapes -over 2,500 different -all WANTED Sammy Kaye, Columbia LP, Dance Till major labels -free brochure. Stereo Parti, 1616-G Tomorrow. McCormack, 4544 Catina,Dallas, MOVIE FILMS Terrace Way, Santa Rosa, California 95404. Texas 75229. BEFORE RENTING Stereo Tapes try us. Postpaid bothways -nodeposit -immediatedelivery. 16mm SOUND -Projectors, Films, New, Used for Quality -Dependability -Service - Satisfaction - AUTHORS' SERVICES Sale, Free Catalog. National Cinema, 333 W. 57 prevail here. If you've been dissatisfied in the St., N Y., N.Y. 10019. past, your initial order will prove this is no idle boast. Free catalog. Gold Coast Tape Library, AUTHORS! Learn how to have your book pub- Box 2262, Palm Village Station, Hialeah, Fla. lished, promoted, distributed. Free booklet "ZD," EDUCATIONAL 33012. Vantage, 120 West 31 St., New York 10001. OPPORTUNITIES RENT 4 -TRACK STEREO TAPES -Dependable SHORT STORY Criticism -Lowest rates, expert service our keynote -ALL MAJOR LABELS -FREE service. Send stamped envelope for information. LEARN While Asleep, hypnotize with your re- CATALOG (48 States)-TRIMOR Company, P.O. Box 1313, Boulder, Colorado 80302. corder, phonograph. Astonishing details, sensa- Box 748, Flushing, N.Y. 11352. tional catalog free! Sleep -Learning Association, POEMS WANTED for new song hits and record- Box 24-ZD, Olympia, Washington 98501. STEREO TAPES. Save up to 60% (no member- ings by America's most popular studio. Tin Pan ship fees, postpaid anywhere USA). Free 60 -page Alley, 1650-ZD Broadway, New York 10019. LEARN WHILE ASLEEP. Miraculously build Mind catalog. We discount batteries, recorders, tape Power, achieve Self Confidence. improve Health, accessories. Beware of slogans "not undersold," gain Success. Method 92% effective.Details as the discount information you supply our com- free. ASR Foundation. Box 7021EG Henry Clay petitor is usually reported to the factory. SAXI- RUBBER STAMPS Sta., Lexington, Kentucky 40502. TONE, 1776 Columbia Road, Washington, D.C. 20009. RUBBER ADDRESS STAMP $1.50. SIGNATURE TAPE RECORDER SALE. Brand new, nationally $2.88. FREE CATALOG. JACKSON PRODUCTS, GOVERNMENT SURPLUS advertised brands, $10.00 above cost. Arkay 1433 WINNEMAC, CHICAGO, ILL 60640. Sales Company, 1028-A Commonwealth Avenue, Boston, Mass. 02215. JEEPS Typically From $53.90 . . . Trucks From $78.40 . . . Boats, Typewriters, Airplanes, Elec- TAPES. Recorders. Stereo Tapes. Catalog -54 REPAIRS AND SERVICES tronicsEquipment,PhotographicEquipment, stamp. Tower, Lafayette Hill, Pa. 19444. used. 100,000 Bargains Direct From Govern- HI-FI Components Tape Recorders, at guaran- ment. Complete Sales Directory and Surplus teed "We Will Not Be Undersold" prices. 15 -day ALL Makes of Hi-Fi Speakers Repaired. Amprite, Catalog $1.00 (Deductible First $10.00 Order). money -back guarantee. Two-year warranty. No 168 W. 23 St., N.Y.C. 10011. CH 3-4812. Surplus Service. Box 820-L, Holland, Michigan Catalog. Quotations Free. Hi -Fidelity Center, 239 49423. (HT) East 149th St., New York 10451. BUSINESS OPPORTUNITIES SCOTCH RECORDING TAPE, highest quality, lowestprices. TAPE CENTER, 398 National EMFLOYMENT INFORMATION Press Bldg., Wash., D.C. 20004. INVESTIGATE ACCIDENTS: Earn up to $1,000 RENT STEREO -8 CAR TAPES. 104/day. Send re- and more a month in your own business. Work fundable $10.00 deposit name of first selec- spare time with average earnings of $5 to $8 FOREIGN and USA job opportunities available tion. Autotapes, Box 19086-A, Indianapolis, Ind. per hour. No selling. Send for FREE booklet. now.Construction,alltrades.Earningsto 46219. No obligation. No salesmanwillcall.Write: $2,000.00 monthly. Paid overtime,travel, Universal Schools, CZ -7, 6801 Hil!crest, Dallas, bonuses. Write: Universal Employment, Wood- RENT STEREO TAPES -754 week. Catalog. Art's, bridge, Connecticut 06525. 1442 Blaze, Simi, Calif. Texas 75205. TAPE RECORDERS direct from importer. Three I MADE $40,000.00 Year by mailorder! Helped FOREIGN EMPLOYMENT. Construction, other motor, six head, automatic reverse. Famous others make money! Start with $10.00 -Free work projects. Good paying overseas jobs with make. Also battery with A.G.C. All solid state. Proof. Torrey, Box 318-N, Ypsilanti, Michigan extras, travel expenses. Write only: Foreign Ser- Write for special prices, duty paid. American 48197. vice Bureau, Dept. D, Bradenton Beach, Florida Dokorder HF2, Box 2494, Culver City, California FREE BOOK "990 Successful, Little -Known Busi- 33510. 90230. nesses." Work home! Plymouth -145G, Brooklyn, TWO Track Stereo prerecorded tapes original New York 11218. tapes inoriginal boxes. James Lehman, 741 MAKE up to $10,000 a year raising chinchillas, MISCELLANEOUS Belmeade, Corpus Christi, Texas 78411. mink, rabbits or guinea pigs for us. We supply BLANK RECORDING CARTRIDGES: 4 -Track -30 breeding stock, equipment and feed. Send $1.00 WINEMAKERS: Free Illustratedcatalogof minutes, $1.99; 60 minutes, $3.50. 8 -Track -30 for catalog and complete information. Keeney yeasts, equipment. Semplex, Box 7208, Minne- minutes, $1.65; 60 minutes, $2.99. 30 minute Brothers Farms, Dept. ZE, New Freedom, Pa., apolis, Minn. 55412. cassette, $1.55. CARMASTER, 306 West 100th 17349. Street, New York City 10025. SPARE TIME OPPORTUNITY -MONEY WE PAY $10 lw. for NOTHING but your opinions, written INSTRUCTION from home about our clients' products and pub- RECORDS lications, sent you free. Nothing to buy, sell, canvass, or learn. No SKILL NO GIMMICKS. LEARN Electronic Organ Servicing at home. All Just honesty. Details from RESEARCH, ZD-5, PROTECT YOUR LPs: Heavy poly sleeves for makes including transistors. Experimental kit - Box 669, Mineola, N.Y. 11501. jackets 54; poly lined paper sleeves for LPs trouble -shooting. Accredited NHSC, Free Book- 104; round bottom inner sleeves 3'/24; Record let. Niles Bryant School, 3631 Stockton, Dept. A, AS YOU SCAN THESE COLUMNS, more than jackets white 204, colors 254. Minimum order Sacramento, Calif. 95820. 167,000 monthly buyers of HiFi/STEREO RE- $5.00. Record Supplies,HillburnP.0., New VIEW are doing the same. These readers share York 10931. ASSOCIATE Degree in Electronics Engineering earned through combination correspondence - with each other the satisfaction derived from RARE 78's. State Category. Write Record -Lists, classroom educational program. Free brochure. active involvement in the enjoyment of recorded P.O. Box 2122. Riverside, California 92506 Grantham Technical Institute, 1505 N. Western music. HiFi/STEREO REVIEW readers look to the "HARD To Get" records -all speeds. Record Ex- Ave., Hollywood. California 90027. pages of the CLASSIFIED each month for prime change, 812 Seventh Avenue, New York, N.Y. sources of products and services of interest to HIGHLY Effective home study review for FCC them -Components, Accessories, Tape, Records 10019. CommercialPhoneExams.Free Literature. -everything they need to make their favorite CASH for your unwanted LPs. Reder, 81 Forshay Cook's School of Electronics, P.O. Box 36185, special interest even better. Are they buying Road, Monsey, New York 10952. Houston, Texas 77036. from you? They will, you know, if your classified HARD to find collectors LPs, Like new, Lists 254. REI First Class Radio Telephone License in (5) adverisingappearsregularlyinthesecol- Records, Hil!burn, New York 10931. weeks Guaranteed. Tuition $295.00. Job place- umns A handy order form is supplied for your RENT STEREO RECORDS, $1.00 three days. ment free. (KANSAS CITY) R.E.I., 3123 Gillham use this month. To appear in the next available FREE offer -write DISCO -TAPE, P.O. Box 5202. Road, Kansas City,Missouri, Telephone WE issue, September, on sale August 17th, forward HF, Sta. #4, North Hollywood, California 91604. 1-5444. (SARASOTA) R.E.I., 1336 Main Street, copy and payment before July 1st closing dead- Sarasota, Florida, Telephone 955-6922. line to: Hal Cymes, Classified Advertising Man- COLLECTORS JOURNAL -valuable data, varied ager, HIFI/STEREO REVIEW, One Park Avenue, recordmart. Sixissues -$1.50.Record Re- HIGHLY effective home study course inElec- New York, N. Y. 10016. search, 131 Hart, Brooklyn, N.Y. 11206. tronics Engineering Mathematics with circuit PLASTIC lined inner sleeves, with identification applications. Earn your Associate in Science EMPLOYMENT Resumes. Get a better job & earn window. White cardboard covers, 45 and 78 Degree. Freeliterature.Cook'sInstituteof more! Send only $2.00 for expert, complete Re- sleeves. Free details, samples 504. Cabco, Dept. Electronics Engineering. P.O. Box 36185, Hous- sume Writing Instructions. J. Ross, 80-34 Kent 119, 89 East Woodruff, Columbus, Ohio 43201. ton, Texas 77036. (Established 1945). St., Jamaica, N.Y. 11432. Dept. HF. JULY 1967 105 HI FI/ STEREO REVIEW ADVERTISERS'INDEX

READER SERVICE NO. ADVERTISER PAGE NO. READER SERVICE NO. ADVERTISER PAGE NO.

1 Acoustech,Inc 85 31 Kenwood Electronics,Inc. 65 2 Acoustic Research,Inc. 34 32 KLH Research & Development Corp. 21 3 Altec Lansing Corporation 11 4 AmpexCorporation 24 33 Lafayette Radio Electronics 91 5 Audio Originals 75 7 Lear Siegler,Inc. 28 AudioUnlimited 97 London Records 81

6 Benjamin Electronic Sound Corp. 85 34 Mace Records 83 7 Bogen Communications 28 35 Marantz.Inc. 30 103 BritishIndustries-Garrard 2 37 MartelElectronics 78 8 BSR (USA) Ltd.. McDonald Division 86 36 MatsushitaElectric Corp.of America 2nd Cover 30 Minneapolis Honeywell 89 38 9 Carston Studios 94 McIntosh LaboratoryInc. 95 10 Celenese Plastics Company 103 11 Citadel Record Club 5 39 Neshaminy Electiionic Corp. 26 12 Columbia Records 69 13 Columbia Stereo Tape Club 7 36 Panasonic 2nd Cover 14 Command Records 72 41 Pickering & Company, Inc. 3rd Cover 40 Pioneer Electionics Corp. 6 15 Defa Electronics Corp. 102 16 Deutsche Grammophon (DGG) 74 42 Rabsons-57th Street.Inc. 94 17 Dressner 102 43 Record Club of America 9 57 Dual 25 44 RCA Victor Reccrds 66 18 Uynaco. Inc. 27 45 Rheem Roberts 10

46 Sansui Electric Co., Ltd. 20 Eastman Kodak Company 73 101 100 Scott,Inc., H. H. 19 ElectroVoice, 4th Cover 1 47 Sherwood ElectronicLaboratories,Inc. 33 21 Elpa Marketing Industries Inc.. ReVox Division 8 48 Shure Brothers,Inc 19 22 Empire Scientific Corp. 75 49 SonotoneCorporation 93 50 Sony Corp. of America 29 23 F.E.I. 103 51 Sony Corp. of America (Radio & TV Div.) 13 24 Finny Company. The 97 52 Sony/Superscope.Inc. . 22 25 Finny Company, The 100 53 Sony/Superscope. Inc. 23 26 Fisher Radio Corporation 14,15 54 Sound Reproduction. Inc. 96 27 Fuji Photo Optical Products, Inc. 96 55 TeacCorporation 98

28 Heath Company 71 37 Uher by Martel 29 Hi -Fidelity Center 100 78 56 uniClub,Inc. 30 Honeywell Photogaphic Products 89 12 57 United Audio 25 39 JansZen Loudspeakers 26 58Vanguard Records 79

Classified Advertising 104.105

HI FI/ STEREO REVIEW PRODUCT INDEX As an additional reader service,we list below, by classifications, the products advertised in this issue.If there is a specific product you are shopping for, look for its listing and turn to the pages indicated for the advertisements of manufacturers supplying that equipment.

CLASSIFICATION PAGE NUMBERS CLASSIFICATION PAGE NUMBERS

Amp:ification System 29, 30. 85 Records 66. 69.72. 79, 81. 83 Antennas, FM 97 Record and Tape Clubs 5,7, 9,12

Cabinets 75 Speakers and Speaker Systems 11, 21, 26, 34, 75, 4th Cover Cameras 89, 96. 101 Cartridges 3rd Cover Catalogs 91. 95 Tapes, Recording 103

Tape Recorders and Decks 2nd Cover. 8.10,22, 23. 24, 78, 91 Microphones 93 Test Records 19 Music Systems 1.13 Tuners 15. 27, 30, 73 Receivers, Stereo 6.33. 65.71, 91. 4th Cover Turntables and Chansons 2, 25, 28. 30. 85. 86

106 Printed in U.S.A. HIFI/STEREO REVIEW The new Pickering V-15/3 Micro -Magnetic'" stereo cartridge proves that cleaner grooves combined with cleaner tracing result in cleaner sound. The built-in Dustamatic'" brush assembly automatically sweeps dust particles from the groove before the stylus gets there; and the new moving system reduces tracing distortion close to the theoretical minimum, thanks to Dynamic Coupling of the stylus tip to the groove. There are four "application engineered" Pickering V-15/3 Dustamatic models to match every possible installation, from conventional record changers to ultrasophisticated low -mass transcription arms. Prices from $29.95 to $44.95. For free literature complete with all details, write to Pickering & Co., Plainview, L.I., New York.

CIRCLE NO. 41 ON READER SERVICE CARD For those who can hear the difference. Pickering I giee.ZSekc 8texeo STA1ZTER0SET

sets the pace in component home music sYstems

Nowhere is the soundness of the of thisreceiver to meet tomorrow's critical. Nothing has been lost-nothing 0component approach to home needs. Right from the start you enjoy made obsolete. music better demonstrated than with the FM stereo with remarkable clarity. Yet In essence, the E -V Starter Set offers new Electro-Voice Starter Set. you can expand your musical horizons you more than the initial pleasure of The unique value of this system lies as you wish, adding any component fine high fidelity. It is designed to grow -in large part-in the modestly -priced stereo record player or tape recorder and change with your personal needs- E -V ELEVEN speaker systems. These at any time. and without compromising your stand- compact basic starter units offer a most But the Starter Set goes further, pro- ards of musical reproduction. pleasant appearance and surprisingly viding all the power and quality needed You'll be surprised atthe modest robust performance ...conclusive proof to accommodate the very largest-and initial cost of the E -V Starter Set- and that the advantages of component re- smallest-component speakers available. at how much it offers. Take the first step production need not be expensive. If you eventually desire even finer toward a lifetime of musical pleasure. But the principal unit of the Starter speaker systems, they're easily added. Write today for full details, or listen to .Set is the E -V 1177* FM Stereo receiver Your E -V ELEVEN's may thenbe theStarterSetatfinehighfidelity ... and rightly so. For the future of moved to a second listening location showrooms everywhere. your stereo system rests on the ability where requirements are perhapsless *Also available with E -V 1178 AM/FM Stereo Receiver

high fidelity speakers and systems tuners, amplifiers, receivers public address loudspeakers microphones phonograph needles and cartridges organs space anddefense electronics

ELECTRO-VOICE, INC., Dent. 774F, 616 Cecil Street, Bud 9 nan. Michigan 4910 CIRCLE NO. 19 ON READER SERVICE CARD *CC