High-Fidelity-1965-Dec.Pdf

REVIEWS OF MORE THAN 150 NEW RECORDS AND TAPES

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The new Fisher 440 -T all -transistor stereo J would like to give- because it is the kind OVERSEAS NO CANADIAN RESIDENTS PLEASE WRITE TO FISHER RADIO 1 ZONAL, INC.. LONG ISLAND CITY, N.Y. 11101. state FM- multiplex tuner, solid -state stereo center -all on a single 163/4 " x 11" chassis cuitry, incorporating the most recent develc 440 -T were expensive, you would say, "Ni cost only $329.50, plus $24.95 for the op

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From the softest flutter of the woodwinds to the floor- shaking boom of the bass drum, natural sound begins with Pickering. Right where the stylus meets the groove. Any of the new Pickering V -15 stereo cartridges will reproduce the groove, the whole groove and nothing but the groove. That's why a Pickering can't help sounding natural if the record and the rest of the equipment are of equally high quality. To assure compatibility with your stereo equipment, there are four different Pickering V -15 pickups, each designed for a specific application. The new V- 15AC -2 is for conventional record changers where high output and heavier tracking forces are required. The new V- 15AT -2 is for lighter tracking in high -quality automatic turntables. The even more corn - pliant V- 15AM -1 is ideal for professional -type manual turntables. And the V- 15AME -1 with elliptical stylus is the choice of the technical sophisticate who demands the last word in tracking ability. No other pickup design is quite like the Pickering V -15. The cartridge weighs next to nothing (5 grams) in order to take full advantage of low -mass tone arm systems. Pickering's exclusive Floating Stylus and patented replaceable V -Guard stylus assembly protect both the record and the diamond. But the final payoff is in the sound. You will hear the difference.

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www.americanradiohistory.com Page 56 high fidelity

Page 48 Music and Musicians 47 Why Save the Old Met ? -an editorial 48 Sibelius and the Tide of Taste William R. Trouer 56 When Records Reached the Supermarket Roland Gelait 14 Notes from Our Correspondents: New York, London, Paris

Sound Reproduction 36 High Fidelity Newsfronts: New York High Fidelity Show 54 Stereo Accessories Under $50 61 Stereo Question Box Norman Eisenberg 67 Equipment Reports Fisher TX 200 Amplifier McIntosh MI -3 Maximum Performance Indicator Euphonics Cartridge System Bozak B -4000 Speaker System Concord R -2000 Tape Recorder

Reviews of Recordings 28 A Harvest of Hosannas: Christmas records Peter G. Davis 32 The Sonic Showcase 75 Feature Record Reviews Berg: Wozzeck (Soloists; Chorus and Orchestra of the Deutsche Oper Berlin, Karl Böhm, cond.) Bach: Brandenburg Concertos (Berlin Philharmonic Orchestra, Herbert von Karajan, cond.; Marlboro Festival Orchestra, Pablo Casals, cond.) 77 Other Classical Reviews 120 Reissues 125 The Lighter Side 133 Jazz 139 The Tape Deck 142 General Index, 1965

DECEMBER 1965 VOLUME 15 NUMBER 12

Published monthly at Greet Barrington, Mass., by The Billboard Publishing Co. Copyright m 1965 by The Billboard Publishing Co. The design and contents of Nigh Fidelity Magazine are fully protected by copyright and must of be reproduced in any manner. Second-class postage paid at Great Barrington and at additional mailing offices. Authorized as ,nand ,ccless mad by the Post Olfice Department, Ottawa, and for payment of postage m cash. Nigh Fidelity /Musical America Edition published monthly except December when it is published semi. monthly. Subscription Anywhere on Earth 59. National and other Editions published monthly. Subscription Anywhere on Earth 57. Indexed in the "Meader s Guide to Periodical literature." Change of address notices and undelivered copies (Form 35791 should be addressed to Nigh Fidelity, Subscription Department, 2160 Patterson Street, Cincinnati. Ohio 45214.

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'l'I1''l'OP Cover: Detail from a triptych by Fra Angelico, c. 1435, now in San Marco Museum, Florence.

SHAPE... Roland Gelatt Editor in Chief

Joon Griffiths Executive Editor

Normars Eisenberg i1T Audio Editor Sue Severn / Managing Editor ALWAYS USING Peter G. Davis Assistant Editor

Shirley Fleming / TIP-TOP Managing Editor Musical America Section

Leonard Marcus TAPE! Special Projects Editor Roy Lindstrom Art Director

Nathan Broder TARZ/AN R. D. Darrell Alfred Frankenstein Conrad L. Osborne Robert C. Marsh A good tape recorder deserves good care. Handle yours respect- Contributing Editors

fully, maintain it regularly, and protect it by using brand -name Claire N. Eddings tape exclusively. Director of Advertising Sales

Off- brands and "white box" tapes are manufacturer rejects! They Walter F. Grueninger Director give you no assurance of quality in performance, and they may Circulation seriously damage the magnetic recording head in your instrument. Warren B. Syer Brand -name tape protects you and your recorder. Publisher

Of course, we hope you'll choose Tarzian Tape. (Triple your A D V E R T I S I N G tape recording fun; buy it three reels at a time.) The finest materials, Main Office Claire N. Eddings, The Publishing House most advanced manufacturing techniques, and strictest quality con- Great Barrington, Mass. 01230 Telephone: 1300 can't do better. trol are your assurance that you New York 165 West 461h St., New York 10036 Telephone: Plaza 7 -2800 Seymour Resnick, Andrew Spanberger FREE: Our brand -new 24 -page booklet, Norman Redmon (Musical America Section) how "Everybody's Tape Recording Handbook," tells you to get Chicago more out of your recordings. Write for your copy. Taylor/ Friedman 333 N. Michigan Ave., Suite 314, Chicago 60601 Telephone: 332 -7683 Jerry Taylor, Jerry France SARKES TARZIAN, Inc. Los Angeles World's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems 434 So. Son Vicente Blvd. Broadcast Eouipment Air Trimmers FM Radios Semiconductor Devices Los Angeles 90048 Telephone: Olympia 2 -2100 MAGNETIC TAPE DIVISION BLOOMINGTON, INDIANA Robert J. Friedman, Joseph P. Diamond i Export: Ad Auriema, Inc., N.Y. Canada: E. J. Piggott Enterprises Ltd., Toronto, Ont. CIRCLE 69 ON READER -SERVICE C.A "D 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW FROM COMMAND ALL FOUR BRAHMSsMEs MIGHTY BRAHMS SYMPHONIES .0 M.. ,.042.w;,14 o62.10R-OWL;.--. IN ONE SUPERB '..'...».2!..'.1.: .WÍf)F01'140 COLLECTION .-...v...... wrlavar(2642ea William Steinberg and The Pittsburgh Symphony Orchestra With each Command release of a Brahms symphony, a new pin- In addition to his work with the Pittsburgh Orchestra, he will nacle of recording history was reached. again conduct the New York Philharmonic during the 1966 -67 Now, all four Brahms Symphonies have been combined by Com- season. The Brahms recordings were recorded with Command's mand in one superb 4- record package. And you may now possess almost fanatical dedication to technical perfection and excellence. the complete Brahms symphonic library recorded by the orchestra Unquestionably, this volume of all four Brahms Symphonies will which Eugene Ormandy has called one of the six greatest orches- be among the finest and most enjoyable recordings in your entire tras in the world . . . The Pittsburgh Symphony conducted by record collection. William Steinberg. Presently, Musical Director of the Pittsburgh Symphony, Dr. SYMPHONY No. 3 IN F MAJOR, OPUS 90 Steinberg has also directed the London Philharmonic and most SYMPHONY No. 1 IN world famous orchestras. Steinberg has appeared at Tanglewood. C MINOR, OPUS 68 Plus the TRAGIC OVERTURE the Hollywood Bowl, and major European festivals. During the SYMPHONY No. 2 IN IN D MINOR, OPUS 81 D MAJOR, OPUS 73 SYMPHONY No. 4 IN for 12 1964 -65 season he conducted the New York Philharmonic E MINOR, OPUS 98 weeks and was also guest conductor at the Metropolitan Opera. 2 DRAMATIC NEW CLASSICAL ALBUMS BRAHMS BEETHOVEN SYMPHONY NO 4 N E MNOR. ORTS 98 SYMPHONY NO.5 IN C MINOR OPUS 61 M1sr4 Sitfil* n, ram :101111% r'p 1ll7S111614 - BRAHMS Symp. No. 4, E Min., Op. 98 #11030 BEETHOVEN Symp. No. 5, C Min., Op. 67 #11031 William Steinberg And The Pittsburgh Symphony Orchestra

AVAILABLE IN STEREO & MONAURAL RECORDS AND 4 -TRACK TAPE AT ALL LEA DING IIECORI) OUTLETS PLUS A SPECIAL OFFER OF TWO COMMAND CLASSICAL SAMPLERS berg ... Pittsburgh Symph. Orch. (11031 SD). Nt:).5 SAINT -SAENS - Minuet & Gavotte. Op. 65. Hambro & Zayde (11013 SD) PAY ONLY VERDI - String Quartet in E Minor. 4th Movement. Steinberg ... Pitts burgh Symph. Orch. (11027 SD) (.i1i i1w ./. 1i1, 111,n.,m.J11 THESE ALBUMS NOT AVAILABLE IN STORES $ 298each To obtain your Command Sampler albums, order direct by mail- OR BOTH ALBUMS ing this convenient coupon. You may select either album for COMMAND CLASSIC COMMAND CLASSIC only $2.98 each, or both albums for just $5.00 (Command Stereo SAMPLER ,;.4 SAMPLER =5 FOR $5.00 albums sell nationally up to $5.79 each). Your albums will be shipped postpaid - Command pays all postage and handling. COMMAND CLASSICS SAMPLER 4 Order as many albums as you wish, but don't delay ... mail your BEETHOVEN - Symphony No. 7 in A, Opus 92, 3rd Movement, Steinberg order today. . Pittsburgh Symph. Orch. (11014 SD) r BRAHMS - Symphony No. 1 in C minor, Opus 68, 3rd Movement, Stein- berg ... Pittsburgh Symph. Orch. (11011 SD) COMMAND RECORDS DEPT. HF -12 RACHMANINOFF - Prelude in G minor, Opus 23, No. 5 from the Album Post Office Box 2567 "Piano 'Pops' Promenade" Hambro and Zayde (11023 SD) Church Street Station, New York, N.Y. 10036 DEBUSSY - Fetes (From Trois Nocturnes) Dervaux ... L'Orchestre des Concerts Colonne (11008 SD) Gentlemen: Please send me the Command Sampler Albums I SCHUBERT - Symphony No. 3 in D Major, 2nd Movement. Steinberg have checked below. I understand Command pays all postage . Pittsburgh Symph. Orch. (11017 SD) and handling costs. BACH - All Men Are Mortal, S. 643, (Alle Menschen Mussen Sterben) QUANTITY ALBUM PRICE TOTAL Virgil Fox at the Organ (11022 SD) CLASSICAL SAMPLER 4 BEETHOVEN - Symphony No. 4 in B Flat, Opus 60, 3rd Movement Stein- berg ... Pittsburgh Symph. Orch. (11016 SD) STEREO Only @ $2.98 CLASSICAL SAMPLER 5 5 STEREO Only @ $2.98 COMMAND CLASSICS SAMPLER SPECIAL OFFER BRAHMS - Symphony No. 4 in E Minor, Op. 98, 3rd Movement. Stein- berg ... Pittsburgh Symp. Orch. (11030 SD) (Both Albums) @ $5.00 106 Daniel Barenboim BEETHOVEN - Sonata 29 (Hammer -Klavier) Op. Enclosed is $ (Check or Money Order) (11026 SD) FAURE - Nocturne. Virgil Fox Plays The John Wanamaker Organ NAME (11025 SD) ADDRESS BEETHOVEN - Symphony No. I in C, 3rd Movement Op. 21. Steinberg . Pittsburgh Symp. Orch. (11024 SD) CITY ZONE STATE BEETHOVEN - Symphony No. 5, C Minor. Op. 67. 1st Movement. Stein- L CIRCLE 19 ON READER -SERVICE CARD DECL\1BER 1965 5

www.americanradiohistory.com HOW TO BUILD YOUR OWN STEREO TAPE RECORDER...

l'he Ives Homestead Sir: During a trip through Connecticut last summer, my wife and I decided to stop in Danbury for the express purpose of visiting Charles Ives's birthplace there and to see his later home in nearby West Redding. After making several inquiries it soon became evident that hardly anyone with whom we talked had even heard of the composer and seemed to regard our search for Ives's homestead as a.de- Start out by engineering a mechanical transport to move tape from one reel cidedly eccentric project. We eventually to another, tracking accurately within 1/5000 inch over three hyperbolic found Ives's niece. who was most gracious at 3 and 7 ips. Tape must run very smooth to hold flutter heads -3/4 -I/2 and directed us to the composer's home. and wow below 0.2 %. Provide high speed- take -up and rewind with a dependable brake system to stop the tape instantly without snapping or During our visit we learned that the stretching. Add tape lifters, counter, automatic stop, pause control, house must he moved or torn down to cueing. Connect a fool -proof record interlock to the amplifier section. De- slake room for a bank parking lot. The sign separate amplifiers for recording and playback with a 30- 18,000 cps Danbury Scott -Fanton Museum and His- frequency range and facilities to monitor the tape while recording. Pro- torical Society had been given the house vide a bias /erase frequency of 95KC, signal -to -noise ratio of 55DB with :Ind the responsibility of moving it. Obvi-

1 VU meters, total harmonic distortion not to exceed %. Include calibrated ously such an undertaking required more high level inputs, mike inputs, stereo -mono switch, AB monitor switch, funds than the Historical Society had at amp outputs, monitor outputs and independent record /playback controls so were sought `or each channel. Package the entire assembly into a compact enclosure its disposal. contributions no larger than 13 x 13 x 7 ", provide forced air cooling and cover with a through the local newspapers and radio decorator styled stainless steel panel. stations. The meager response was painful evidence that the people of Danbury were not in the least hit interested. Most IF YOU DON'T FEEL QUITE UP TO MAKING YOUR OWN of the contributions to date have come from out -of -state music lovers. but over TAPE RECORDER, ASK YOUR NEAREST VIKING DEALER $10.0(0 is still needed. ABOUT THE Many of your readers. I am sure, share my opinion that Charles Ives was the greatest composer this country has yet 88 STEREO produced; they. too. may want to visit Ives's home and the town in which he COMPACT lived. I feel strongly that it would be a tragedy for our American musical heritage if the Ives birthplace were demol- Hear the magnificent sound, ished and future generations were denied see the smooth action, all this privilege. Interested readers may send set and ready to take home contributions to "The Ives Homestead for less than $340.00. Fund." c/o The Fairfield County Trust Walnut base $29.95 extra. Company. 210 Main Street, Danbury, Connecticut. Thomas J. Newlin Chesapeake City, Md.

IInfathuniable Complaint Sir: Harris Goldsmith. whose superb reviews I MADE BY SKILLED AMERICAN CRAFTSMEN AT have always admired. must have been dozing when he wrote in the October issue regarding Monteux's coupling on -kingi- OF MINNEAPOLIS RCA Victrola VIC /VICS 1102 of Bee- thoven's Fourth Symphony and Wagner's V 9600 Aldrich Ave. S. Minneapolis, Minnesota, 55420 Siegfried Idyll. ". . . we cannot help CANADA! %.'n. L. Clark. Ltd.. 3751 Bloc, S. W.. Islington, Onta c noting with a certain ruefulness that RCA Electro Teo Marketers. Ltd.. 1624 W. Third Av.. Vancoo., British CENTRAL 6 SOUTH AMERICA:ManRed Coro.. P.O. Boa 429 N. Miami Bead. aa. U.S.R. has chosen to issue this magnificent OVERSEAS EXPORT: International Dirisi v.ng 9600 :. h Ar.S..MinrcaGGlis, Continued on page 8

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www.americanradiohistory.com LETTERS KENWOOD Continued from page 6 coupling in its low- priced series. Surely an artist of Monteux's stature deserves 60 WATT first -rate billing... . This is the first time that I have heard of a critic carping because a recording cost too little and therefore will be available to a larger number of people than a SOLID STATE $5.79 disc. Since RCA's "low- priced" line includes Strauss's Ein Heldenleben and Bartòk's Concerto for Orchestra both conducted by Reiner, as well as record- SILICON POWER ings by Gilels, Munch, and other lumi- naries, I really cannot fathom Mr. Gold- smith's complaint. Henry Fogel Program Director, WONO -FM AMIFM STEREO Syracuse, N. Y. Toscanini Today $239.95 Sir: I second the comments of James J. Badal, Jr. ("Letters," October 1965) regarding Harris Goldsmith and his devotion to Toscanini. Toscanini has been dead a number of years and it would be a wel- . --. come change to see Mr. Goldsmith be- i come more objective in his reviews of r present conductors instead of constantly t pulling the late Maestro's ghost out of the wow' coffin. Bruce Brown Newport. Ore. v Sir: I believe that Mr. Badal, like myself, must belong to the younger generation ®KrNWUU( which never heard Toscanini conduct in N 4! Ca 6>i the concert hall. What we hear when we listen to the Toscanini recordings that the older generation holds up as the standard of excellence are nervous. er- ratic. and overly fast performances in which thin -sounding. imbalanced violins are supposed to represent "the grand line." I am always at a loss whenever I hear my elders lavish encomium on. say, Toscanini's recording of Beethoven's Ninth Symphony, which sounds to me- Continued on page 10 If you're looking for the finest value in an AM /FM multiplex stereo receiver, look no further! Because here it is: KENWOOD's fabulous new all solid state, silicon High Fidelity, December 1965. Vol. 15. No. 12. Published monthly by The Billboard power transistorized AM/ FM Automatic Stereo Receiver, Model TK -60. Publishing Co.. publisher of Billboard. Vend. Amusement Business. American This latest addition to the KENWOOD line of hi -fi stereo components provides Artist. and Modern Photography. High Fi- wide frequency response, 20 cps - 70 Kc, with total music power of 60 watts at delity /Musical America Edition published when it is pub- 4 watts at 8 ohms. No wonder the TK -60 offers the kind of quality and monthly except December. ohms, 50 lished semi -monthly. Member Audit Bureau performance that is unsurpassed by other, more expensive units! of Circulations. these outstanding features: 4 -gang tuning condenser, 5 I.F. Editorial correspondence should be ad- Check some of dressed to The Editor. High Fidelity. Great Stages with 3 noise limiters, automatic silent switching to proper mode, indicating Barrington. Mass. 01230. Editorial con- instantly the reception of FM or AM broadcast. tributions will be welcomed. Payment for articles accepted will be arranged prior to Visit any KENWOOD franchised dealer, and we feel sure you will agree that publication. Unsolicited manuscripts should be accompanied by return postage. Model TK -60 is an exciting value for only $239.95. Also, price includes the hand- Subscriptions should be addressed to High some cabinet. Fidelity. Great Barrington. Mass. 01230. write to KENWOOD. Subscription rates: High Fidelity /Musical For complete specifications, America: Anywhere on Earth, 1 year $9. National and other editions published monthly: Anywhere on Earth, 1 year $7. the sound rrpproarh lu goalie Change of address notices and undelivered copies (Form 3579) should be addressed to High Fidelity. Subscription Fulfillment KENWOOD Dept.. 2160 Patterson St., Cincinnati, O. Los Angeles Office: 3700 South Broadway PI.. Los Angeles, Calif. 90007, ADams 2-7217 45214. New York Office: 212 Fifth Avenue, New York, New York 10010. Murray Hill 31115 CIRCLE 45 ON READER -SERVICE CARD FIDELITY MAGAZINE 8 HIGH

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CIRCLE 78 ON READER -SERVICE CARD DECEMBER 1965 9

www.americanradiohistory.com Now, stylus -angle and LETTERS Continued from page 8

as I think it does to the majority of position control from Elac, the new, post -Toscanini generation -pre- posterously fast and clipped, hollow, and generally unsatisfying. pioneer in magnetic But the important thing to remember is that this is a recording, and as such I wonder if it does not represent a mem- design ory of a magnificent live performance stereo cartridge which Mr. Goldsmith heard. I agree with Mr. Badal that critics like Mr. Goldsmith are doing us a disservice. But they are also doing a disservice to Toscanini by insisting that this patently great conductor Can be represented by his patently unsatisfying recordings. Brian Murphy Ferndale, Mich.

Buried Treasure Sir: Without in any way decrying the need for publication of the Furtwängler Ring ("Who's Afraid of the Furtwängler Ring ?," October 19651, may 1 put in a word for Furtwängler's Mozart? On the evidence of his recordings of the Sym- First to demonstrate the quality capabilities of the phony No. 40 (Odeon 91075 or 70361) in and the Serenade No. IO (Odeon 91175) moving magnet principle stereo cartridge de- he must stand as one of the greatest sign, Elac has continued in its development of Mozarteans of this century. Yet apart engineering techniques for achieving these theoretical from these. we have only the Symphony No. 39 (Deutsche Grammophon LPM capabilities in practice. 18725), two versions of Eine kleine Most recently, Elac devised a simple, ingenious cart- Nachtmusik (Odeon 80801 and Deutsche ridge- retaining bracket. Not only does this bracket adapt Grammophon LPM 18960) and overtures to Le Nozze di Figaro and Die Ent- any Elac cartridge to any standard tone -arm, it also provides Wrung ans dem Serail (Deutsche Gram - the means for independently adjusting fore -and-aft stylus mophon LPM 18960). angle. I have always regretted that the sound position and stylus track from the memorable 1954 Salzburg Both of these conditions have strong bearing on track- Festival film of Don Giovanni has never ing error and distortion. And the facility for their adjust- been made commercially available. Surely there must be other such historic Mozart ment enables the Elac user to obtain optimum performance performances by Furtwängler gathering with virtually any tone arm. The adjustable bracket is sup- dust in the vaults of European radio stations and record companies that could, plied with each of these cartridges : with the good will of the parties involved, ELAC 322 Designed for stereo only. Virtually flat from eventually be released. 20 to 20,000 cycles with practically complete channel sepa- A. A. Cane Australian Broadcasting ration over the entire range. Harmonic distortion is less than Commission 1 %; IM, less than 2 %. Tracks at less than 1 gram. Supplied 302 Orchard Road with interchangeable 0.5 mil diamond stylus. $24.95. Singapore ELAC 322 DE Same as 322, but with elliptical stylus. Sir: Reduces distortion due to pinch effect. $29.95. Judging from past history in this area, I was not unduly surprised by Martin ELAC 240 New compatible cartridge for mono and stereo Mayer's résumé of the tragic circum- records. Comparable in performance to many top- reputed, stances preventing the commercial release Supplied with inter- of the Furtwängler Ring from Radio stereo -only cartridges available today. Italiana. Mr. Mayer's article did a great changeable 0.7 mil diamond stylus. $19.95. service by revealing this sequence of frus- events to an ever growing audi- See your hi -fi dealer for details, orr trating BENJAMIN ence exasperated with the endless rewrite: Benjamin Electronic Sound recordings of II Trovatore. La Bohème, Corp., Farmingdale, N. Y. 11736. ELAC S and The Barber of Seville. Another unreleased treasure. currently reposing in the vaults of RAI, is Rossini's Armida from the Florence May Festival of 1952. Maria Callas scored one of her greatest triumphs in this opera and I feel certain that not only Callas fans but opera enthusiasts the world over would Continued on page 12

CIRCLE 12 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE 10

www.americanradiohistory.com This Sony has ESP*

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The world's first fully automatic tape reversing system *Electronic Sensory Perception -an amazing Sony your old tapes and on your new tapes. The Sony development. The ESP electronic brain constantly 660 also records in both directions for making scans and automatically senses the voice or music your own 4 -track tapes. modulations on your recorded tapes. Within 10 And the Sony 660 adds a whole lot more. XL -4 seconds after the sound has ended, the Electronic Quadradial Speaker System surrounds you with Sensory Perceptor automatically reverses the tape a virtual curtain of stereophonic sound. 50 watts direction! Then, magically, the music resumes - of pure music power per channel. Two profes- every note flawlessly reproduced. You never touch sional V U meters. 3 motors. 2 speeds. Sound on the tape, you never touch the recorder - Sony ESP sound. Separate bass and treble controls. FM reverses the tape automatically. You never again stereo inputs. Push -button solenoid activation of bother about recording electronic reversing signals. all mechanical modes. For literature and address Sony ESP tape reverse is activated solely by si- of dealer nearest you, write Superscope, Inc.,

lence. Sony ESP automatic tape reverse works on Department I I , Sun Valley, California.

9 CIRCLE 79 ON READER -SERVICE CARD DECEMBER 1965 11

www.americanradiohistory.com LETTERS Continued from page IO

welcome the opportunity to hear such a legendary performance. Donald J. Evers Chicago, III.

FILTER Turntable Snobbery

SIR: I would like to counter a statement made by Harris Goldsmith in his review of the Beethoven Trios for Piano and Strings [July 1965]. He there lamented the fact that Vox presses its multiple - record sets in automatic changer sequence rather than for manual play. I thought this type of turntable snobbish- ness went out a long time ago. More of the music and It should be obvious to anyone that a multiple- record album pressed so that less of the distortion! the music continues from Side 1 of the first disc to Side 1 of the second and so on can be played on a turntable with The processing and production of discs produces a wave- only very slight inconvenience to the operator. However, the alternate method form in which distortion rises extremely rapidly as the -the music continuing from Side 1 of To the best upper frequency limit is approached. obtain the first record to the overside, then to very harmonics quality under such conditions the high Side 1 of the second disc followed by its must be attenuated at a rate which is a function of the rate overside, and so on -is infuriating for of rise of distortion. anyone trying to use a changer. I realize that a company issuing a set of. say. the Beethoven symphonies might prefer to filters both switched adjustment for The QUAD provide press te. records in the latter fashion frequency and continuously variable adjustment for rate of with a view to their later release as attenuation. The degree of attenuation need therefore single discs. In the case of a small com- never be greater than necessary to clean up the programme pany I reluctantly accede to the eco- nomics involved, but I appreciate RCA but is always adequate even for very bad cases. Victor's release of the Toscanini set in changer sequence. Now that we have entered a stage of equipmegt design where changer performance is rivaling turntable performance. the position of your critic makes even less sense. Robert Heinich Los Angeles, Calif.

Instrument Survey

SIR: The Music Library Association is undertaking a survey of musical instrument collections in the United States and Canada. We are interested in all public and private collections, however small. For the closest approach to the original sound and would be grateful for information about any which might otherwise remain Our slogan for fifteen years and our design objective for unknown to us. Letters should be ad- twice that long. Ask your dealer for details of the QUAD dressed to the Committee To Survey range of high fidelity units or write direct to:- U.S. & Canadian Musical Instrument Collections, Music Library Association. Ref. F.D. Acoustical Manufacturing Co. Ltd., in my care. Huntingdon, England. Dr. Dale Higbee 412 S. Ellis St. Salisbury, N.C. 28144

www.americanradiohistory.com The new Sony 500-A:A magnificent stereophonic tape system with the amazing new 2.5 micron -gap head that produces a flat frequency response from 40 to 18,000 cps ± 2 db:* A remarkable engineering achievement; a complete four track stereo tape system with detachable speakers** and two new award winning F -96 dynamic microphones. All the best from Sony for less than $399.50.

Outstand.ng operational features distinguish the amazing °Rave Review: "The NAB playback characteristic of the 500, new Sony Sterecorder 500 -A: Two bookshelf type as measured at USTC, was among the smoothest and clos- acoustica, suspension speaker systems combine to form est to the NAB standard ever measured." -High Fidelity Magazine, April 1964. "Rave Review: "One of the strik- carrying case lid 4 -track stereo /mono recording and ing features of the TC 500 is the detachable speake,s, playback Vertical or horizontal operation Special ...they produce a sound of astonishing quality. " -Hi Fi /- effects with mike and line mixing and sound on sound Stereo Review, April 1964. Available now: A sensational Two V.U. meters Hysteresis- Synchronous drive motor new development in high quality magnetic recording tape, Dynamically balanced capstan fly- SONY PR -150. Write today for literature and your special introductory bonus coupon wheel Pause control Automatic book allowing a substantial discount sentinel switch Multiplex Ready on 12 reels of PR -150. Superscope with FM Stereo inputs. Inc., Sun Valley, Calif. Dept. 11.

DECEMBER 1965 CIRCLE 80 ON READER -SERVICE C ARD 13

www.americanradiohistory.com New ADC 404s are now at these dealers:

ARIZONA Phoenix Audio Specialists CALIFORNIA Anaheim Ball Electronics Henry Radio Buena Park Park Electronics Culver City Matic Company Downey N.E.T. Electronics Garden Grove Sav -On Electronics Gardena Stereo HiFi Center plIPMIWIMIKR! Hollywood Hollywood Electronics' Los Angeles Figart's Sound Unitd. Gmora Stereo Center Inglewood Electronics S á N Camera Supply NO1L? Oakland Fidelity Sound Fisher Electronics Wayne's Sound Accent Pasadena Electronic Components Henry Radio Reseda Colorvision Electronics IoM San Francisco Eber Electronics House of Sound San Francisco Radio Skinner, Hirsch á Kaye OUIt San Jose Alco Paramount United Radio á TV West Coast Audio Sales San Pedro Bowers Music Santa Ana High Fidelity Associates Santa Monica Midway Electronics CRTtWON I*Ñ1§ Sane á Insane Santa Rosa Golden Ear Vallejo Boyd -Worm Hi-Fi Van Nuys Edison Electronics Westwood Bel Air Camera Whittler Hi -Fi Haven Woodland Hills Woodland Stereo Center COLORADO Boulder Sound System Specialists Colorado Springs Dick Jurgens High Fidelity Denver Gramophone Shop During a brief visit Howard Sound here last September, Lloyd's HIFi Dr. Jeffrey B. Han- CONNECTICUT NEW YORK Bridgeport Bridgeport Hi-Fi Center son, head of Editions Hartford The Stereo Shop New Haven Audio Den Oiseau -Lyre, filled us Stamford Atlantic Electronics in on some of the past, Audio Exchange present, and future DISTRICT OF Custom Hi -Fl á TV activities of the firm which he operates COLUMBIA GEORGIA from his home in the tiny principality of Hapeville Discount Records Monaco. This hardy little independent MASSACHUSETTS 1932 by Dr. Hanson's Boston Cramer Electronics was founded in Cambridge Lechmere Sales late wife, Louise Hanson -Dyer, shortly Minute Man Radio Springfield Soundco Electronics after she had left her native Australia Wellesley The Music Box to settle in France. At first the enter- Worcester Consumer Audionics is- MICHIGAN prise was concerned exclusively with Ann Arbor The Music Center suing beautifully printed and bound Birmingham McCallum A Dean Dearborn Lewis Radio á TV volumes of old music, scrupulously edited Detroit Uptown Radio East Lansing Hi -Fi Buys by eminent musicologists, but in 1936 Pontiac New Center Electronics Mrs. Hanson -Dyer began to complement MISSOURI scores with recordings -quite St. Louis GEM -Dunn Rd. her printed GEM -Lemay Ferry Rd. a pioneer effort in those days when GEM -Page Ave. Couperin, Purcell, and other such com- NEW JERSEY posers were infrequently played and al- Trenton George's Stereo Center The late Louise Hanson -Dyer. NEW MEXICO most never recorded. Albuquerque Hi-Fi House Paris, Doctor of Philosophy NEW YORK versity of Albany Fort Orange Radio The Cachet of Oiseau -Lyre. The scholarly from Oxford (where he has also taught Buffalo Spark's Radio Kingston Arace Electronics care which went into all Oiseau -Lyre modern French literature), and a com- Lockport Lockport Audio recordings right from the beginning has at the Conserva- New York Aires Radio plete musical training Packard Electronics given the label a touch of "professorial - tory of Melbourne. Rochester Eastman Appliance is of it. Robert M. Hyatt ism," and Dr. Hanson proud After the War, the Oiseau -Lyre cata- Schenectady Adirondack Electronics "Quite a lot of the music we record has logue advanced rapidly; by 1950 the Reales no performance tradition behind it," he Europe to LP Valley Stream Sam Goody company had introduced NORTH CAROLINA explains. "So we need the best musicians with its discs of Couperin's Concerts Winston -Salem TrayerYelverton and musicologists to prepare the scores: royaux and Apothéose de Lully. Music OHIO Thurston Dart, Neville Marriner, and of the baroque era has always formed Toledo Jamiesons' OKLAHOMA Anthony Lewis in England, A. Tillman the backbone of the label's releases, al- Tulsa Sound Unlimited Merritt up at Harvard ... with men of though there have been forays into the PENNSYLVANIA this caliber you may be sure the texts romantic and contemporary periods. Ardmore Soundex Electronics are authentic. Why, Dart and Marriner RHODE ISLAND Policies as to artists and repertoire Cranston Sound -O -Rama spent a full two years editing the score rarely have a commercial basis-if a SOUTH CAROLINA of Couperin's Les Nations for our re- certain piece of music seems to demand Columbia Hi -FI Sound á Records cording!" As our conversation progressed, a recording and the right musicians TEXAS El Paso Audio Consultants it soon became apparent that Dr. Han- are on hand, the decision to go ahead is Fort Worth Audio Associates son, a sprightly little man in his sixties automatic. The results, particularly in UTAH who might possibly resemble your Latin the neglected field of baroque opera, Salt Lake City House of Music VIRGINIA professor, bases his philosophy of record- speak for themselves: Handel's Acis and Hampton GEX ings on a broad cultural and academic Galatea, Sosarine, and Scinele; Blow's Virginia Beach GEX foundation undoubtedly born from his Venus Adonis; Purcell's Dido and WASHINGTON and Spokane H. C. J. Electronics own impressive scholastic background: Aeneas, Fairy Queen, and King Arthur. Huppins Hi -Fi an M.A. from the University of Mel- bourne, Doctor of Letters from the Uni- Continued on page 16 Trial offer expires Dec. 31, 1965. CIRCLE 9 ON READER -SERVICE CARD 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com From the makers of the 303A Brentwood, top -rated speaker of the year... ADC announces the new 404, the compact speaker for people more impressed with sound than size Listen to these remarkable speakers at your dealer today... Then test them in your home for an 8 -day trial at our risk!

Will 404s perform as well in your critically for 8 days ... If they don't per- workmanship or parts -which gives you home as they do in your dealer's listening form as well as they did in your dealer's, a hint of their quality. room? Perhaps. But don't take a chance. bring them back ... He'll refund your Come on, be skeptical. But take home Do this: Listen to a pair of these com- money - no questions asked. ADC a pair of 404s while this offer lasts. (Ex- pact 404s at your dealer's. Even after he's guarantees it. pires December 31, 1965.) given you his word that he hasn't mis- Should you decide to keep them (and 4045 come twin -packed in a special takenly hooked up those big, expensive we secretly believe you will), you'll be box with a handle ready to tote. speakers in the corner, be skeptical . . . pleased to know your speakers are guar- Isn't this a refreshing way to buy Buy a pair of 404s ... Listen to them anteed for 5 years against failures in components?

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The new ADC 404 measures only 11V/8" high, 74" wioe, 81/4" deep. Its cabinet is handsomely finished in oiled walnut. Handles 6 min. to 50 max. watts per channel. Price. 556.00 each. CIRCLE 9 ON READER -SERVICE CARD Dr( F\1Hf:R 1965 15

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

THE Continued from page 14

FERRNNTE Performances and Promises. One of the \ company's most ambitious projects to Ho =IN date is a complete recording of Rameau's opera Hippolyte et Aricie, intended to TEICHER replace the single disc of excerpts made several years ago. (The new album will CONCERT he released this April.) The musicians involved are familiar Oiseau- Lyreans: iif the English Chamber Orchestra conducted by Anthony Lewis with Thurston Dart playing the continuo. Dr. Hanson is 1111=1 especially enthusiastic about the young English singers who also take part: "Janet Baker and John Shirley -Quirk -keep

your eye on them . . . they're headed right to the top." When one recalls that STEREO UAS 6444 MONO UAL 3444 Joan Sutherland's recorded debut was on Oiseau -Lyre (in a group of Handel arias Here's the excitement and great music and Acis and Galatea) and that the label from Ferrante and Teicher's concert tours also brought conductor Colin Davis to wide public attention. this recommenda- that have broken box office records all tion is well worth pondering. over the country. It's a great one... In addition to the Rameau opera. upcoming releases include a group of oll baroque flute concertos played by Claude Monteux. the Melos Ensemble in Schoen- of course berg's Suite. Op. 29. Janet Baker in a collection of Ravel songs. and Purcell's r=MI Indian Queen, recorded last month with Available wherever albums are sold the cast of its recent London performances conducted by Charles Mackerras. Farther off in the future, indeed only at CIRCLE 86 ON READER -SERVICE CARD the wishful- thinking stage at the moment. is Berlioz's Benrenuto Cellini - certainly the perfect complement to Oiseau-Lyre's much admired L'Enfance ,lu Christ and Bratru'c et Bénédict. Enjoy BIG wall to wall sound P.G.D.

"How unfortunate ear to ear the recording light LONDON is red!" This comment from the young American pianist Stephen Bish- op was good -hu- mored as he started on the taping of Beethoven's Opus 101 and Opus 109. Musician drivers. he pointed out. must always find it hard to take the stop sign as a starting signal. Nonetheless, his sessions for these two taxing last- The only stereophones with period works went off extremely well. separate tweeters and woof- Opus 101 being recorded complete at ers and crossover networks, a single sitting one evening between 7 models from $30 to $50. and 10 in EMI's Abbey Road studios.

Bishop and Friends. At twenty -four. Bishop has established himself as one of It's one thing to fill a whole room Because Superex are professional London's most important pianists. His with music. But getting to enjoy it at quality all the way. They're for peo- performance of the Emperor Concerto at the volume you want, anytime you ple who have an ear for music. this year's Promenade Concerts held the whole Royal Albert Hall in thrall. and want, can be a problem. Try -out Superex stereophones at called forth from the critics comparisons That's where Superex stereophones your nearest Hi -Fi Dealer and send with Schnabel on the one hand and come in. for our 16 page catalog. Kempff on the other. His years of study They make listening a strictly per- with Dame Myra Hess (he came to live sonal pleasure. Whether it's Stereo. svp30 2IE in London in 1959) have borne fruit HiFi. Tape. F.M. Etc. in an unusual thoughtfulness and matur- You don't bother anyone. No one stereo /phones ity- qualities which do not. however. bothers you. Which is a good thing. SUPEREX ELECTRONICS, I RADFORD PLACEYONKERS,N,Y. mitigate against an infectious sense of Continued on page 22 CIRCLE 77 ON READER -SERVICE CARD MAGAZINE I () HIGH FIDELITY

www.americanradiohistory.com pire invites you listen to the most -Aignificant advance in tereophonic reproduction, e New Empire Grenadier, rld's most perfect system.

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The new Empire Royal Grenadier -classically designed, elegartly styled. Let the magic of this wide angle speaker system invade you presence with You're on the threshold of a new realm its majestic scund and richness of tone. Truly, one of excitement in music and sound f ..t of wordd'c . r^ c., ,L °r systnms. the Empire has created for you, the worlds i most perfect high fidelity components Combining unparalleled stereophonic sound with refreshing furniture styling ...the Empire Grenadier -projects a sense of presence never before achieved in a speaker system. Hear it! Compare it! Stare at it! You too, will be captivated by its greatness! The Empire Grenadier, first speaker sys i tem designed and engineered for stereophonic reproduction. No less perfect than the Grena diersarethe IncomparableTroubadors -complete record playback systems.

.sigh Fidelity reports -"... nd what a speaker!" ..voices sounded quite latural with no coloration vident; orchestral music ras balanced and full; ransients came through leanly; the organ sounded 'uthentic. Overall, the sonic iresentation was excellent; Thefamous Empire398- outstand he speaker did not favor me type of instrument or ing! too perfectly engineered for even Iny one portion of the awhisperofdistortion ...tohandsomely pectrum and it never ounded honky or boxy." UMW- finished to hide behind cabinet doors ical Specifications: (Model 9000) The Empire 498 -no larger than a OUTSTANDING FEATURES Frequency Response: 20 -20 000 cps. record changer -tailor made for con . 12 inch mass loaded woofer 1 Nominal Impedance: 8 ohms. with floating suspension, four Pov"er Handling Capacity: Music Power- sole or equipment cabinets. inch voice coil and world's largest (18 lbs.) speaker ' Maximum undistorted 100 watts The Troubadors consist of the ceramic magnet structure. Sine Wave Power -20 -450 cps 60 watts !. Sound absorbent rear loading. -450 -5000 cps 40 watts Empire 3 speed professional "Silent' I. Die-cast acoustic lens. Imported marble top. -5000 -20,000 cps 20 watts turntable.... Empire 980 dynamically . Ultra -Sonic domed tweeter Components: balanced arm with sensational dyna >,. Full presence mid range Wocfer ". High Compliance with radiator. -15 r. Damped enclosure. 4 inch voice coil. lift...and the new Empire "Living" car Pl. Dynamic Reflex Stop System. Mid Range- Direct Radiator tridge, featuring the exclusive mag D. Front loaded horn. Tweeter -Ultra Sonic Domed Tweeter 1. Complete symmetry of design netic cone stylus. No other cartridge with terminals concealed Both Coupled to Die -Cast Accustic Lense underneath. Infinite taffle system. can reproduce the entire musical Finish: Satin Walnut finish, hand rubbed. rangeas preciselyand with such clarity Overall Dimensions: Dia. 22 ". Ht. 29 ". The woofer faces downward, Weight: 20 lbs. *List Price: 5285.00 wit close to the reflecting floor, sur- importec marble top. $275.00 with face, feeds through a front ha -d,w u to loaded horn with full circle aper- ture throat. This provides 360° Decorator designed to comple- sound dispersion and prevents ment any decor. Engineered to standingwaves from developing outperform any other speaker in the room. system. Truly the ultimate in Hi Fidelity reports: "The Trouba sound and styling. dor represents a precision engineered product of the highest quality...the finest, handsomest, record player avail able." Hearing it all -a little better than it was intended to be heard. You, too can enter Empire's newworld of sound Just go 'round to your Hi Fi dealer for a sound demonstration of the world's most perfect High Fidelity components.... Empire Grenadiers Troubadors and "Living" Cartridges.

CIRCLE NUMBER 108 CN READER SERVICE CARD

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in 1iC 1ew

Fidelity Annual The Tenth High

guide reference The standard records of log.play fur the purchase classical a of music. records from semiclassical and The Magazine High fidelity, Li.tcnen. br Alu,ic

Like its nine predecessors, RECORDS IN REVIEW of composers frequently recorded, further subdivided by 1965 Edition brings you in one convenient book hun- such categories as Chamber Music, Vocal Music, etc. dreds of reviews of records (stereo and mono) which You'll find, too, a special section on Recitals and Mis- appeared in High Fidelity Magazine. This edition re- cellany. And an Artists' Index. prints reviews that appeared in 1964 - classical and Saturday Review comments: "Comprehensive semi -classical music exclusively. coverage of each year's recordings gives a surpris- It will save you many hours in your dealer's listen- ingly well- rounded picture of what's available on ing booth or earphone corner. And it will help you build records, and most reviews describe the work as well a library of music YOU enjoy, for it is the most complete as the performance, providing each annual with a and authoritative book of its kind - the standard refer- permanent use." ence work that gains in value as the years roll by. Chicago Tribune states: "The record collector Each reviewer stands high in his field - Nathan who is bewildered by the sheer number of discs Broder, for example, reviews Bach and Mozart, Alfred which are issued each year will find this book valu- Frankenstein the moderns ... Paul Affelder covers the able as a means of bringing order out of chaos." romantics, Robert C. Marsh specializes in Haydn and This hardcover book of 482 pages bears a cover Beethoven ... Conrad L. Osborne writes on opera re- price of $8.95. cordings. Forthrightly, they discuss the composition, But as a High Fidelity reader, for the next 60 days performance and fidelity. And they compare new record- you may have a copy for only $7.49. Payment with ings with earlier releases. order but satisfaction guaranteed or your money back. You'll find the reviews organized alphabetically by Write to Wyeth Press, A Division of High Fidelity, Pub- composer for quick, easy reference - and in the case lishing House, Great Barrington, Mass. 01230. Dept. E.

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You are looking at the world's only true é longhair '-: cartridge. 1(/11 4.1 4.1 w' war

In this unretouched photograph. the of resistance to skating, too. long. black hair of the brush built into But even without the brush, the the new Stanton 581 is shown in action Stanton 581 Longhair is today's most on a rather dusty record. Note that all desirable stereo cartridge. Like its the loose lint. fuzz and dust are kept out predecessors in the Stanton Calibration of the groove and away from the stylus. Standard series. it is built to the unique- That's why the Longhair is the ideal ly stringent tolerances of Stanton pro- stereo cartridge for your Gesualdo mad- fessional audio products. Its amazingly rigals and Frescobaldi toccatas. Its pro- small size and light weight (only 5 tective action is completely automatic, grams!) make it possible to take full ad- every time you play the record, without vantage of the new low -mass tone arms. extra gadgets or accessories. And its frequency response is factory The stem of the brush is ingeniously calibrated within 1 db from 20 to 10.000 hinged on an off- center pivot, so that, cps and within 2 db from 10,000 to regardless of the stylus force, the bristles 20.000 cps. Available with 0.5 -mil dia- never exert a pressure greater than 1 mond (581AA) or elliptical diamond

gram and always stay the right number (581 EL) : price S49.50. of grooves ahead of the stylus point. The For free literature, write to Stanton bristles provide just the right amount Magnetics, Inc., Plainview, L.I., N.Y. Stanton CIRCLE 76 ON READER -SERVICE CARD DECEMBER 1965 21

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Continued from page 16

humor. Interestingly, this combination of dedicated earnestness and youthful zest is shared by the even younger artist cellist Jacqueline Du Pre [see "Notes from London," in these pages last month], and it is particularly fitting that the two regularly perform duos together, Following Bishop's solo sessions, EMI will be recording them in complete Beethoven cello sonatas. (Another partner of Bishop is the young pianist Vladimir Ashkenazy, an expatriate from the U.S.S.R. now also resident here. The combination is exciting and un- give your music expected, but when you think about it they have much in common, each gravitating to London, one from the the silent treatment East, one from the West.) When Bishop talked about his recording experiences, his first words were in tribute to EMI's Kinloch Anderson, who supervised the Beethoven sessions. The pianist has his own very clear ideas of interpretation, and he felt that Ander- son had helped to draw them out. To Bishop's surprise, the fast movements were taped to his satisfaction more readily than the technically less demanding passages. Even the long and exacting final fugue of Opus 101 was completed in under an hour, whereas MODEL TR -707A some of the slow movements required many takes before the performer was There's nothing quite so annoying as having somebody content with the results. Bishop is acute- talk during a performance. Even if that performance is ly analytical of his own reactions during he that in recording preserved on tape or record. By the same token, humming playing: discovered sessions he became sensitive to minute and -other noises are just as irritating - particularly when variations in the timbre of the piano to they come from your tuner /amplifier. an extent inconceivable in the concert hall. Transistors eliminate these disturbances to some extent. But not all receivers so equipped have what it takes to give New Labels, New Prices. In Britain, at least, the record will come out on a your music the silent treatment it deserves. new label being inaugurated by EMI That's why Sansui has come out with the TR -707A. a to bridge the gap between full premium - price discs and bargain labels (resale solid -state AM.FM multiplex stereo tuner-amplifier that may price maintenance still lingering on in be just what you need if you're looking (and listening) for Britain). As well as featuring such outstanding young performers as Bishop that little bit extra. and Du Pre, the new series will also Like the muting switch that suppresses noise during channel include re- pressings of such classic opera that sets as the Furtwiingler /Flagstad Tristan selection. Or the center -channel output terminal makes and Isolde and the earlier De los Ange- three -dimentional performance possible. Add to these two les Butterfly, EMI is also linked with another features a built -in ferrite antenna and four ultra- accurage venture in the bargain field, this to be class free transistors and you have a set that produces called "Music for Pleasure." The title music and music only. was invented by the brilliantly successful young book publisher Paul Hamlyn, The Sansui TR -707A is worth your undivided attention, who has in recent years revolutionized so keep your ears and eyes open for when your local dealer the marketing of books and gone a long way towards revolutionizing record has one in stock. marketing too. As I wrote in this column last winter [February 19651, Hamlyn imports Czech Supraphon albums, which r>1f1 he markets. at a very modest price, not SANSUI ELECTRIC COMPANY LIMITED 460 IZUMIjf/ CHO, SUGINAMI.KU, TOKYO. JAPAN only through conventional trade outlets DISTRIBUTORS: CANADA: INTER -MARK (CANADA) LTD. 298 Bridge- but in bookshops and drugstores. "Music land, Toronto 19, Ontario, Canada. SOUTH AFRICA: GLEN'S (PTY) for Pleasure" discs will be handled in LTD. P.O. Box 6406 Johannesburg, Republic of South Africa. HONG KONG: WO KEE HONG LTD. Rm. 807, Hang Seng Bank Bldg., 77 Des the same way, but the price will be even Voeux Road, Central, Hong, Kong. EUROPE: AD. AURIEMA- EUROPE lower -12s 6d, or roughly $1.50. The S.A. ELECTRONICS HOUSE. 172a, Rue Brogniez, Bruxelles 7, Belgium. repertory will be entirely from EMI sources -mainly Capitol, to judge by the

Continued on page 24 CIRCLE 68 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SOMEDAY, THERE MAY BE OTHER FULLY AUTOMATIC TAPE RECORDERS LIKE THE NEW CONCORD 994

The 994 gives you automatic reversing Pi Plays or records auto-

matically three different ways( I Stops by itself where you want it to ( Threads itself automatically And, the 994 is available now!

With the transistorized 994, Concord introduces a new After all this, we didn't just stop in designing the 994. dimension to tape recording. Some might call it modern- We kept going. As a result, the 994 offers superb perform- ization, some might call it automation. We think of it as ance and every conceivable feature required for your lis- convenience -in playing, in recording, in starting and tening and recording pleasure. Here's a brief sample: stopping, in threading, in hours of uninterrupted listening. three speeds with automatic equalization, four profes- You can't compare it to anything because the 994 is as differ- sional heads, two VU meters, digital tape counter, cue ent from the conventional stereo recorder as the old crank - control, sound -on- sound, exclusive Concord'fans -A- type Gramophone is from the modern record changer. Track recording, 15 -watt stereo amplifier, professional record /monitoring system. The 994 may also be used as a AUTOMATIC PROGRAMMING. You can pro- portable PA system, with or without simultaneous taping. gram the 994 to play or record one side of a tape from beginning to end and stop automatically. Or, to play/record first one TWO -WAY STEREO SPEAKERS. The side of the tape, reverse, split lid of the 994 houses a pair play the other of true two -way speaker side, then stop automatically. Or, to play/ systems, record each containing a tweeter, woofer, forward and back, forward and and crossover net- back, continuously, as long as you like hour, six hours, -an work. A pair of or all day. You may change direction of tape any time you highly sensitive like by merely pressing the direction change buttons. dynamic micro- These same lighted buttons automatically show you direction of tape travel. phones is included. PUSH -BUTTON KEYBOARD. The operating controls are lit- The 994 is priced under $450.* An identical recorder, erally at your fingertips. This is the one Model 990 comes without speakers or microphones and is recorder you can operate without arm priced under $400. * Both are at your dealer's now. So why waving, and with one hand! As far as wait? Drop in for a demonstration and find out for your- threading, that's even simpler -the 994 self what fully automatic tape recording by Concord is all threads itself automatically. about! Or, for complete information, write Dept. HF -I 2

For Connoisseurs of Sound Other Concord models from $50 to $800.

CONCOR'CONCORD ELECTRONICS CORPORATION, 1935 Armacost Avenue. Los Angeles, California 90025 *Prices slightly higher in Canada. ® IN 994 CANADA: Magnasonic Industries, Ltd., Toronto /Montreal THE SIGNATURE OF QUALITY Tape Recorders /Industrial Sound Equipment /Dictation Systems /Communications Devices /Closed Circuit Television

CIRCLE 21 ON READER- SERVICE CARD DECEMBER 1965 23

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

Continued from page 22

HARRY DAVIDSON first release list. The records will be pressed by EMI to the sane technical d LOVES KOSS standards as the more expensive product and. in the case of the older recordings, STEREOPHONES will he recngineered for stereo. Hamlyn gets a big new catalogue: EMI gets an enormously expanded outlet for dozens of records previously deleted. What could he better on both sides? Some people shake their heads about the possibility of such rock -bottom prices breaking the market for the premium article, but the trade still seems very buoyant. EDWARD GREI NFIELD

Among the several good local chamber PARIS orchestras which have sprung up in France since World War I1, that of the City of Rouen is unusual in being very young, very local, and very good. It was created in 1963 on the initiative of its conductor. Albert Beau- camp, an energetic Rouen organist. composer. professor, choirmaster, and chief musical citizen who is also head of the local conservatory (he created that too. in 1945, when he was only twenty - four years old). The dozen members of the ensemble include a Belgian, a Chinese, a Yugo- Harry's a cliff dweller on Chicago's slav, and some Parisians with first prizes North Side. He loves his music at vol- from the National Conservatoire, all ume levels the neighbors wouldn't be chosen on the basis of competitive examinations. All are required by their happy about. With Koss Sterephones, contracts to live in Rouen, and it is he can hear the New York Philharmonic understood that they will give their full as loud as he pleases. Not only do the time to the orchestra (rehearsals are neighbors not hear, but he doesn't even theoretically unlimited; salaries, paid by disturb his family in the same roar.: the city. are high enough to make outside That's because Koss Stereophones are work unnecessary). Those musicians who for personal listening. need them are provided with old violins of exceptional quality. The city has also And sound? Well, just ask your dealer invested in some collections of music not for a demonstration and you'll under- generally available, and expects each con- stand what we mean when we describe cert to include at least one work never it as breathtaking. performed before in Rouen. As the capital of an important province, it also expects the orchestra to give at least ten concerts elsewhere in Normandy. The results of such an intelligent policy can he heard on two discs just released here by Philips. One is devoted to Pur- cell, Lully. W. F. Bach, and Corelli. The other is devoted to Telemann suites, and NEARLY includes the Don Quixote. In listening to a tape of the latter in one of Philips' EVERYBODY Paris studios. I was especially taken by Beaucamp's version of the gallop of LOVES KOSS Sancho Panza's ass. And I left with a serious hunch that Rouen has found a STEREOPHONES remedy for some of France's national musical ailments.

Rameau and Sonatas. The same tape- -O -KUT sampling session offered excerpts from KOSS REK two other forthcoming Philips records. On one of them Marcel Couraud con- 2227 N. 31st Street Milwaukee, Wisconsin 53208 Continued on page 26 CIRCLE 48 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1111111111111111111111111111111) (J1111111111MIIIIIIIL

This is all that moves in the newADC io /E cartridge We figure it costs you roughly $49,000 a lb.

You'll probably never buy anything sign, the ADC 10 /E reduces moving man-made as costly by weight as this mass well below the critical point of tiny, incredibly rugged moving stylus groove yield. Result: for the first time ADC 10 /E of the new ADC 10 /E cartridge. ever, you can hear the actual record you bought ... on the first play, or It reduces "moving mass" to about SHURE V15 .r..-/ the 500th. (Wear is one -third that of the best magnetic negligible.) Lis- cartridges. ten to a complex passage, piano, operatic or choral selection, and you EMPIRE 888 PE aaa... Moving mass (the weight or inertia hear the difference. You get clarity, of the total moving system as felt at brilliance, reality 1._ ... the stylus tip) is what your record and definition PICKERING V -15 has to push around. The groove must never obtained move it in one direction, stop it, then before. At long This actual photo of the moving parts of push it another direction -thou- last, true "clean- these popular cartridges contrasts dra- sands of times a second. ness"! matically the much lower "moving mass" of the new ADC 10 /E. Even a few milligrams of moving How good is the new ADC 10 /E? SPECIFICATIONS -ADC 10 /E mass set up such tremendous forces By any test, lab or listening, it is so Type Induced magnet that the record groove yields as the perfect that any improvement would Sensitivity 4 my at 5.5 cros /sec re- stylus passes.... So even on the very recorded velocity be pointless. For the first time it can first play, you hear a distorted groove, Channel separation 30 db, 50 to 10,000 cps be said: no one will ever make a Frequency response 10 to 20,000 cps. ±2 db not the groove that was pressed in. cartridge that performs perceptibly Stylus tip Elliptical Stylus Now, by a Contact radius - .0003" major jump forward in de- better. Lateral radius - .0007" Vertical tracking angle 15° Tracking force range I/2 to 11/4 grams I.M. distortion Less than 1% -400 & AUDIO DYNAMICS CORPORATION 4,000 cps at 14.3 cros/ sec velocity Pickett District Rd., New Milford, Conn. Compliance 35 x 10" cros /dyne Z Price ;59.50 CIRCLE 10 ON READER SERVICE CARD DECEMBER 1965 25

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Continued from page 24

ducts the Lamoureux Chamber Orchestra in suites from Rameau's Indes galantes and Les Surprises de rumour. On the other, flutist Roger Bourdin, of the Versailles Conservatoire faculty, and harpist Annie Challan (who also un- earthed some of the music in the manuscript section of the Bibliothèque Na- tionale) play sonatas and charming bagatelles by Telemann and such rarely heard composers as Nicholas Bochsa, Leonardo Vinci. and Karl Friedrich Abel. Bochsa. although he was Napo- leon's and Louis XVIII's court harpist. a world -touring virtuoso, and the inventor of the modern technique for his instrument. is perhaps more interesting as a scoundrel than as a musician. He fled his native France after some monumental financial forgeries in the names of Méhul, Boieldieu, and the Duke of Wellington. In London he became a famous con- A ceramic cartridge ductor, and bigamist. and stole the wife of Henry Bishop, composer of Home, in a system like this? Sweet Home.

-k Absolutely! Vivaldi in St. dark's. While the French The new Sonotone Velocitone Mark IV has every- It offers advantages not possible with magnetic branch of Philips has been recording thing the finest magnetic cartridges have, includ- cartridges -a virtually indestructible stylus, the French musicians at home. the Dutch ing compliance of 15 x 10-6 cm /dynes in all SONG- FLEXe; freedom from magnetically -induced office has embarked on some far -flung directions. Tracks at the low forces required by hum. Factory- matched equalizers plug into any operations. One was the recording, in the professional turntables. The Velocitone Mark IV magnetic input. With dual diamond styli, $27.75 Basilica of St. Mark in Venice. of is also ideal for changers. Sugg. list; diamond /sapphire, $23.15 Sugg. list. Vivaldi's Gloria in D major, Salve Sonotone Corporation, Electronic Applications Division, Elmsford, New York Regina in C minor, Magnificat in G CIRCLE 74 ON READER -SERVICE CARD minor, and Te Deum in D major. The chorus and orchestra of La Fenice are conducted by Vittorio Negri, who also revised the unpublished manuscripts of FOR CHRISTMAS the Te Deum and Salve Regina. The soloists are soprano Agnes Giebel and contralto Marga Höffgen. The disc coupling the Magnificat and Te Deum GIVE THE "NEW" should be available in the United States shortly; you may have to wait a while for the companion set. I was told that this project involved HIGH FIDELITY much besides the problems of Vivaldi's music per se. Tons of equipment had HIGH FIDELITY /MUSICAL You may send a one -year sub- to be transported by canal. The sessions AMERICA Edition, our "new" scription of HIGH FIDELITY/ had to be held at night. after the tourists MUSICAL AMERICA Edition had left the building. Quiet didn't settle publication, includes everything you in then, performers and record- anywhere in the world for only $9. either: find in HIGH FIDELITY plus two ing crew had to be patient until the café big features- Order two subscriptions for only orchestras in the piazza outside had $16. After that -only $6. each. stopped playing Strauss waltzes. -32 more pages per month We will announce your gift with an most of which focuses on news and attractive card. More Roussel. The revival of interest reviews of operas and concerts in Roussel, mentioned in this space a Why not include for yourself a throughout the world and some of few months ago, continues to hold its present of the "new" HIGH FI- own, both in French concert halls and in which revealing chit chat offers DELITY /MUSICAL AMERICA recording studios. Charles Munch and the Lamoureux Orchestra. whose recording about concert artists. are now getting the Edition? If you of the Third and Fourth Symphonies -a 13th issue of about 400 pages, regular edition of HIGH FIDEL- for Erato has just been released in Paris, the Concert Artist Booking Issue, ITY, we'll transfer the remaining has now taped the composer's Suite in F, which includes fascinating infor- issues due you at no extra charge Op. 33. On the overside will be Henri providing you let us know when Dutilleux's Second Symphony. Another mation about artists, managers, Munch-Lamoureux disc for Erato will concert auditoriums, orchestras, etc. you send us your order with your be cello concertos of Lalo and Saint- sure to delight and inform anyone payment. Send to HIGH FIDEL- Saëns (No. 2), with André Navarra as interested in the world of serious ITY /MUSICAL AMERICA, 512 the soloist. At the moment, arrangements inter- price for this issue Publishing House, Great Barring- for American distribution of these music. Cover esting items have not been made. alone -$5. ton. Mass. 01230. ROY MCMULLEN

26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com At last! A solid-state amplifier as great to listen to as it is to talk about.

The relatively young technology of transistor circuits dard) be obtained at 8 ohms, but almost as much power has resulted in quite a number of solid -state amplifier is available at 4 or 16 ohms, via the special impedance - designs that sound better on paper or in conversation selector switch. The IHF power bandwidth (half power at than in listening tests. It seems that producing a no- low distortion) extends from 12 to 50,000 cps! compromise transistor amplifier which equals or sur- As for preamplifier and control features, the TX -200 passes the performance of comparable vacuum -tube provides 16 inputs and 12 outputs to accommodate models demands a special kind of engineering ability every type of program source, recording instrument, and experience. The Fisher kind. loudspeaker or headphone - plus 16 controls and Fisher solid -state amplifier design begins with the switches for total control of the sound by the listener. elimination of the output transformers. Thus, the bass And, unlike certain hastily engineered transistor am- performance and transient response of the new Fisher plifiers, the TX -200 works equally well after three hours, TX -200 stereo control -amplifier are not limited by trans- three months, or three years. That's Fisher reliability. former characteristics. And instead of the conventional And that's really something to talk about. two output transistors per channel, Fisher engineers Size: 15-1/8-x 4- 13/16 " "x 11 -7/8 "" deep. Weight: 24 lbs. in put four, to give you conservative operation at high Price: $279.50. Cabinet: $24.95. (The Fisher TFM -200, a power. transistorized tuner designed to match the TX -200, costs Not only can the rated power of 90 watts (IHF Stan- $229.50.)

THE )141fi FIShER

For your free copy of this 80-page book, use coupon on magazine's cover flap.

" The Fisher TX-200 CIRCLE 35 ON READER- SERVICE CARD DECEMBER 1965 17

www.americanradiohistory.com by Peter G. Davis

A hAnvesT Of IJOSANNAS The current crop of Christmas records ranges from the twelfth century to our own and yields some unusual and delectable fare.

FROM St. Godric to Benjamin Britten, this year's his dead sister in response to his prayerful inquiries flood of new Christmas records will surely offer of her fate in the other world. a carol or two for all tastes and Yuletide music to Also from Vanguard is an attractive collection complement all holiday activities. Space limitations of Czechoslovakian and Polish Christmas songs, preclude detailed consideration of all the new re- sung by the Children's Chorus of Radio Prague leases, but here are some of the highlights. with the Ensemble Pro Arte Antiqua, Dr. Bohumil Just issued by Vanguard, whose repertoire of fine Kulinski conducting (VRS 1114; VSD 71144). The Christmas recordings is already embarrassingly rich, approach here is happily devoid of the cloying is "Christmas Carols and Motets of Medieval Eu- cuteness often characteristic of such programs. All rope," sung by the Deller Consort, Alfred Deller, the charm and spontaneity of these folk tunes are director, and played by the Musica Antiqua led by delightfully preserved by the young singers, and the Dr. René Clemenéiéé (Bach Guild BG 680; BGS arrangements display considerable ingenuity. The 70680). The album title is somewhat of a misnomer rather monotonous timbre of the chorus (a built -in since a good deal of the music stems from the limitation with any children's choir) is here offset Renaissance and very little of it can be classified as by a variety of piquant accompaniments utilizing either carols or motets; even the connection with the organ, recorders, bagpipe, glockenspiel, gambas, Christmas is sometimes tenuous. Never mind that, harpsichord, and triangle. though; the beauty of the music and the authentic From England comes a live recording of last and sensitive performances offer their own excuses - year's Christmas Eve service in King's College this is a superb release. The program strikes a good Chapel, Cambridge, directed by David Willcocks balance between the familiar (Palestrina's Hodie (Argo RG 450: ZRG 5450). The Festival of Lessons Christus natus est, Isaac's Puer natus est, John and Carols is a forty- five-year -old tradition at the Dunstable's Sancta Maria) and works by less fre- College. Nine Lessons are read by members of the quently heard composers (including some anony- College -beginning with the First Lesson read by a mous Mass fragments and works by Fogliano, Es- choirboy, the second by a choral scholar (a college cobar, Byttering, Ciconia, Stolzer, Senfl, and Power). undergraduate or junior -graduate), and so on up One particularly intriguing selection is the monodic to the Vice -Provost -and interspersed among them hymn Crist and Sainte Marie, written in the mid - are carols sung by the choir and hymns in which twelfth century. Legend tells us that this hymn was the entire congregation takes part. The service is a sung to the Saxon hermit St. Godric by the soul of beautiful one, Continued on page 30

28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The new Fisher XP -SA makes 'compact' a description of size rather than of performance. Its full, solid bass is very close to that of the largest speaker systems. Naturally. No 'boosting' At the heart of the woofer networks which eat up amplifier power and destroy transients. Instead, Fisher engineers designed an is this massive magnet structure unprecedented woofer for the XP -5A: an 8" driver with a totally new suspension system, plus a weighing 3 pounds. I1/4"-diameter voice coil wound on an aluminum former. Free -air resonance is an incredible 25 cps.

Complementing the unique new woofer is an equally advanced tweeter. It has a new low -mass cone made of a combination of fibrous material plus a special polyurethane foam, resulting in smooth, peak -free response out to 20,000 cps, without coloration.

Low -loss air -core induc- tors are used in the LC- 4 type crossover network.

When baffled, enclosed and damped with 5 AcoustiGlas packing, the XP -5A provides fundamental bass response down to 34 cps without doubling. And handles transients as if they were sine waves. At last! A small speaker that can handle the big amplifiers!

Of course, the new Fisher XP -5A also works perfectly with low -power amplifiers. But it is the first ultracompact loudspeaker of Fisher quality which will handle up to 30 watts of program material and take the big powerhouse amplifiers in its stride. And the power is delivered to the listener, not devoured in the speaker. The Fisher XP -5A will satisfy even the most demanding audio perfectionist who has limited space. It is an outstanding value at $59.50 in oiled walnut, $54.50 in unfinished birch. Size: 20" by 10" by 9" deep. For a free copy of the 80-page Fisher reference guide to high fidelity, use card on front cover flap. The Fisher XP -5A (..PIE.,Ena "r: E1510Pn.O0 in[n.. CIRCLE 35 ON READER -SERVICE CARD www.americanradiohistory.com A HARVEST OF HOSANNAS

Continued from page 28

the readings are uncommonly well performances are modest and straight- done, and the carols, nicely performed forward, and he is content to let these by the choir, are all fresh and un- polished little gems shine in their own hackneyed, including several by contem- light. porary British composers. Three Lessons Nor has St. Nicholas forgotten the have been omitted in order to contain opera fan -Joan Sutherland stars in a the service on two LP sides; all of the group of familiar carols and hymns, all music is there, however. Those who done up in superslick arrangements for have heard the Argo recordings of this choir and orchestra by Douglas Gamley service from 1954 and 1958 know that (London OL 5943; OS 25943). Richard there can be no finer way to spend Bonynge conducts the New Philharmonia Christmas Eve than in the King's College Orchestra. and the Ambrosian Singers Chapel. The recording is excellent and join in on the refrains. Most of the stereo effectively captures the Chapel's carols are thrice -familiar, but I still unique acoustics: the text of the entire imagine that most people would enjoy service -Lessons, carols and hymns - hearing more of the words than are pos- is included. sible as one strains to catch Miss Suther- The perfect supplement to Argó s land's muffled diction. Be that as it may, Christmas Eve service is a new Angel the performances are impeccable (save record again featuring the King's College for an annoyingly droopy It Came Upon Choir, in this case with a collection of the Midnight Clear); the decorations, Our new collection is now Renaissance choral works entitled "The superbly executed as usual, are kept Nativity to Candlemas" (36275; S to a tasteful minimum: and the bur- available ... 36275). One interesting feature of this nished beauty of the singer's voice has well -sung program is the inclusion of perhaps never before been displayed so equipment cabinets speaker several different settings of the same gorgeously as on that horrid old chestnut text: Hodie Christus flatus est by Pales - O Holy Night. The arrangements are enclosures consoles cabinets trina and by Sweelinck, Hosanna to the on the whole apt and complement the Son of David by Gibbons and Weelkes, tone of each carol: trumpet and drums galore. Danish and Provincial and Senex Puerum portabat by Victoria for Joy to the World. an intimate cham- and Byrd. The sound on the mono copy ber atmosphere with harpsichord con- styles in new decorator finishes. was first -rate: the stereo (unfortunately tinuo for Good King Wenceslas, throb- not available at press time) should go bing strings for Gounod's O My Re- even further in re- creating Wordsworth's deemer, and a roaring. cymbal- crash- see your dealer or write for free brochure description of the Chapel's acoustics: ing. old -fashioned Meyerbeer finale for . . branching roof, /Self- poised and Adeste Fideles. scooped into ten thousand cells. /Where Among contemporary composers few light and shade repose, where music have done more for Christmas than dwells /Lingering -and wandering on. as Benjamin Britten. From Argo (RG 440: loath to die...." ZRG 5440) come three of his choral Another disc of choral music, entitled J pieces. the pride of place being given "In dulci jubilo" and sung by the Monte- to the evergreen Ceremony of Carols. verdi Choir of Hamburg, under Jürgen The chorus here is the Children's Choir Jürgens (Telefunken AWT 9409-C; of St. John's College. Cambridge, George SAWT 9419 -B), presents a varied assort- Guest director with Marisa Robles on 546 S. Meridian Indianapolis, Ind. ment of medieval, Renaissance, and the harp. Although the boys are not baroque Christmas music from Ockeg- always the most exact in this music (the hem to Buxtehude. The choir is a fine wickedly difficult close canon on "This group, capable of turning out lovely Little Babe" is rather ragged). their molded lines, and. when the occasion fresh -scrubbed spontaneity is preferable demands, of infusing the music with an to the brilliantly precise but oversophisti- infectious gaiety (especially in the anon- cated work by the ladies of the Robert ymous eighteenth- century Noël). Appro- Shaw Chorale (RCA Victor LM 2759 or priately enough, the In dulci jubilo text LSC 2759. a disc which somehow is heard in three different settings: by escaped HIGH FIDELITY'S attention when Scheidt, Buxtehude, and Paminger, and it was released last year). Britten's sure the choir neatly projects the stylistic sense for selecting exactly the right text variations of each. is once more demonstrated in these For a purely instrumental approach lovely old carols. which he has adapted to Christmas. organist Carl Weinrich. with all his familiar skill and unfailing playing on the organ at the General musical response. The same is true for Theological Seminary in New York City. the two items on Side 2. Rejoice in the offers a recital of "Christmas Music of Lamb (also on the Shaw disc) and the the Baroque" (RCA Victor LM 2820: Mi.ssa brevis. Rejoice in the Lamb is LSC 2820). Side 1 includes Christmas set to an extraordinary text by the choral preludes, fantasies, and postludes eighteenth- century poet Christopher by Buxtehude, Pachelbel, Sicher, and Smart, written while he was an inmate Schlick and the tenth Noël from Daquin's of an asylum. Britten somehow conveys Nouveau Livre de Noëls, Op. 2 (a collec- the strangely moving imagery in the tion of variations on French carols). Side simplest and most beautiful terms. The 2 contains the first fourteen chorale prel- performances again are exemplary. sug- udes of Bach's Orgelbücldein, all based gesting that England's supply of first - on chorales relating to Advent and the rate choral organizations is virtually Nativity. Weinrich's registrations and limitless. CIRCLE 11 ON READER -SERVICE CARD

311 HIGH FID ;:LITY MAGAZINE

www.americanradiohistory.com When these EMI loudspeakers speak... people listen!

Model 319 Model DLS -529 Model 630

There are two ways to buy a But it is this same perfection that They speak for themselves. In per- loudspeaker. Take the one you're makes EMI loudspeakers reproduce formance, popularity and prices. being sold. Or listen, and let your music like you've never heard it The DLS -529 is $159.00. The 319 ears do the choosing. We recom- before. Vital and alive. Smooth and is $99.75. And the 630 is $69.75. mend the latter because we have no balanced. Whether the volume is Other models range from $49.95 fear of the inevitable judgment of played at a shout. Or a whisper. to $395.00 *. And they're all your ears. You'll think you're at the actual dangerous. If anything, we fear the perfec- performance. *All prices slightly higher in South tion of our loudspeakers. Their That's the kind of realism you get and West. transient -perfect sound reproduc- from an EMI loudspeaker. tion can be "dangerous" because it If one listen is worth a thousand exposes the flaws in other compo- words, these three EMI speakers EMI/ SCOPE Scope Electronics Corporation, 235 East 42 Street, nents used with them. are sure to leave you speechless. New York, N.Y. Also available in Canada. CIRCLE 31 ON READER- SERVICE CARD DECEMBER 1965 31

www.americanradiohistory.com "Holiday for Orchestra!" Percussion, Furthermore. the stereo recording, for processed at a considerably lower modu- Brass, Woodwind, and String Choirs all its clarity and vividness, is handi- lation level than the stereo disc, which of the Philadelphia Orchestra, Eugene capped both by some rather unnatural complicates the problem of deciding Ormandy, cond. Columbia MS 6757, spotlighting of solo (especially percus- whether the tape's highs are quite as ul- $5.79 (SD). sion) instruments and by an unduly dry trabrilliant as those heard here; I doubt "Holiday for an Arranger" might have acoustical ambience. (I should add that that they are. been an apter title for this program, these performances first appeared in a since it is devoted to Arthur Harris' spe- series of British Pye EPs in 1959.) Yet "Magnificent Movie Themes." Enoch cial showpiece scorings for various or- despite the disc's failure to meet the high- Light and His Light Brigade. Com- chestral choirs-and it's obvious that Mr. est executant and engineering standards, mand RS 887, $5.79 (SD). Harris revels in his work. The showy it provides a maximum of high musical The present Light program of film score arrangements of Camptown Races and spirits at a minimum cost. hits probably isn't the last we'll have in When Johnny Comes Marching Home the conductor /promoter's Command leg - feature the Philadelphia's brass players, " `Ship of Fools' Music (Composer's Sym- acy-he has recently departed from not excluding the fine tuba -ist. A Sailors' phonic Score)." Boston Pops Orches- that company -but it certainly is repre- Hornpipe, Paderewski Minuet in G, and tra, Arthur Fiedler, cond. RCA Victor sentative of his finest display perform- Rameau The Hen star, rather more LSC 2817, $5.79 (SD). ances and recordings. Except for a very imaginatively, the woodwind section. For the sake of realism, the original few lapses, arranger Lew Davies has Benjamin's Jamaican Rumba, Debussy's Ship of Fools sound track was scored avoided overfanciness and yet has come Prelude General Lavine- Eccentric, and almost exclusively for a salon trio of the up with some of his most imaginative Harris' own March of the Mandarins type so often heard on shipboard, play- scorings. These feature the harpsichord feature the percussionists (who are by ing purported transcriptions of song and of Dick Hyman (particularly effective in no means silent elsewhere either). The dance tunes popular on the eve of World the Theme from The Amorous Adven- incomparable Philadelphia strings are War I1. Here its creator, Ernest Gold tures of Moll Flanders), the harp of heard at their lushest in the London- (he of Exodus fame), supplies on special Robert Maxwell. guitar of Tony Mottola, derry Air and at their zippiest in Rim- commission from the Boston Pops what and (in a too intense but formidably sky's Flight of the Bumblebee. And the might have been the full -orchestral orig- bravura Goldfinger) the trumpet of Doc program concludes, perhaps anticlimac- inals of supposed paraphrases. These do Severinsen. All the other virtuosos of tically, with a full -orchestral March of indeed evoke the characteristic idioms the some forty -man Light Brigade are in the Dwarfs by Grieg. and moods of their period, but they are fine fettle too -especially in the exciting Needless to say, the playing is bravura often far more distinctively individual Von Ryan's March. haunting Forget throughout, and the recording (appar- than the notion of paraphrases might Domani, hard -driving Zorba the Greek ently varied in miking setups to make suggest. They are also admirably varied Theme, and jaunty Chine Chim Clreree. the most of each choir featured) is both -from such lush mood music as the As always. the Command recording itself ultrabrilliant and ultrastereoistic. It seems Love Theme and swirling Candlelight (originally made on 35 -mm magnetic to me, though, that Harris -like many and Silver and Party Favors Waltzes to film and exploiting the "Dimension -3" other ingenious orchestrators -tries too a cheerful Heute Abend, rowdy Charles- center -fill technique) is spectacularly hard to provide novel effects, often in ton for an Old Fool, and, in Bremer- stereoistic. crystalline, and glittering. such profusion that they tend to cancel haven Welcomes You, an almost fright- But (again. as nearly always) I. for one, out each other's effectiveness. But for eningly accurate parody of a Teutonic would welcome just a bit more acous- some audiophiles, as for Oscar Wilde, band piece. Fiedler and the Bostonians tical warmth. perhaps nothing succeeds like excess- of course make the most of the oppor- and the disc certainly offers a fabulous tunities for both bravura and schmaltz, "Tanzende Finger." Akkordeon Orchester variety of instrumental timbres displayed as do the Dynagroove engineers in pro- "Quintenz," Ingeborg Mückenberger, in adroitly enhanced power, piquancy, viding outstandingly big and vivid yet cond.: Rudolf Würthner Ensemble. and persuasiveness. warmly authentic sonics. The technically Polydor 237429. $5.95 (SD). excellent 4 -track tape transfer (FTC Chaikin: Accordion Concerto; Shisha- "Encores for Orchestra." Pro Arte Or- 2203, 38 min., $7.95), by the way, is kov: Balalaika Concerto; etc. Various chestra, Charles Mackerras, cond. soloists and orchestras. Monitor MCS Vanguard Everyman SRV 178, $1.98 2074, $1.98 (SD). (LP); SRV 178SD, $1.98 (SD). Discounting some more or less routine For this bargain- priced collection of sym- accordion solo pops programs, the pres- phonic showpieces, Mackerras has se- ent releases are the first noteworthy lected well -varied materials. each de- recordings of their kind since the cidedly effective in its individual way: memorable April 1962 Vanguard "Ac- Falla's Three- Cornered Hat dances, cordiorama" collection of light classical Weinberger's Polka and Fugue from transcriptions played by the Hohner Ac- Schwanda, Smetana's Bartered Bride cordion Symphony Orchestra under Ru- Overture, and the Overtures to Doni- dolf Würthner. In this Polydor program zetti's Daughter of the Regiment and Don of light music it is a Würthner sextet Pasquale. But while the conductor's read- that contributes the seven most distinctive ings are consistently vital and precise, and professionally skillful performances. I feel that his Pro Arte Orchestra isn't The nine others are by a Munich amateur quite large or refined enough (the flatu- ensemble of some fifteen young accor- lent brass qualities are particularly dis- turbing) to do the music full justice. Continued on page 34

32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Perfection is worth waiting for... A year ago Saul B. Marantz made this state- GAIN: Phono to main output; 64.5 db. ment: "Only when the development of solid Phono to recording output; 42.5 db. High level to main output; 22.5 db. state electronics has reached the stage wherein FREQUENCY RESPONSE: 20 to 20,000 cps ± 0.1 db. it match the dependability and performance can TOTAL NOISE: 20 to 20,000 cps, 80 db below 10 my of Marantz- designed vacuum tube circuitry will input. (1 uy equivalent broadband our equipment be transistorized." noise input). Now the Marantz Company is bringing out its I.M. DISTORTION: 0.15% at 10 volts RMS output. first solid state component. With the develop- DYNAMIC RANGE. PHONO INPUT: Approx. 100 db above 1 uy equivalent noise input. (1 uy to 100 ment of the Marantz solid state 7T stereo pre- millivolts at less than 0.15% I.M. amplifier completed and ready for the market, Distortion). Mr. Marantz is proudly able to state: "After 2 years of research, we know that at last a tran- NEW FEATURES: 2 Front Panel Jacks: For recording, copying or play- sistorized component can perform with the back with an external tape recorder. established quality we demand." Panel Headphone Jack: Built -in circuit drives 500 ohm Until now, when a transistorized preamplifier or higher impedance phones. was operated for the best signal -to -noise ratio, Center Channel Output: Separate A + B mixing cir- it was most readily subjected to overloading. cuit with level control. Tape Play /Tape Copy Switch: Permits tape recording Thus, you had the unhappy choice of undue playback or monitoring, plus duplication of tapes. noise or clipping and distortion. As of today, that is no longer the case. The previously unequalled OTHER FEATURES: Selector Switch with automatic Marantz 7T matches the equalization insertion. Mode Switch, Precision Volume signal -to -noise ratio of the Marantz 7, yet the Control, Wide Range Balance Control, Selectable - widest dynamic range from any sound source curve Feedback Tone Control, High Filter, Rumble will not overload even its sensitive low -level Filter, Power Switch, Output Level Adjustment for phono stages. high or low efficiency speakers, Tape -head Equalizer adjustment, 6 AC Convenience Outlets. Panel Head- And now, discriminating audiophiles, who phone Jack, Panel Tape Recorder Jack, Panel-Tape waited for the best, can reap the rewards of Playback Jack, Center Channel Output. All outputs their patience ... the new Marantz 7T. match 500 ohm inputs at very low distortion. mmirenITHE NEW w '1o/d/ae 7T

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CIRCLE 52 ON READER- SERVICE CARD DECEMBER 1965 33

www.americanradiohistory.com THE SONIC SHOWCASE "Reiterfreuden," Vol. 2. Das Deutsche Trompeter -Korps, Hans Freese, cond. Continued from page 32 Polydor 237434, $5.95 (SD). I wonder whether what may be "Riders' dionists plus a percussionist. playing with Joy" isn't sometimes their horses' sor- fine gusto but with somewhat less pre- row.. . . But perhaps many horses ac- cision and definitely less tonal refine- tually enjoy ring training in dressage ment. The mostly folkish or traditional techniques performed to the strains of dance pieces are topped by Lumhye's band marches in tempos suitable for Champagne Galop and an amusing horn- walking, trotting, and galloping maneu- pipe, Englischer Schif f.s jun,eentanz. The vers. At any rate, anyone who wants to recording is extremely clean, bright. and train his own horse (whatever the latter's unexaggeratedly stereoistic, but either it feelings on the subject may be!) and who -or, more likely. the ensemble itself - hasn't any experienced musicians handy lacks any very substantial tonal body. should find this undoubtedly unique The Russian program is much more of Polydor series invaluable. I haven't heard an oddity. It is in part, at least, an Vol. 1 (237064), but the present sequel electronic reprocessing of items that employs the same apparently fairly small originally appeared in a Westminster LP brass and timpani ensemble and the back in 1957. Its accordion concerto. one technical advice of Lt. Ulrich Janssen. of the few on records, stars the great There are some fourteen obviously high- Yuri Kazakov on the Bayan -a Russian ly appropriate selections, introduced by type of button (rather than keyed) ac- a Fanfare and "Paradepost der beritte,,- cordion. Unfortunately, Chaikin's music en Truppen." The recording is unexag- is of negligible worth; Kazakov's playing geratedly stereoistic, strong and clean is here overly vehement and slapdash if a bit thin, and sometimes rather sharp (he was heard to much better advantage sonically. Except for a few of the more in an Angel solo recital, 65020); and the tuneful items (Schubert's Ic /I hört' ein synthetic stereoism adds little to the at- Bücllein rausche,,, and the marches on tractions of the strong, decidedly coarse motives from Die lustigen Weiber von recording. There is somewhat more mu- Windsor, Die schöne Galathée, Der sical interest in what must be the only Prophet, etc.) the music isn't very well recorded concerto for the balalaika, suited for listening -only, at least by written by Shishakov and starring Mi- human rather than equine ears-for the khail Rozhkov with a "folk- instruments" very reason that it is probably so ex- orchestra under Victor Smirnov. This is tremely well suited for its specific pur- a short two -movement work and the pose: i.e., its stiffly precise articulation. disc -side is filled out by a Vassilenko Even the most rhythmically obtuse horse Suite on folk themes and a Reznikov is given no excuse for missing the beat! Toccata, featuring solo balalaikists Eugene Blinov and Eugene Avksentiev "Selections from `The Roar of the Grease- respectively. These last two performances paint were not -The Smell of the Crowd.'" included in the Westminster Dick Schory and mono release, His Orchestra. RCA but they certainly don't Victor LSP 3394, $4.98 (SD). sound like very recent recording. I won't go quite so far as to assert that moving Dick Schory's recording locale " `Der Bettelstudent,' 'Schwartzwaldntä- from Chicago's Orchestra Hall to New del,' Gasparone,' `Der Vogelhändler' York's Webster Hall has been as dis- art Excerpts." Various soloists; operetta astrous for him as Delilah's shears were chorus and orchestra, Franz Mars - for Samson. . Probably it isn't as zalek, cond. Polydor 237169, $5.95 much the move itself as it is the loss of (SD). almost all natural reverberation that collector Americans who have never heard more strikes me as the crowning indignity in than a few of the engaging tunes from the recent steady deterioration of what The finest home recording equipment the popular operettas by Milliicker, Jes- was once a sonically superb series. sel, and Zeller can hardly be given in the world can only record what a Granted that Schory had to expand his more profitable musical tip than to make repertory from one devoted to percussion comes through the business end - their better acquaintance. But for sound spectaculars only; granted too that the fanciers in particular. perhaps the most shift from that's why it doesn't pay to cut corners strictly novelty selections to pertinent feature of this imported disc more widely appealing pops programs when selecting your microphone. If (apparently one of an extensive operetta isn't an easy one to make; and granted series) is its technical quality- seeming- finally quality counts with you, enjoy the that even now some of the Schory ly more American than German in its performances (like the present Beautiful magnificent reproduction possible with emphasis on an ultravivid presence of Land and possibly also the more con- the soloists yet without any loss in the ventional the Turner Model 500 Cardioid. With Sweet Beginning, This Dream, tonal ring and clarity of the well -hack and Feeling Good) still can be a musical fine equipment, and the Turner 500 orchestra. And at that the engineering as well as a sonic delight.. . The fact skills manifest here by no means over- remains every tape is a work of art. Ask your that a truly extraordinary talent shadow those of the unaccredited ar- has been increasingly denatured, and that dealer about it next time you're In. ranger (who has deftly crammed a large even the velvety plush Dynagroove re- number of selections into a relatively cording of recent Schory releases seldom short space ). of conductor Marszalek matches the exhilarating sonic vitality of (who gives his forces considerable free- his earlier programs. To anyone who THE TURNER MICROPHONE COMPANY dom without ever risking a loss of as- wants to hear what Schory does best, 942 17th Street N.E. sured control ), or of the many soloists I strongly advise going back not only to Cedar Rapids, Iowa (including Sándor Kónya, Ingeborg his first recordings for RCA Victor but Hallstein, Herta Talmar, Willy Schnei- to the still earlier Concertape "Re -Per- le Canodo: TriTei Associates, ltd.. 41 Sheppard Ave. West, WlIIo dole, Ontario der, and Franz Fehringer, among cussion" program, recently reissued as an Export: Ad Aurisma Inc.. SS Brood Street, New York 4. N.Y others). Everest stereo disc. R. D. DARRELL CIRCLE 85 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

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MARANTZ 10 -B TUNER: di .. rather spectacular results." Q. Mr. Marantz, your new 10B stereo are the reasons for this improved fringe adjustments and a switch. The rest of FM tuner has caused quite a stir in the area performance? the necessary associated circuitry would types of hi-fi industry. Now that a large number Technical people will find be basically similar for both Mr. Marantz: the 10B tuner is are in the field, what reactions have you it self- evident that the rare four -way indicator. The price of received? combination of high sensitivity- better easily justified by its sophisticated circuitry and extremely high - Mr. Marantz: The overwhelming than 2 µv, IHF -both phase linearity precision reaction has been one of surprise from and ultra -sharp selectivity in our new quality parts. owners who found our claims were not advanced IF circuit, and a unique abil- Q. With the 10B's exceptionally high exaggerated. One user wrote he had ity to reach full quieting with very weak di performance, does it have any commer- ... taken with a grain of salt your signals -50 db @ 3 µv, 70 db @ 24 µv cial or professional application? statement that reception was as good as - virtually spells out the 10B's superior playback of the original tape or disc. reception capabilities. Engineers will Mr. Marantz: Yes, very much so. In fact, However, after using the tuner for sev- fact that a growing number of FM stations are also appreciate the additional 10B's for monitoring their eral days I felt I owed an apology for our circuitry exhibits very high rejection already using the statement." This is typical. noise own broadcast quality. One station doubting of "ENSI," or equivalent- -sideband- wrote that they discovered their 10B Q. What success have users had with interference. outperformed their expensive broadcast fringe area reception? Q. Considering the 10B's excellent monitoring equipment, and were now Mr. Marantz: Letters from owners dis- fringe area performance, shouldn't one using it for their multiplexing setup close some rather spectacular results. pick up more stations across the dial? adjustments and tests. From the California coast, which is nor- Mr. Marantz: Yes. The report published mally a very difficult area, we have had Q. Just how good is the general quality in the April edition of Audio Magazine of FM stereo broadcast signals? many letters reporting clean reception claimed to have logged 53 stations with from stations never reached before. An an ordinary folded dipole used in the Mr. Marantz: As I have remarked on owner in Urbana, Illinois told us he reviewer's apartment, which was "more previous occasions, the quality of FM receives Chicago stations 150 air miles than ever before on any tuner!" broadcasting is far better than most away with a simple "rabbit ears" TV people realize. The Model 10B tuner antenna. Another in Arlington, Virginia Q. I appreciate, Mr. Marantz, that the has proven this. What appeared to be consistently receives fine signals from 10B's built -in oscilloscope tuning and poor broadcast quality was, in most Lancaster, Pennsylvania, 125 miles multipath indicator is very valuable in instances, the inability of ordinary FM away; Philadelphia, 200 miles away, achieving perfect reception. How big a receiving circuits to do the job properly. and three stations in Richmond 100 factor is this device in the total cost of The Model 10B, of course, is based on a miles over mountains, which he said the 10B? number of entirely new circuit concepts "come in as good as local stations." Mr. Marantz: Well, first we should note designed to overcome these faults. the fact that no manufacturer would Q. For the benefit of these readers Q. In other words, the man who uses a interested in the technical aspects, what offer a quality tuner without tuning and signal strength meters. Therefore, what MARANTZ 10B FM tuner can now we should really consider is the differ- have true high fidelity reception? ence in price between ordinary tuning Mr. Marantz: Yes, very definitely -even meters, and our infinitely more useful under many conditions where reception and versatile Tuning/ Multipath Indica- may not have been possible before. This, tor, which is only about $30! While our of course, opens up a tremendous source scope tube and a pair of moderately of material for the man who wants to priced d'Arsonval meters costs about tape off the air, and who needs really the same - slightly under $25 -the $30 good fidelity. He can, as many of the price differential covers the slight addi- 10B owners are now doing, build a tional power supply complexity, plus superb library of master -quality tapes, two more dual triode tubes with scope especially from live broadcasts. Price: $600

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I CIRCLE 52 ON READER -SERVICE CARD DECEMBER 1965 35

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B Y N O R M A N ES EN e E° G NEWSFRONTS

A Show with Some Asides. Neither the acts shown which. in sum. represent the novel item at the Kenwood exhibit was paucity of press coverage due to the industry's strongest effort yet to offer a self- tuning FM tuner that "hunts" auto- newspaper strike nor the vagaries of early high performance in attractive formats. matically for a station: this unit is a fall weather in New York kept the re- or. as one company head put it. "engi- one -of -a -kind model which may be recent High Fidelity Music Show from neering combined with cosmetics." Most leased some time in the future. The only turning out to be one of the best - of what was on display was noted in product shown by KLH was its Model attended to date. By official count. some this journal's account of "New Products" 12 speaker system. medium -size and 25.600 persons came to see and hear (October 1965): some other items had using four drivers. New headphones were new equipment. leading figures in the in- been kept under wraps until the very shown by Telex. Superex, and Sharpe. dustry. and some distinguished recording opening day of the show. Benjamin. for Koss demonstrated a new headset and artists. In lieu of newspaper announce- instance. displayed its Miracord 40H. a headset- amplifier, the latter's design con- ments. show publicizers took to the air. four-speed automatic turntable with hys- tributed by Koss's newly acquired divi- using one of the industry's main areas teresis- synchronous motor and an arm sion, Acoustech. A new Rek -O -Kut turn- of interest. FM. to help promote itself. similar to that used on the costlier Model table and arm ensemble also was on hand. The results would seem to justify this 18. A double -arch front is a new style At the Norelco exhibit we saw an adapter move. note found on some Bozak speaker sys- kit that permits the Carry -Corder tape The audience which crowded into the tems: the insides remain the same. Con - machine to he used in an auto. New New York Trade Show Building from certone's 800 series, we learned, includes styling graced some of the Magnecord September 29 through October 3 not only basic tape decks as well as elaborate fur- tape machines on view. surpassed those of previous years in num- niture- housed systems. An enormous pair Marantz showed its first solid -state ber. but to this observer it had a well - of speaker systems- designed by Michael product: the Model 7T preamplifier - defined character. We saw very little of Kay of Lyric Hi -Fi. a New York dealer. control. Cartridges for the 8 -track auto - the sort of aggressive hi -fi- manship often and costing $2.200 for the pair -were stereo system were featured at RCA practiced at earlier shows -where an being driven in the Crown room by the Victor's room: its catalogue lists more enthusiast might buttonhole an audio Crown SA 20 -20 "pancake" amplifier. than two hundred releases priced from manufacturer to tell him "how to build Dynaco surprised everyone by showing $4.95 to $10.95. The newest modular his own amplifiers." Instead. we saw an a prototype of its Model 60/60 basic disc playback system is the EMI /Scope. audience that seemed fairly serious and amplifier -solid -state (the company's first consisting of a Garrard automatic. affluent. that had come to learn. to be in this area) and not to be available Pickering V -15 cartridge. built -in solid - shown. to he guided in their planned until mid -1966. state amplifier. and a pair of EMI purchases and use of equipment. In Electro- Voice's entry into solid -state "dangerous" speakers. At the Sherwood keeping with this tone. there were clearly electronics was signalized by tuners and exhibit we learned of this company's more ladies present than ever before: a control amplifier, available separately latest solid -state equipment: a tuner. an indeed. the number of couples in evi- or combined and dressed up with a com- amplifier, and a 100 -watt receiver. dence. particularly on Friday and Satur- mon front panel as a receiver. The entire Among the new items from Shure was day evenings. suggested forcibly that high receiver. as E -V's Larry LeKashman a "Gard -A- Matic" phono cartridge. using fidelity has become a family affair. serv- demonstrated. fits neatly into an ordinary a retractile suspension system. Automatic ing a broad audience of diverse interests size attaché case. A new solid -state pre - reverse of tape. actuated by silence, was as well as the embodiment of a pursuit, amp and basic amplifier were featured featured on new Sony /Superscope equip- after perfection by a relatively smaller by Hadley. A medium -size floor -standing ment (this company was handing out a group of enthusiasts. speaker system. the Concertmaster Junior. This dual note was echoed by the prod- was on hand at Hartley Products. A Continued on next page

Gould and Stanton: a touch of nostalgia ... the Streisand room: stereo and décor.

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"I/ any doubt remains in the minds and hearts of audio /ans as "The 111F rated sensitivity of the Scott 344 ... was a lot better to the acceptability of transistors for use in high -quality FM- than specified by the manufacturer - and at 2 microvolts for stereo tuners, the Scott 312 should still these fears forevermore 98 megacycles it is one of the most sensitive sets available. it is one of the finest tuners Scott makes. And that means Capture ratio and selectivity also were better than specified. it is one of the finest tuners anywhere." Audio July 64 All told, the performance characteristics of the Scott 344 are among the finest for an "all -in -one" ... The set is a delight to "In a sense, there is little to say about the sound of the Scott use and listen to." High Fidelity 260 since ...it has no "sound" of its own - the listener hears "To sum up, the Scott 312 has remarkable sensitivity, good the music, not the amplifier. The 260 will reproduce any signal stereo separation and excellent overall audio quality. It can be that is Jed into it with well -nigh perfect exactness, and without recommended particularly to fringe -area dwellers who don't adding any sonic coloration of its own." want to spend a year's income or thereabouts on other tuners HiFi /Stereo Review April 65 of comparable capabilities." Radio Electronics March 65

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www.americanradiohistory.com HIGH FIDELITY NEWSFRONTS Continued from preceding page .Z004), lotie;i6SIee, product catalogue done in "op art" form). At Tandberg's exhibit we encountered a new line of compact speakers. The feature -laden Dual 1019 was the star the MULTICUBE performer at United Audio's display. A NEW DIMENSION IN AUDIO- STORAGE FURNITURE

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1. Its fair. 2. It's good business. :3. It keeps our quality control department on its toes.

i. Because of #3, it doesn't cost us very much.`

AR turntables are guaranteed for one year, with freight and repair costs covered.

The superior performance of AR speakers and turntables, attested to almost universally in equipment reviews,* is not likely to change after years of use. If the unlikely does occur, we take care of it.

Literature on AR products will be sent on request.

*The return rote of some models over the entire 5 -year life of the guarantee is less than 1 %.

* *Lists of the top equipment choices of four magazines are available on request. All four chose the AR turntable, and three of the four chose AR -3 speakers.

ACOUSTIC RESEARCH, INC., 21 Thorndike Street. Cambridge, Massachusetts 02111

CIRCLE 2 ON READER -SERVICE CARD DECEMBER 1965 41

www.americanradiohistory.com HIGH FIDELITY NEWSFRONTS \MOSL Y ANNOUNCES Continued from page 40 er- expansion program: you start with one AN X C I T I N1G COLOR basic system and add units to it later. Across the hall, the Garrard exhibit was REAKT`HROUGH! abetted by talks delivered by a bevy of Now Mo -ley off rs yo a colorful NEW young ladies with the aid of large -scale working models of the parts of a Lab 80 line o f V out is d esigned f or coax turntable, the whole thing taking on a sort of Museum of Science and Industry installations! Available to you are approach. coax o tlets it decor- harmonizing At the Magnecord exhibit, a Model 1022 tape recorder amazed everyone by colors of Antique I +ory, Fawn Beige, responding to commands delivered in a loud voice; and ey Mist; packaged complete the trick, we learned, was done by an assistant hiding a remote - atching C -5e receptacle plug control box hooked to the machine by a 25 -foot cable. EI or u e with RG -59/U Coax. Ampex and Sony showed their about - $1,000 video -tape systems and then, by " Mosley 300 ohm TV outlets (pack- means of playback on a TV monitor, let the visitors view themselves looking at aged with model 303 plug) are the equipment. Interest in this new product form, as we also available lit NEW eye - far as could gauge, was mixed. Most sophisticated New Yorkers aç,pealing colo4s plus Standard seemed not overenthused about a device Brown and Ivory. that suggested television -viewing -a reaction perhaps prompted by the con- current opening of the TV season, which, it seemed universally agreed, offered the More Write: Information most banal collection of programs yet 4610 N. Lindbergh Blovd., scheduled by the networks. When it was fle. Bridgeton, Missouri 63044 pointed out that the video -tape system could be used for other purposes CIRCLE 55 ON READER -SERVICE CARD -making one's own films. or showing pre- recorded (and presumably high quality) audio- visual tapes-the climate became much more favorable. An unusual aspect of this year's show was the number of "side shows" held for the press and trade. For instance, a

43 HOW FAR WRONG CAN YOU GO? Eager to sell, buy or swap used high fidelity speakers. amplifiers, cartridges, turntables, tuners, records. etc.? Turn to our monthly bulletin: The BUY- SELL -or- SWAP NEWSLETTER. If you want to SELL -classified listings of used equip- From Electro- Voice, a receiver small ment and records cost only $1 per ad -limit 30 words enough to fit inside an attaché case. including name and address. No dealer ads accepted. week before the show, we attended a If you want to BUY -lots of bargains offered in the special demonstration of the Dual 1019 50 or more ads that appear here every month. Sub- automatic turntable, at which United scription price; only $2 a year! Audio head Julian Gorski explained the If you're audio -minded, how far wrong can you eo for 1019's features, especially its antiskating facility. A novel accessory for the 1019 these small sums? Fill in and mail the form below is a skating meter that plugs into the today! tone arm in place of the regular pickup shell to indicate the need for adjustment HIGH FIDELITY, Enclosed is my payment for S _ Dept. CE the A preshow was also Great Barrington, Mass. of arm. exhibit Insert the following 30 -word adver- held by Electro- Voice, while almost si- Start my subscription to your BSS tisement (including name and addressi in multaneously, Koss /Rek -O -Kut threw a Newsletter with the next issue. Only S2, the next issue of the BSS Newsletter. mid -morning party to award a mustang Name. (Type or print plainly.) (SI) (a horse, not a car) to Robert Bach as the company's "best salesman of the Address year." University Sound celebrated its City thirtieth birthday at a party at which State Zip Continued on page 44

42 HIGH FIDELITY MAGAZINE

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CIRCLE 5 ON READER -SERVICE CARD 43

www.americanradiohistory.com HIGH FIDELITY NEWSFRONTS musical worlds was underscored not only r by the program material most prominent- Continued front page 42 ly used for demonstrating new equipment 1 (Vivaldi's strings, rather than train visitors met company heads and heard whistles, to show off the highs this year) 1 the latest University equipment. but by the appearance of such perform- Audio Dynamics had set up its ex- ers as Robert Merrill, Morton Gould, hibit at the Statler- Hilton, a few blocks and Paula Wayne. In fact. a musical am- away from the Trade Show Building. bience surrounded the show building - 1 Among its latest products were the Model from the handbills announcing that Uni- 10E cartridge, a very compact speaker versity Sound was awarding six thousand system. and -what do you know -a new records to lucky number holders to the line of electronics: tuner, amplifier, and traffic officer on the corner of Eighth receiver. The solid -state components are Avenue and 35th Street who drew his relatively low in cost and will be manu- own audiences by directing traffic with factured at a new plant ADC is setting highly original themes whistled at aston- up on Long Island. Whitecrest, a recent- ishing volume. ly formed company. booked a suite at One final comment on the show must the New Yorker to show three speaker deal with the building in which it is held. systems: a very compact model, a 2- Although renamed "the high fidelity cubic- footer, and a medium -size floor - palace" for this occasion, it remained the standing model. Also at the New Yorker same crowded and noisy locale as in the was Concord, introducing its Model 350, past. Even with most exhibitors refrain- Gives You Such Great Sound Per Pound! so far as we know the first battery - ing from conducting a "battle of decibels" operated recorder with automatic reverse with their neighbors. it still was difficult The Oki 555 lightweight solid -state portable for recording and playback. Not actually really to hear equipment critically, to stereo tape system weighs less than 25 part of the high fidelity show but cer- converse. and even to move down the pounds, yet gives you better than concert tainly germane to its interests was an corridor from one room to another. Out hall sound reproduction. And the price? all -day meeting of the IHF Standards of consideration for the visitors. to say Only $349.95` complete with two unique Committee at which the final version nothing of the exhibitors themselves. we "OKldizine" Speaker Systems, each contain- of the new Standard on Amplifiers was herewith make a motion for a move ing two speakers with a crossover network. discussed and accepted. Among its nota- next year. Oki has a fine choice of other solid state ble features: 120 volts, rather than 117 tape recorders, starting at $129.95 *. See volts, becomes the new line voltage for and hear them now at your Oki dealer. rating and testing equipment: amplifiers may he rated for continuous (rms) power

and for music power. the latter now + "fitted with a new set of teeth" as one III1IT SD/I member put it. The closeness of the high fidelity and taaa1

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Act of October 23, 1962; Section 4369, Title 39. United States Code). 1. Date of Filing: October 1, 1965. 2. Title of Publication: High Fidelity. 3. Frequency of Issue: Monthly. 4. Location of Known Office of Publication: The Publishing House, Great Barrington, Mass. 01230. 5. Location of the Headquarters or General Business Offices of the Publisher: 2160 Patterson Street, Cincinnati, Ohio 45214. 6. Names and addresses of Publisher, Editor, and Managing Editor: Publisher. Warren B. Syer, Great Barrington, Mass.: Editor. Roland Gelatt, Bridgewater, Conn.; Managing Editor: Sue Severn, Great Barrington, Mass. 7. Owner: The Billboard Publishing Company. 2160 Patterson Street, Cincinnati. Ohio; Marjorie L. Ross, Fort Thomas, Ky.; J. W. Ross Sr., Trustee. Fort Thomas, Ky.: Jane L. Stegeman, Fort Thomas. Ky.; R. S. Littleford Jr.. Trustee U'W Mariana W. Littleford, deceased, Port Washington, N. Y.; William D. Littleford, Custodian for Michael Littleford, Roslyn Estates, N. Y.; William D. Littleford, Custodian for Anne Littleford, Roslyn Estates, N. Y.; R. S. Littleford Jr.. Port Wash- ington, N. Y.; Marian H. Littleford, Roslyn Estates, N. Y.; W. D. Littleford, Roslyn Estates. N. Y.; L. M. McHenry, Fort Thomas, Ky. 8. Known Bondholders, Mortgagees and Other Security Holders Owning or Holding 1 Per Cent or More of Total Amount of Bonds, Mortgages or Other Securities: None. 9. Paragraphs 7 and 8 include, in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting; also the statements in the two paragraphs show the affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders w -ho do not appear upon the books of the company as trustees. hold stock and securities in a capacity other than that of a bona fide owner. Names and addresses ONLY of individuals who are stockholders of a corporation which itself is a stockholder or holder of bonds. mortgages or other securities of the publishing corporation have been included in paragraphs 7 and 8 when the interests of such individuals are equivalent to 1 per cent or more of the total amount of the stock or securities of the publishing corporation. 10. This item must be completed for all Publications except those which do not carry advertising other than the Publisher's own and which are named in sections 132.231, 132.232. and 132.233, OKI 555 Postal Manual (Sections 4355a, 4355b and 4356 of Title 39, United States Code). Average No. Copies Each Issue During singletiin Issue Nearest Preceding 12 Months gl Filingue Dale A. Total No. Copies Printed (Net Press Run) 153.330 155,941 B. Paid Circulation: 1. Sales through Dealers and Carriers. Street 19.094 19.000 Vendors and Counter Sales 2. Mail Subscriptions 105.153 108.550 C. Total Paid Circulation 124.247 127,550 D. Free Distribution (including samples) by Mail, Carrier or other means 4.963 5,261 E. TOTAL DISTRIBUTION (Sum of C and D) 129,210 132.811 'manufacturer's suggested list pace F. Office Use, Left -Over. Unaccounted, Spoiled after printing 24.120 23.130 G. TOTAL (Sum of E & F- should equal net press run shown in A) 153.330 155.941

I certify that the statements made by me above (Signature of editor, publisher, business are correct and complete. manager or owner) Chancellor Electronics, Inc. (Signed) John W. Ross, Secretary 457 Chancellor Avenue, Newark, New Jersey 07112 The Billboard Publishing Company CIRCLE 57 ON READER -SERVICE CARD 44 HIGH FIDELITY MAG. \7_INE

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The SUPER DUPLEX has a smooth frequency range from 20 to 22,000 cycles. This means not only superb sound quality at the extremes of the frequency spectrum, it also means exceptional smoothness in the mid -range. When you consider that about 90% of all music is contained in the midrange, you will know why the SUPER DUPLEX sounds so good. Its dual magnetic structure weighs 26 pounds, 13 ounces. Among other things, this means that the SUPER DUPLEX is the most efficient speaker made. Its coaxially mounted multicellular horn provides a PROPER ?IAA ACK, perfectly controlled high frequency distribution angle of 40° by 90 °. ENCLOSURES FOR THE 604E: This 15 ", two -way speaker system in a single frame comes complete Vertical design of the Altec 855A "Malibu" walnut cabinet, above, saves floor space with a dual full- section dividing network which incorporates a high while providing the necessary air vo urne for maximum bass. The new 859A "Valen- frequency shelving control with a 0 to -10 db range. cia" cabinet, below, features classic fret- work grille, rich hand -rubbed walnut finish, A slightly lighter, lower efficiency version of the 604E is the Altec and dimensions to fit most living rooms. 605B Duplex.

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CIRCLE 5 ON READER -SERVICE CARD DECEMBER 1965 45

www.americanradiohistory.com Here's how your dealer Exclusive! can show you what skating force is; how the Lab 80 eliminates it; protects Anti - Skating your records; tracks both stereo channels more evenly - more perfectly Demonstration than any other integrated record playing unit. with the aiviazvazi 1 This is a blank record with no grooves. I place it on the Lab 80." LAB 80

2 (left) "I set the tracking Dtte to the offset angle of any car- force at 2 grams, (as an ex- tridge, and the rotation of the rec- ample). Since each click of ord, all tone arms have an inherent the stylus pressure gauge on tendency to move inward toward the tone gram, arm equals '/r the center of the record. This skat- I turn it for 8 clicks." ing force, a definite side pressure against the inner wall of the groove, 3. (right) "I slide the coun- is a major cause of poor tracking, terweight on the anti -skating right channel distortion, and uneven device to the second notch... record wear. Now, Garrard dealers for a compensation of 2 grams have been supplied with grooveless ...equivalent to the tracking records which make it possible to force I have just set on the tone arm." visualize the skating force and how it is overcome in the Lab 80. The demonstration takes only a few minutes, but it is well worth seeing before you decide on any record playing unit. Oscilloscope readings (using 1000

cycle, 30 cm 1 sec. test record as signal source) verify effects of skating force on record reproduction.

4 "Now you can actually watch the strength of the skating force. I start the Lab 80, but flip the anti -skating device over and out of operation. Note that as soon as I put the stylus on the grooveless rec- Tracking without the anti -skating compen- ord, the arm moves rapidly... sator, sine wave form shows considerable with force, toward the center." distortion.

Tracking with anti -skating compensator, sine wave form becomes a clean picture of the output of the cartridge.

5 "Now watch me neutral- The patented Garrard method of ize the skating force. I swing neutralizing skating force is but one the anti -skating device back of a number of Lab 80 develop- into position...and the arm ments exclusive today but sure to be tracks as perfectly as if there imitated tomorrow by other manu- were a groove in the record! facturers. Compare! You'll find this If I were playing a regular Lab 80 feature is simple and fool- record-with the side pressure gone and resulting distortion proof ... works perfectly without eliminated -the sound would springs, balancing devices or other be cleaner." delicate mechanisms.

AUDIO says: "Special features set HI- FIISTEREO REVIEW says: "I HIGH FIDELITY says. "Tracking Visit your dealer to see the anti -skating this arm apart from the other auto- found that the bias compensator is well nigh perfect: the machine device in operation, or send $1.00 to Gar- matics (and quite a few manuals). was quite effective ... When ad- can handle cartridges of all weights, rard for your own grooveless demonstra- The first is an adjustable skating - justed, the distortion was very low including the lightest, and of all tion record. For your complimentary copy bias control. This can be set for even at the highest velocities, and compliances, including the highest; of our new 32 -page Comparator Guide, the proper stylus force used. It was observably loiter than when the assembly has a high immunity write Garrard, Dept. GM- 25, Westbury, works effectively, without binding no compensation was used." to external shock." New York 11591. on the arm." CIRCLE NO. 103 ON READER SERVICE CARD

www.americanradiohistory.com AS high fidelitysEES IT tq

Why Save the Old Met?

IN OUR September issue, we devoted considerable symbolize our nation's coming of age. But a society space to a preview inspection of the new Metropoli- that will trade in opera houses as if they were cars; tan Opera House. Like everyone else interested in that will destroy buildings rich in historical and ar- matters operatic, we are excited by the prospects chitectural interest merely to turn over another afforded by the first new major opera house to be profligate spade of earth; that will almost unques- erected in this country in many years. But at the tioningly yield a unique symbol of heritage in return same time we are saddened by the almost certain loss for yet another anonymous example of sterile acquisi- of the building at Broadway and 39th Street. For tiveness -that society has not come of age. This is over eighty years, it has been more than one of the self-mutilation, and it is unhealthy. world's half -dozen great lyric theatres, and certainly In the nineteenth century, it was to Europe that more than the elegant tool of social oneupmanship we looked for cultural instruction. It seems that in forged by its original owners; it has, indeed, been an the twentieth we are still in need of some tutoring. artistic symbol, a monument to our European inheri- We need hardly point out that in almost any Euro- tance and to our own cultural beginnings. pean city a landmark like the Met would be preserved We say that its loss is "almost" certain because as a matter of course -not because it might have a there are signs of a gradually awakening public inter- "practical" use or a good profit yield but simply est in the preservation of the old house. The small because it graced the city's past and meant something but determined organization known as the Save the precious to its people. The Theater an der Wien in Met Committee (Box 714, Mt. Vernon, New York) Vienna is an excellent case in point. The house that has recently picked up some momentum, and pre- saw the first Fidelio has stood while nearly all Vienna sented its case at the first meeting of the newly changed, through bombardment and vicissitudes of formed New York Landmark Preservation Commis- every conceivable kind. At times, it has stood sion. Regrettably, however, this campaign (like those empty -but it has stood, for who would dream of of many nobly intentioned but badly organized move- removing it? ments) is engaged in firing off ammunition in all We believe that the old Met can find its place as directions at once; much energy is expended on a museum of the performing arts-a repository for charges of governmental conflicts of interest, on the everything related to our cultural beginnings and demonstration of the Metropolitan administration's history. Such an institution is badly needed, for the alleged wish to eliminate possible sources of competi- scattered small collections that form parts of more tion, on completely unsubstantiated arguments for comprehensive museums are not sufficient, or some- the old Met's superiority to the new, and on attempts times even accessible. The old Met is a splendid lo- to show that the building can yet be made to pay its cation for such a purpose, and the auditorium itself way as a functioning theatre. Any or all of these is a prime exhibit. In our view, the city adminis- hypotheses might, in responsible hands, be fruitful tration, the officials of the Metropolitan (theoretical fields of inquiry. But they are essentially irrelevant guardians of this heritage), and the opera public at to the matter of saving the old house. large (to whom it largely belongs, for they have sup- In our opinion, the fundamental issue is some- ported and sustained it, and at least once quite liter- thing else. We believe that it is a mark of maturity ally saved it from destruction) should make it their in a society (as in a person) to recognize the primary business to take an active and determined interest in importance of what we must call spiritual values. the preservation of what has, since 1883, been the America's new performing arts centers are said to Metropolitan Opera House.

DECEMBER 1965 47

www.americanradiohistory.com by WILLIAM R. TROTTER Sibelius and the tide of taste

In the composer's centennial year, the music that was once extravagantly applauded, once wholly dismissed, at last finds its own place.

EW IMPORTANT COMPOSERS have, during their murky everything in the music was. The antagonism own lifetime, experienced such heights of popularity of a René Leibowitz expressed itself in articles like or fallen into so dreary a pit of indifference as "Sibelius, the World's Worst Composer," in which Jean Sibelius. At one time among his champions the author summed up the Finn's contribution as were great conductors -Koussevitzky. Stokowski, "a heavy dead weight" in twentieth-century music. Beecham -who acted as persuasive spokesmen for Bright young men used his fall from grace as an his music and brought it to wide audiences through exercise for jejune witticisms: "Sibelius? My dear their recordings as well as their concert programs. fellow, what possible merit can he have? He never His self -constituted apostles were legion, including caused a single riot!" And as the music declined the influential English critic Cecil Gray, who in an in popularity, the caliber of performances tended adulatory book heralded Sibelius as the savior of to become perfunctory and haphazard, thus further modern music, the greatest symphonist since Beetho- alienating the composer from his audience. ven. Gray's extravagant claims were echoed in Between the two extremes of adulation and hos- public opinion: a survey of New York concert audi- tility stands a considerable and fascinating body of ences of the period revealed that Sibelius stood work. Much purple prose has been gushed about higher in their favor than any of his great nineteenth - its Nordic lustiness and mystery -so much, that century predecessors. And then, beginning in the one tends to forget that such descriptions have a late Thirties. came the reaction. basic truth. It can be safely said that few composers It could perhaps have been anticipated. People of our time (Vaughan Williams excepted) or any simply became sated with Sibelius, and a younger other have put so much pure nature (in the Words - generation of listeners took their cue from author- worthian sense) into their music. But there is some- ities more fashionable than Cecil Gray. Nadia thing more than the evocation of atmosphere. There Boulanger was quoted as saying, "Sibelius, ah, poor, is a basic sincerity, a universality, a genuine emo- poor Sibelius! A tragic case!" Virgil Thomson, tional communication. Influences there were: High Priest of Nadiaism, took every opportunity to Bruckner influenced Sibelius' first big composition, impress his readers with how worthless, bleak, and a massive cantata-cunt-symphony based on the

4S HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Kalevala epic; Tchaikovsky appears in the First ness; its instrumental tones wander and float over a Symphony; hints of Debussy are found in Ocean - vast plane. To the listener who has become fa- ides, and the short piece Pan and Echo is almost a miliar with its style, it is a journey through a region rewrite of Afternoon of a Faun. But beyond these of remote and profound sadness, and its ideas reveal matters, it is the inherent integrity of Sibelius' out- a granitic strength of will. And Sibelius has created put that has drawn myself and many other young these impressions with the sparest orchestral forces. music lovers towards his works. It is the sense that, Surely, the Fourth is a great symphony. from first to last, Sibelius expresses himself in a Even less appreciated than the Fourth is the way that is the natural evolution of one man's cre- diametrically different Sixth. No one could possibly ative processes -that, indeed, he never did cause speak of this piece in terms of Nordic gloom and any riots. dark, drab colors. Why the Sixth has never found At a time when musical traditions and the ears a wide audience is to me a puzzle. It is a glowing of audiences were being blasted into by many isms, nature poem. It has a youthful quality that belies Sibelius worked apart, fought through his problems the fifty -eight years of the man who wrote it, a faint in the recesses of his own mind and heart, and, as and delicious sadness for lost springtimes, with the he was fond of saying, went his own way. At this cool passing of occasional dark and troublous point in our century, when so much music seems shadows. The translucent beauty and warmth of the to be written by professionals for the consumption Sixth streams like sunlight through a fresh leaf, of other professionals, music so much of which is straight into the heart. as prickly as a cactus and as cerebral as a UNIVAC, A good word should be put in too for the neg- many modern listeners find something enduring, re- lected Third Symphony. In this work Sibelius shows freshing, and invigorating in the music of Sibelius. us the inner struggles he was going through to ac- It contains the kind of poetry and truth so often complish that amazing concise -vastness of statement lacking in vacuous scores of the type presently which was to culminate in the noble Seventh. Gone flowing from (whisper the black heresy) Stravinsky, are the tubas, cymbals, etc. of the heavier and more who has been playing a practical joke on art for the romantic first two symphonies. Tentatively -and past thirty years. sometimes very strongly and rightly -the new and Today the tide against Sibelius may be turning more pastoral elements of the Sibelius style appear: a bit. Ormandy and Stokowski have continued to horn pedals, delicate woodwind fragments in thirds, program his works regularly. Of the younger gener- broad and flowing writing for the strings. The third ation, Lorin Maazel seems to be taking his place and last movement is an attempt to combine forms, as a Sibelian. This season Leonard Bernstein will to compress, to pare the music down to an essence play all the symphonies with the New York Phil- which the composer found still elusive. But hybrid harmonic, and an integral recording will be forth- though this symphony is in construction, and lacking coming from that conductor. And as an indication though it may be in both the rough sweep and power of the changing temper of the times comes word of the first two symphonies and the maturity of the of the recent conversion of Ernest Ansermet, long last ones, it is nevertheless filled with rich musical in the camp of the Stravinskyans. In a printed inter- ideas. I would place it on par with the infinitely view, Ansermet repudiated the inbredness and more popular Fifth, which, fine though it is, has sterility of that school, and recently he has recorded never seemed to me to justify the favoritism the the Second and Fourth Symphonies and the tone public has shown to it in comparison with the Sixth poem Tapiola. In this there is much to ponder. or Seventh. No one familiar with Sibelius' work would quib- ble with the statement that he wrote streams of pot- IF I were to single out one work as the most pro- boilers and insignificancies. But it is a shame that found of Sibelius' compositions, it would be the more people do not know some of his most charac- Fourth Symphony. Critics have frequently labeled teristic and attractive works. Not long ago, I was it sterile; when rehearsing it for performance with privileged to audition, through the courtesy of the the Boston Symphony in 1912, Karl Muck shook Finnish Radio in Helsinki, several tape recordings his head over the score and muttered, "I'm blest from Sibelius Festivals. Among these performances if I know what he wants." It is a difficult work, was a real rarity -the tone poem Luonotar, for so- and repeated patient listenings are necessary for its prano and orchestra, sung by Elisabeth Schwarzkopf full impact to be felt by most listeners. It creates and conducted by Tauno Hannikainen. The Finnish itself out of small bodies of ruminative and melan- text is taken from the creation myth in the Kalevala, choly sound, and in it the orchestra is used in a and the words are wedded to the musical imagery daringly effective way: each group of instruments in a most striking and effective way. As a powerful, speaks among itself with the intimate give -and -take sometimes chilling evocation of the spirit behind a of a chamber composition. To me, Sibelius' Fourth myth, it is music of real interest. Yet, not only has Symphony is as sincere and poignant a statement it never been recorded, but Breitkopf & Härtel have of anguish as has been wrung from the heart of any not even published the score. Certainly this piece composer of our century. This is the Pathétique should be played, both in concert and on records. of modern man. It has a cold and awesome loneli- The complete music for The Tempest, one of

DECEMBER 1965 49

www.americanradiohistory.com Photos courtesy Finnish National Travel Office

the glories of theatre music. is another recording we is created. The Tempest is perhaps Shakespeare's need, preferably in the dramatic context of the play most musical play. and its predominant mood is to which it belongs. The manuscript is one of the autumnal, gently mellow. That mood is matched largest of its kind in all music, some two hundred by the mood of the composer, then sixty -one. After pages, jealously guarded by the Danish music pub- the music to The Tempest would come Tapio/a. And lisher Hansen. According to the report of one who after that. a yawning, tragic silence. has examined the entire score, there is a complete In two of Sibelius' better -known theatre scores, and brilliantly effective way of interweaving of music King Christian // and Pelléas et Mélisande, we hear for the entire play: dances, choral interludes, songs, the same kind of magic. Both were composed much and instrumental music. Indications are that the earlier than The Tempest, and neither of the plays concert versions -Sibelius made two suites from the for which the scores were composed has survived. music, totaling seventeen numbers in all- hardly Yet the music for the lesser dramas stands alone as convey the inspired thoroughness and rightness of concert music much more strongly than The Tempest the music in its dramatic context. Even out of con- suites. In these scores, Sibelius reveals anew his text, however, the storm music which opens the gripping and altogether beautiful mastery of mood - action is surprisingly effective -all the clichés of he is able to conjure a somber, dreamlike quality storm music are there but fitted together so skill- that suggests age and mellowness, dim castles and fully that one is quite swept up in it: it is entirely half -real twilights, the romantic ideal of the medie- the proper kind of Shakespearean storm. Certain val. In King Christian and Pelléas. there is a brood- of the musical character sketches- Caliban's ing bardic quality about the various pieces-heart- Song, Prospero, Miranda -are delights for the felt and never overdone; one senses that one is hear- ear and certainly conjure images fully in keeping ing the unfolding of a hoary and wonderful legend, with the play's characters. As for the Berceuse, the even with no programmatic ideas in mind. The lullaby (apparently used in the play in connection music for Pelléas et Mélisande contains just the right with the spirit Ariel), there is nothing lovelier in all touch of youthful passion to fit the story, together music. Within the compass of a few soft bars, an with a quality of faded tapestry and moonlit -gold. entire world of fairy enchantment and fragile beauty A title like Night Ride and Sunrise scares off a

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com lot of people. One imagines, all too confidently, the Old friends remembered that he saw those wood - stringing- together of clichés and musical horseman- sprites as a child; in his sixties, he saw them still. ship that would illustrate such a title (shades of Mazeppa). But the actual score is a surprise. The Finland itself, Sibelius is a fading shadow, piece is programmatic, but freshly and invigoratingly IN still a visible one. This is as it should be; so. I once attended a live performance under Dr. though his influence dominated Finnish music Jusi Jalas, Sibelius' son -in -law, which revealed the for too long the efforts of almost all score more thrillingly than any other I have ever completely and foredoomed the major Finnish heard. If not top- drawer Sibelius, Night Ride and other Finnish composers. Today, and the Finnish Radio are giving a large Sunrise is at least an interestingly wrought and ab- orchestras music sorbing piece of music. portion of their attention to contemporary is some fine Everyone knows The Swan of Tuonela, the dol- and the results are gratifying. There in Finland to- orous English horn bit.... But it is not generally and original music being composed is enough to realized that the Swan is only one -fourth of a cycle day, including much that impressive its country. of vigorous and red -blooded poems called the Lem - warrant a hearing outside native being minkiiinen Suite, dealing with the adventures of an The debate over Sibelius as a human his amorous and mischievous young buck in the Kale - still goes on. There were certainly defects in but nothing vala. The whole cycle of four legends is a balanced character, moments of vanity and pride, It is and total concert work, and ought to be revived that should set him off from the rest of us. and for Sibelius that as such. It would be good to give the Swan a bit unfortunate both for Finland more to float in. The first part of the Suite, Lemn- minkäinen and the Maidens of Saari, is a jaunty and raffish bit of music, and the second section, Leni- minkäinen in Tuonela, is the equal of the Swan in atmospheric effect. The music to Belshazzar's Feast is good Holly - woodish orientalism and would make a delectable pops item. The Lover (Rakastava in Finnish) is a passionate and tender work somewhat in the Boro- din manner, but with touches that could only be Sibelius. String ensembles would find it a rich addition to their repertoire. It was fitting that Sibelius' last great composition should in so many ways be the symbolic crown of his career. Tapiola is, purely and simply, homage to the Northern forests and their mythological god, Tapio, of Finno -Ugric mythology. Some critics have found the composition far too long for its "meager" ideas. I would ask them if they have ever wandered for long and timeless hours through the world of the deep forest. The life of the forest grows to the eyes, ears, and heart from the softest and smallest things -rain trembling on the edge of a fern; moats of living sunshine floating in the air; the slight rustle of an animal; a sudden vista of wind -bent firs - until the vast totality of the Northland is sensed all around. And just so does Sibelius create his dark and pagan tapestry from the smallest kind of theme, dappling the music with sunlight and elfin scurry- ings, slowly massing the darkness of storm clouds. And once, briefly and hackle -raisingly, in the sudden cries of the horns after the second storm episode, one knows the presence of the Forest God himself, omnipresent and hidden and old as earth, a shape felt dimly through a storm. In his own hand, at the top of the score, Sibelius penned this short poem: "Widespread they stand, the Northland's dusky forests, /Ancient, mysterious, brooding savage dreams;/ And within them dwells the Forest's mighty God,/ And woodsprites in the gloom weave magic secrets." At seventy -five, in his country home ut J,rrvenp.íü.

DECEMBER 1965 51

www.americanradiohistory.com his people deified him. When I was in Helsinki, a student at the Sibelius Academy asked me: "How can you, an American, believe that you fully understand this music, which is so Finnish ?" It was hard A Selective Discography to answer him without insulting him, because the Finns believe in Sibelius' Finnishness with a deep and passionate pride. For a time, this national feeling was so strong that the Finnish masses seemed almost to be identifying themselves with the com- ALTHOUGH THE PRESENT Schwann listing poser. Understandable and perhaps inevitable though affords an adequate representation of Sibelius' work. it could hardly be called this was, there is obviously no more similarity be- ideal. Recently, however, there has been tween the crude, red -faced Finnish farmer -peasant a quickening tempo of new releases, and Sibelius than there was between Beethoven and concomitant with the centennial, and the average German cheese merchant. In fact, the Sibelius' discography may be significantly expanded a year great composer never mastered the fiend- or two hence. In the Finnish meantime, here is one listener's view of ishly hard Finnish language well enough to write it. the current offerings. Judgments ex- Like that of most members of the upper classes of pressed do not always coincide with those the time, his correspondence was mainly in Swedish. of other Sibelians (including HIGH The powers of dreams are great. Sibelius finally FIDELITY'S reviewers), but perhaps that in itself may suggest something of Si- led me to Finland, drawn by the visions of his belius' richness and complexity. In any world that the music had imparted to me. Thus, case, the possibility of diverse -and even tacitly, I was accepting him first and foremost as a contrary -opinions is what makes music Finnish composer. These feelings were slowly altered criticism interesting... . As far as the Symphonies are con- during the year I lived in that country. The silver cerned, one finds a predictable state of beauty of the lakes and birches, the sometimes very affairs. The first two. along with the sad gentleness one finds in the Finnish character, Fifth, are the ones audiences still hear that brooding sense of the infinitude of the forests, with some frequency, and they are well represented by recorded performances. in with these are the music, captured and limned There are, it seems to me, two basic deep love and truth. But it was not Finland that approaches to the First Symphony: one supplied the crags and overflowing spirit of the mu- stresses the odd -numbered movements' sic: Finland has no mountains. It is time that Nordic virility; the other the purplish Sibelius be considered what he truly is: a composer romanticism inherent in the Tchaikov- skyan pages of the even -numbered move- who belonging to people everywhere, employed, as ments. Ideally, a performance should any real artist must, the ambience of his environment blend these together. Only then, I think, and the wellsprings of his heritage to express the does this symphony really "work." Two visions of his own heart and spirit. His art is too recent recordings take this approach: Lorin Maazel's with the Vienna Philhar- vital, too communicable to be contained too human, monic (London CM 9375 or CS 6375): in the word "nationalistic." and Sir John Barbirolli's. with the Hallé The place of Sibelius today? There is a story. Orchestra (Vanguard Everyman SRV 132 which may or may not be apocryphal, that Richard or 132SD). Maazel's is one of his finest Strauss, some years before his death, remarked: "I recorded performances. He gets rich playing from the Viennese performers, know more about music than Sibelius, but he is the and the snarling, biting brass and tim- greater composer." Strauss, it must be remembered, pani of the first movement should de- had conducted the world premiere of the Violin light the most fervent Sibelian. Maazel Concerto. This would give the lie to the oft -heard lets those long melodies sing out, but does not forget the sinews and guts in the works is too statements that the spirit of Sibelius' music. His scherzo is the best on rec- foreign for the Germanic or Gallic ear to appreciate. ords. Still, his performance is not the Just as no one listening to a Dvofák symphony could last word -there are times when Maazel fail to hear its origins in Bohemia, no one could mis- blasts away furiously when a lighter John's is a per- take the essentially Northern sound of Sibelius touch is called for. Sir -but formance of an older, and perhaps wiser, not only the Czechs find a delight and satisfaction in man. His is a rather gentle performance, Dvofák. And if Sibelius offers us the poetry of the built on long eloquent phrasing, and with forests, well, there are forests other than Finnish climaxes that seem to roll out grandly ones; and if that poetry contains all the delicate and and have their own kind of power. Sir John treats the second and last move- somber lights and shadows, all the sudden sense of ments with manly tenderness and grace. mystery and wonder of a sensitive wayfarer through On a par with these two fine perform- these forests, then we may be glad such hearts are ances is the mono -only Paul Kletzki/ found among men; and, finally, if at times the music Philharmonia reading (Angel 35313), which seems to me to be one of the most is the cold poetry of a warmthless and dark despair, satisfying ever released -Kletzki obvi- is there not a time in everyman's life when he must ously loves Sibelius' music too, and he face journeys along his own Tuonela? injects a slight dash of Polish passion

52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SIBELIUS ON MICROGROOVE

which gives the Symphony real fire. Of issue the Koussevitzky /BSO perform- movement is as heroic as Barbirolli's, other editions, Anthony Collins' (Rich- ance of this work -it was the touchstone or as somberly impressive as Von Kara - mond 19069) is for the most part rou- for a whole generation of Sibelius lis- jan's own second version, but it fits his tine, excepting a splendidly muscular teners. new over -all conception of the work. and intense first movement; Ormandy's The interesting and delightful Third One cannot resist mentioning here, again, (Columbia ML 5795 or MS 6395) is Symphony is well played by Kletzki and that Koussevitzky's rendition is both a overripe and flabby; and Beecham's (Co- the old Philharmonia on Angel 35315. historic and an artistic standard and lumbia ML 4653), despite some superb The Philharmonia had the best "sound" ought to be made available somehow. playing by the Royal Philharmonic, is for Sibelius of any orchestra anywhere At this writing, there is only one per- cranky and brittle. at the time its integrated Sibelius series formance of the Sixth, led by Von Kara - The Second Symphony is the most was released. jan on Angel 35316. It is a radiant per- played and most recorded of all Sibelius' For a long time, the only available formance, glowing with the sunny trans- big -scale orchestral works. Ruling the performance of the masterful Fourth lucence that the Philharmoniá s strings field among recorded editions is a well - Symphony was a superslick one by Or- could produce so beautifully. The read- nigh unsurpassed live concert recording mandy (Columbia ML 5045). Now, how- ing is not alert to every aspect of the by Sir Thomas Beecham and the BBC ever, we've been given an amazing per- work, but no matter -if we must have Symphony, dating from 1954 and avail- formance by Ansermet (London CM only one performance of this minor mas- able in this country as an Odeon import, 9387 or CS 6387). The venerable Swiss terpiece, it is well that it is as beautiful ALP 1947. This is the classic, 1930's, maestro plunges deeply into the score, as this one. gospel way of Sibelius playing, and it's draws out the inner logic of its move- Of the few generally accessible read- also Beecham at his inspired best. It's ments, probes for its meanings, and ings of the Seventh, I find Ormandy's a no- nonsense, masculine reading, mov- firmly holds the entire conception to- (Columbia ML 5675 or MS 6275) the ing with great energy and heroic mo- gether. The orchestra plays richly and best by default. Beecham's is a horse mentum, beautifully rough and impolite. glowingly, and the recording is startlingly race of hectic tempos (Angel 35458 or The tension raised in those famous last pellucid and intimate. This profound in- S 35458); Von Karajan's, while brood- movements of the work is quite hair - terpretation of a difficult work is one of ingly effective, is a bit stodgy (Angel raising, and when the studio audience the most important Sibelius releases in 35316). (The talented young Russian breaks into "Bravos" at the conclusion, years. conductor Gennady Rozhdestvensky has one is tempted to join them in full voice. The Fifth Symphony is well docu- recorded a robust yet sensitive perform- Rather to my surprise, I find myself mented. Ignore Ormandy's (Columbia ance, coupled with the only contempo- fascinated with the recording by Ernest ML 5045), Erick Tuxen's (Richmond rary recording of the lovely string suite Ansermet (London CM 9391 or CS 19036), and the altogether lamentable Rakastava, on the Soviet MK label. The 6391), who turns in a serious, absorb- attempt by Theodore Bloomfield (Ever- disc may be obtainable in an occasional ing, and richly detailed reading of the est 6068 or 3068). There are three really import store.) first two movements, giving them a sense excellent performances currently avail- In the Violin Concerto, Op. 47 you of dignity and form few conductors able. Barbirolli (Vanguard Everyman pays your money and takes your choice. could match; it's refreshing to hear it SRV 137 or 137SD) gives a loving, Jascha Heifetz (RCA Victor LM 2435 done this way. Unfortunately, Ansermet expansive performance which builds to or LSC 2435) and David Oistrakh (Co- treats the climax, where a bit of the a truly noble climax. His is a "per- lumbia ML 5492 or MS 6157) both own showy romantic is necessary, with similar sonal interpretation" in the very best the work as soloists, but neither gets sobriety. Pierre Monteux delivers a beau- sense of the word -a reading of rare in- more than perfunctory orchestral back- tiful account of the first half of the Sym- sight and loveliness. though somewhat ing from Walter Hendl and Ormandy, phony (RCA Victor LM 2342 or LSC hampered by a diffuse recording. Von respectively. Leonard Bernstein and 2342), but his pointless acceleration of Karajan seems to have made this sym- Zino Francescatti (Columbia ML 6131 the last two movements robs the music phony "his" in an unusual way -he's or MS 6731) are in good rapport, but of its nobility. Collins (Richmond 19103) recorded it three times in the past decade, fine as their collaboration is, it doesn't gives a fine, straightforward performance and each time his conception of it has really compare with the tremendous at a bargain price. The readings by altered significantly. His first recording, reading given by Christian Ferras and Herbert von Karajan (Angel 35891 or with the Philharmonia (Angel 35002), Von Karajan (Deutsche Grammophon S 35891) and Thomas Schippers (Colum- suggested that he did not really under- LPM 18961 or SLPM 138961). Ferras bia ML 5935 or MS 6535) have their stand this music. His second (Angel created a sensation at the 1964 Sibelius individual points of interest but each is 35922 or S 35922) is far better -a firm- Festival with a performance of wild, highly idiosyncratic. Maazel's performer, yet more expansive reading, almost gypsylike flame -and -fury which toppled ance of the Second (London CM 9408 Brucknerian in its breadth and delibera- all technical problems with bold ease. or CS 6408) is capricious and nit- tion. Some may object to this treatment, This recorded performance is a bit picking despite some resoundingly suc- but the dark glowing sound of the Phil - cooler and darker, but it is also more cessful moments, such as the sonorously harmonia is perfection itself for this sort precise and finely shaded in tone; the impressive finale, and Paul Paray's of thing. Now comes yet another Von soloist is undoubtedly influenced by the (Mercury MG 14057 or SR 18057) falls Karajan Fifth, this time with the massive but clean -lined support given by short of providing a full Sibelian experi- Berlin Philharmonic, on Deutsche Gram - Von Karajan. Ferras need stand behind ence. Ormandy's reading (Columbia ML mophon LPM 18973 or SLPM 138973. no one, even Heifetz, as far as his violin 5027 or MS 6024), preferred by some It's a tauter performance than the two playing is concerned -it is dazzling. critics of note, I regard as bloated and Philharmonia versions, yet it still retains Turning to the tone poems, I should spineless. I would like to add a strong plenty of that wide -openness so essential like first to dispose of Sir Adrian Boult's plea that RCA be prevailed upon to re- to this Symphony. I do not think the last Continued on page 145

DECEMBER 1965 53

www.americanradiohistory.com STEREO ACCESSORIES UNDER X50

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IN AUDIO, it's often the little things -not unlike Shure amplifier, is the Model 201 by Eagle Interna- the proverbial wanted nail -that can markedly im- tional. Resembling a walnut cigarette box, it con- prove performance or facilitate a hobbyist's activity. nects readily to an FM set and may be positioned That this notion is shared by high fidelity owners easily for best reception. and the audio industry alike is evident from the array In addition to the well -known Rotron fan, we now of accessories and gadgets on display at most deal- have a new model, the IMC Boxer shown at the left ers', which -to judge from reports -enjoy a very in the bottom row. Designed for ventilating high brisk trade indeed. Herewith is illustrated an assort- fidelity equipment, the Boxer comes with a mounting ment of the very latest, chosen for their representa- kit and installation instructions. tive interest to the owner of an audio system. More- Next in the row is a new tape splicer from Robins, over, in the spirit of the season, any of these de- a company which offers more than two dozen dif- vices -all priced under $50 -might make a thought- ferent kinds of tape and disc accessories, including ful gift to a deserving sound enthusiast. groups of devices packaged as kits. The TS -6 shown A tribute to a growing hobby among tape fans is here features a control knob that adjusts the angle the item pictured at left in the top row. A 3 -inch of a cutter under a lift -up lid. Tape guides hold the reel of 0.5 -mil tensilized polyester (Mylar) tape comes tape in place. The TS-6 is supplied with twenty -five housed in a self -sealing plastic packet, which includes precut splicing tabs. a label for mailing purposes. The 3M Company de- From the antenna manufacturer Finney comes a scribes it as a "living letter "; by whatever name you useful "little black box" -the Finco Model 3007 FM call it, correspondence by recorded tape offers possi- band -pass filter, designed to permit only FM signals bilities for communication far beyond those of the to reach your set. The Model 3007 stops interference written page. by blocking out unwanted signals from TV, citizens Next in line is another delight for tape enthusiasts: band, and ham rigs. It also is effective against noise a battery -powered, transistorized stereo mixer offered from motors and fluorescent lamps. Supplied with an by Switchcraft. This compact gadget permits you to adjustable bracket, the unit may be installed wher- blend two separate signals on each stereo channel ever convenient. while recording, and feeds the resultant "mix" to Draped, appropriately enough, with tape is the the twin inputs of your recorder. In its mono mode, EDITaII splicing kit, developed by tape recorder the Model 306TR handles four signal channels. expert Joel Tall and now marketed by Elpa. The kit Sitting atop the mixer are the latest record -cleaning features Tall's patented splicing block -a groove agents devised by the British inventor Cecil Watts, holds the tape in place, and mitered cuts permit splic- and distributed here by Elpa. These include a "Humid ing at either of two angles. The block itself may be Mop" for conditioning the bristles of the Parastat, fastened directly to a tape deck by screws or by its itself a cylinder of nylon brush tips treated with a self -adhering back. Also included in the KP -2 Kit is a special formula contained in the small vial next to it. supply of thirty precut splicing tabs, a demagnetized Shown next to this group is a switch for the man razor blade, a grease pencil for marking tapes, and a with three sets of stereo speakers. Switchcraft's Model detailed instruction booklet. 657 permits selecting any one stereo pair, any com- The last item pictured here may well be one most bination of two, or all three. Similar switches are welcomed by FM listeners. Compact, lightweight, made by others, including Audiotex and Vidaire. and transistorized, the Winegard Model 340 booster From Rye Sound comes the unique tape storage is connected between the FM antenna and the FM bin (at the right, top row). Available in different set. The name of Supercharger suggests the unit's sizes, the plastic bin has swing -out sections for reels; function: that of perking up FM reception -in dif- each section has a label. ficult locales, or of weak signals. The popularity of stereo headphones, for listening The items displayed in this roundup are a small in privacy, continues unabated, thanks largely to fraction of the total available. Most tape manufac- the wide-range and smooth -sounding models brought turers offer various accessories. Reeves, for one, has out by a number of companies. New models have announced a chemical solution which, applied to been announced by Koss, Sharpe, Telex, and Super - recorded tape, enables one to see the magnetic pattern ex. The Telex Adjustatone shown here is unique in of the recording to study track uniformity, head align- that it is designed to provide either a normal head- ment, and so on. Greentree Electronics has released phone effect or a more "forward" effect by revers- a tape care and cleaning kit, and similar products ing the set. Next to it is a logical companion, the are offered by many firms. In FM antennas, in addi- Shure Solo -Phone headphone amplifier. This solid - tion to the names mentioned, there are comprehensive state device accepts signals directly from magnetic lines of boosters, filters, and couplers from Jerrold, phono cartridge, tuner, or tape recorder and drives JFD, and Channel Master. Record care kits are two separate sets of stereo headphones. It also may offered by Duotone, Audiotex, Lektrostat, and others. be used as a modest system preamplifier, and even In fact, if the interest in little things continues, there as a tape recorder mixer. soon may be as many manufacturers of accessories The latest indoor FM antenna, to the right of the as of equipment.

DECEMBER 1965 55

www.americanradiohistory.com BARGAIN '14)

by Roland Gelait

When Records Reached the Supermarket

in thirty -three years. Certainly, for a few farsighted executives at Columbia and RCA there were no The following article forms the postscript business," chapter to a revised and updated edition grounds for complacency. "It's still a tiny of The Fabulous Phonograph, which has I remember one of them telling me, with the just been published by Appleton- Century. worried frown of someone who understands a prob- When the book first appeared in 1954, lem but hasn't yet come up with a solution. "It's like it was described by Newsweek as "the first the volume and inefficient dis- truly objective study of the trials and tri- book trade -small umphs of the talking machine." The re- tribution." His indictment still had considerable vised edition adds another decade to this force as 1954 drew to a close, but it was not to chronicle of trials and triumphs. remain valid for long. Records, like books, were about to be catapulted into a mass market. The initial step occurred on January 3, 1955, when -the Christmas buying spree over -RCA AT THE END of 1954, it appeared as if the busi- Victor cut the price of every LP record in its cata- ness of making and selling records was prospering as logue to $3.98. Overnight the cost of a Red Seal never before. The microgroove LP disc was securely record went down by two dollars, that of a popular established, new and adventurous companies were record by one dollar. This was the most dramatic rapidly expanding the recorded repertoire, and con- realignment of record prices since Columbia's bold verts to high fidelity were multiplying at a satis- half -pricing of 78s in August 1940, and, as then, a factory rate. But appearances were somewhat de- good many customers were found for the suddenly ceiving. Total record sales in the United States for devalued merchandise. Columbia, Capitol, and Decca 1954 came to $199,000,000. This was a startling had no choice but to follow RCA's lead without sum in comparison with the annual sales figures of delay. The small companies, however, held firm. the mid- 1930s, but rather less startling in comparison Their economic existence was predicated on a gen- with the boom year of 1921, when domestic record erous per -unit profit on small total sales. Demand sales amounted to $106,000,000. Considering the for Bach cantatas was limited; at a retail price of decrease in buying power of the dollar and the in- $5.95 you could afford to put out an edition of, crease in population, one could well question whether say, two thousand copies and end up with a small the record industry had really made much headway profit; at $3.98 you couldn't. And so there developed

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com a strange imbalance: a Beethoven symphony con- total dollar volume of all classical LP records sold ducted by Toscanini carried a list price of $3.98, in the United States. whereas a Mozart trio played by uncelebrated Cen- Not a penny of this money was going either to the tral European instrumentalists was quoted at $5.95. regular dealers or to the major companies. The clubs The disparity didn't make any sense, and it was not made their own recordings (usually in Europe), de- destined to endure. veloped their own customers, and pocketed the The price cuts of January 1955 represented a last proceeds. This was bad enough, but the prospects major effort to expand the record business through for the future seemed even more alarming. Music - the traditional channels of regional distributors and Appreciation Records no longer wanted to content local dealers, a retailing network which for half a itself with second -string orchestras, conductors, and century had been the mainstay of the industry. It soloists. The club was spending an enormous sum was now a network riddled with faltering outlets. to advertise a recording of the Brahms Violin Con- By the early 1950s the neighborhood record store certo by Endre Wolf and the London Symphony had tumbled into rapid decline, a victim of unaggres- under Walter Goehr. The returns were good, but sive merchandising and inadequate stocks (a small they would be that much better, the club surmised, dealer with limited capital could not begin to keep if the recording were by Isaac Stern and the Phila- pace with the expansion of the LP catalogue). Much delphia Orchestra under Eugene Ormandy. In due of the business was being siphoned off by a few cut - course, Book -of- the -Month started negotiating with a price retailers (most notably Sam Goody in New few of Columbia's and RCA's most celebrated artists, York City) who offered huge inventories and whop- and because of the club's prestige and resources it ping discounts in barnlike emporiums lacking frills was able to make some tempting proposals. The New or service. For the committed record collector who York Philharmonic, for example, was reportedly knew what he wanted, Sam Goody was just the place considering an offer that would guarantee minimum to get the most for a dollar. But the discount houses royalties of $500,000 a year. Taking a hard look at in New York, Chicago, and Los Angeles did not this situation, the major record companies could reach the grass roots, did not appeal to the millions foresee a future in which they would have to share of potential new record listeners on whom the in- not only the distribution but also the production of dustry was pinning its future expansion. Behind records with interlopers from outside the industry. RCA's price cut lay the hope that discounters would Indeed, it was not too difficult to conceive of a time be neutralized and neighborhood record stores re- when the whole record business in America might stored to their erstwhile solvency. The low prices be controlled by the book clubs. There was only one were widely advertised, and as an additional lure way to forestall such an eventuality: the major RCA devised a series of sampler records which sold record companies would have to get into the club for 98 cents and contained excerpts from current field themselves. pop and classical albums. Never had there been a Columbia got in first. In August 1955 the company more massive effort to entice old and new customers announced the formation of the Columbia Record into the record dealer's door. Club. As was to be expected, the dealers cried foul. They complained of being cast off, swept into the dustbin, deserted in an hour of need, and many of BUT BY THEN there were other -and, for many, them vowed to boycott Columbia forevermore. But more convenient -ways of obtaining records than by the company stuck to its guns and began recruiting a recourse to the nearest record store. Mail -order brand -new market for recorded entertainment, a record clubs had already secured a firm beachhead market which embraced communities where records in the business. Back in 1950, Concert Hall Records. had never before been sold. Free merchandise con- one of the early independents, had started the Musi- stituted the bait with which club members were cal Masterpiece Society to purvey its wares on a snared. Columbia splashed a covey of album jackets regular mail -order basis. It was followed by a club across the top of its ads and offered to mail any known as Music Treasures of the World, and before four of them to a new member without charge. One's long by the powerful Book -of- the -Month Club, which only obligation was to purchase four additional had joined the act with a subsidiary operation called records from the club during the next twelve Music -Appreciation Records. BOMC's ploy was to months. Unlike its predecessor clubs, Columbia's combine diversion with education, its advertisements offered popular music as well as classical. It also being directed to those "who enjoy good music but offered recordings by performers of widespread are aware, too often, that they do not listen to it celebrity: André Kostelanetz and Louis Armstrong, with complete understanding and appreciation." A Mary Martin and Alexander Brailowsky, the New Music -Appreciation Record (they cost $3.60, "to York Philharmonic and the Philadelphia Orchestras. subscribers only ") devoted one side to a performance It was a question of the right idea and the right in- of a standard piece and the other side to its musical gredients at the right time. The club caught on be- analysis. Among them, the three enterprises were yond Columbia's most optimistic expectations. With- striking pay dirt. By 1955 their total membership in twelve months 409,000 members were on the was somewhere between 600,000 and 1,000,000, and books. they were accounting for about 35 per cent of the RCA Victor held off for two years, reasserting its

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www.americanradiohistory.com was for the last time. For twenty years his records had consistently outsold all others. Suddenly, demand for them began to ebb. Doubtless the conductor's disappearance from the musical scene contributed to this disenchantment; with rare exceptions (Caruso, Furtwängler), a performing artist's popularity does not long survive his death. But there was a more important reason for the quick and drastic decline in sales: sonically, the Toscanini recordings had fallen behind the times. In the three years since his retirement (April 1954), tremendous strides had been made in the technique of sound recording. No longer were engineers content merely to string up microphones above the orchestra and eavesdrop on a performance. Each session now posed its own particular challenges, Supermarket wherein microphone placement, dynamic levels, reverberation patterns, and contouring of frequencies belief in the independent retailer as the backbone of were adjusted and readjusted for optimum effect. the business, and directing all its efforts to a More and more, records were being "produced" - strengthening of his position. But despite lower were being planned, that is, in terms of electronic prices, sampler records, coöperative advertising, and potentialities and conceived as entities in themselves a variety of other props, the local record store con- rather than as mere duplications of concert-hall per- tinued to lose ground. Too many other people were formance. Nothing exemplified the new approach selling the same product more advantageously. Dis- more strikingly than the recording of Tchaikovsky's count houses continued to flourish (the effect of the 1812 Overture put out by Mercury Records in price cuts having been merely to make their low March 1956. prices even lower) and record clubs were booming. The recording endeavored to re- create the per- To these potent competitors was now added another: formance conditions which Tchaikovsky had origi- the so- called "rack- jobber," who served as middle- nally envisaged for this patriotic war horse -a per- man between record manufacturers and super- formance out -of- doors, with a military band abetting markets, drug stores, and five -and -tens. For the LP the orchestra, and with Kremlin bells and a salvo of record was suddenly up for sale wherever you turned, cannon resounding in the finale. Mercury's producers cunningly displayed on self -service racks and priced began by recording the strictly musical parts of the (generally at $1.98) to meet minimal resistance. score in Minneapolis' Northrup Auditorium, using Initially, the rack merchandise was of a fairly sleazy the Minneapolis Symphony Orchestra and the Uni- order, for the major companies refused to make versity of Minnesota Brass Band under the direction their wares available. But as rack sales grew in im- of Antal Dorati. Then they moved their recording portance, there loomed again the specter of ap- truck to New Haven to put the bells of Harkness preciable profits accruing to outsiders, and before Memorial Tower on tape. Finally, they moved on to long the majors began producing their own special West Point and prevailed on the authorities to fire lines expressly tailored for the casual, self- service off a 1761 brass cannon for the benefit of their customer in the supermarket. In 1957 the nation's microphones. Back in the New York studio, the engi- record racks accounted for 15,000,000 out of a neers superimposed these various tapings onto a total sale of 52,000,000 LPs. The clubs that year final master tape, employing whatever electronic disposed of 12,000,000 records. That left 25,000,000 trickery seemed in order (for example, overlaying which were sold through normal retail outlets. It the bell clamor with a double -speed recording of just wasn't enough, and in January 1958 RCA Victor itself, to create the cascade of tintinnabulation that yelled uncle, joined forces with Book -of- the -Month, a Muscovite would have heard when his city's and launched the RCA Victor Record Club. thousand bell towers rang out simultaneously). No As a come -on for joining the new club, RCA put dynamic compression was employed in transferring forward its most irresistible attraction: the nine the tape to disc, and not every needle could track Beethoven symphonies performed by Arturo Tos- the final measures without sometimes popping out canini and the NBC Symphony, a seven -record set of the groove. No matter. The record made a tre- originally published in 1953 and priced variously mendous, soul -satisfying noise. It quickly dislodged from $50 to $34.98 in the intervening years. It was Toscanini from the top of the classical best -seller now to be had for $3.98, provided you agreed to list, and it stayed there for years. purchase six additional records from the RCA Victor Record Club during the course of a year. Within three months 340,000 sets of the Toscanini record- JUST AS sales of the 1812 Overture were gaining ings were distributed in this fashion. The Maestro's momentum, a new method of recording began to name had once again exerted its old magic. But it make its presence felt. It went under the name of

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www.americanradiohistory.com stereophonic sound, and it really wasn't all that new. could fail to be impressed by their sense of spacious- The notion of "two -eared listening" had been around ness, by the buoyant airiness and "lift" of the sound for many years. Bell Laboratories had put on some as it swirled freely around the listening room. Stereo very effective binaural sound demonstrations at the seemed to dissolve the walls; and unlike even the Chicago World's Fair of 1933, and in 1940 the best monophonic recordings, it could clarify a com- Disney -Stokowski film Fantasia had shown what plex musical construction, enabling the listener to could be accomplished with multisource music re- sort out simultaneous strands (particularly in a large - production in a movie theatre. Only with the advent scale work for chorus and orchestra) that had of high -quality magnetic tape, however, was stereo- previously been forced into a muddy sonic impasto. phonic sound able to enter the home. Essentially, One began listening to sound in a new way, savoring stereo aimed at reproducing the spaciousness, clarity, its breadth and depth as well as its melodic outlines and realism of two -eared listening. Of course, every- and harmonic textures. one with normal hearing had been listening to Delights of this order did not go unappreciated. standard monophonic recordings with both ears, but A small but growing market for stereo tapes began the loudspeaker itself conveyed only a one -eared to develop, and soon other major record companies image. Even if it reproduced the sound of a sym- joined RCA Victor in making a portion of their phony orchestra picked up from a dozen scattered current releases available in stereo tape as well as microphones, one heard in the end only a single - mono disc form. But at the prevailing price structure source reproduction of that orchestra. All the sound no dramatic expansion of the stereo business could was eventually funneled into a solitary channel. And be expected. RCA Victor's stereo tape of the hearing with one ear was like seeing with one eye: Symphonie fantastique, a particularly effective dis- clear and detailed in effect, but flat; sharply con- play piece for the two -channel medium, sold for toured, but without depth. $18.95 (as opposed to $3.98 for the same Boston Stereo could help to liberate sound from these Symphony recording on a monophonic LP disc), and one -eared limitations. In its simplest form, a stereo to play it one had to make an investment in costly recording derived from two microphones placed stereo tape equipment. At these prices, stereo tape several feet apart in the studio. The sounds from was solely for the connoisseur and the avant -garde; each microphone, instead of being amalgamated as it related to the standard LP record as the Jaguar to in a monophonic recording, went separately and the Chevrolet. Stereo would find a mass market only simultaneously onto two independent channels - when its cost had been brought down, and that that is, onto adjacent tracks of a magnetic tape. awaited the perfection of a stereo disc. Meanwhile, During playback these two channels would be the record industry was not disposed to rock the routed through two independent amplifiers and loud- boat. In 1957 record sales in the United States speakers, the latter also placed several feet apart. amounted to $405,000,000, more than double the And because the sonic image emitted by each speaker 1954 figure. Obviously there were plenty of avid differed in slight but vital degree, an effect was re- customers for the monophonic product. The stereo created akin to the minutely divergent "points of disc could wait. view" of our own two ears. But it didn't. By force of circumstances and the "The most exciting development yet in music workings of a free economy, the stereo disc was listening" proclaimed an advertisement by Ampex, forced on an unwilling record industry long before the country's leading manufacturer of tape equip- its anticipated debut. ment, in the fall of 1955. But the excitements of The challenge of impressing two well -separated stereo promised by Ampex were still of a very special channels in a single record groove -at the same time and restricted nature. Only a handful of stereo tape maintaining the playing time and high -fidelity char- recordings had yet been released, and these were the acteristics of a monophonic LP disc -posed engi- products of small companies whose engineering ex- neering problems of gigantic proportions. Re- pertise and musical resources left much to be de- searchers on both sides of the Atlantic were grap- sired. A year later the stereo scene had brightened. pling with them. But though one heard occasional For some time RCA Victor had been making ex- rumors about work going on behind closed doors, perimental stereo tapings of all its important orches- nothing seemed to materialize, and, when questioned, tra sessions, and by mid -1956 the company was record executives indicated that a stereo disc could ready to test the market with a few of its more suc- not be expected for years. In the summer of 1957, cessful efforts. For the Christmas trade that year however, an RCA engineer unwittingly let it be RCA could offer a small but imposing catalogue of known that the Westrex Company (part of the stereo tapes featuring the Boston Symphony under A.T. & T. complex) had devised a successful method Munch and Monteux, the Chicago Symphony under of putting two stereo channels into a single groove. Reiner, and such prestigious soloists as Gilels, His revelation was immediately denied, but a cat Heifetz, Oistrakh, and Rubinstein. RCA was offering, had been let out of the bag, and rumors began to fly too, the Victrola Stereo Tape Player, which packaged thick and fast. To set the record straight, Westrex de- tape deck, stereo amplifier, and speakers in a pair cided to demonstrate its new stereo disc at the Audio of table -top units selling for $350. Engineering Society's annual New York convention No one hearing the early stereo tape recordings in October. At the same time, engineers from the

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www.americanradiohistory.com Decca Record Company in London flew over to from bottom to top, including the legendary Kirsten demonstrate another stereo disc. And a few weeks Flagstad in the last important recording of her later, Columbia chimed in with a third. But nobody career. But it was the sound that made people wanted a repetition of the War of the Speeds, and sit up and take notice. Rheingold's producer, a young in due course technical representatives from the Englishman called John Culshaw, had fully grasped major American and European companies met in the potentialities of stereo. His aim, as he put it, solemn conclave and agreed on the Westrex system "was that of re- creating in the studio an environment as the preferred choice. There was agreement too as close as possible to the theatre, with singers acting that the raw Westrex prototype needed considerable their parts in a production almost as elaborate as refining before anyone could think of putting stereo the real thing." Within Vienna's Sofiensaal, Culshaw records on the market. And so, as 1957 drew to a set up a huge stage, marked off into numbered close, the stereo disc remained quietly ensconced in squares that served as guidelines for the deployment the laboratory. The general public, ignorant of of his forces. Long before the sessions began, his rumors and demonstrations, would wait for its debut whole production had been plotted out, in minute until such time as the big companies elected to accordance with the composer's stage directions. launch the new product. When Wagner wanted a character to move, he Now enters Audio Fidelity, Inc., a smallish record moved; and at home the listener could hear his company specializing in sonic blockbusters. Shortly progress across the imaginary sonic stage created by after the initial Westrex demonstration, Audio stereo. Fidelity dispatched some of its stereo tapes to On occasion the stereo medium could even attempt Westrex and requested the company to cut a stereo to improve on the original. "Thus," wrote Culshaw, master disc from them, purely for experimental "in Scene Three, Alberich puts on the Tarnhelm, purposes. At the time there was no phonograph disappears, and then thrashes the unfortunate Mime. cartridge on the market capable of playleg a stereo Most stage productions make Alberich sing through disc. But this did not deter Audio Fidelity from a megaphone at this point, the effect of which is duplicating the Westrex stereo master and putting often less dominating than that of Alberich in reality. copies of the "unplayable" record on sale. Within Instead of this, we have tried to convey, for thirty - weeks of its appearance, Fairchild Recording Equip- two bars, the terrifying, inescapable presence of ment Company had started making a stereo car- Alberich: left, right, or center there is no escape for tridge with which to play it. And suddenly the fat Mime." For the Nibelheim scene, eighteen anvils was in the fire. Other small companies got into of the type and size specified by Wagner were ob- the stereo act, other cartridge manufacturers went tained, played by percussionists affiliated with the into production, and the leaders of the industry, Vienna Philharmonic, and for the Rainbow Bridge rubbing their eyes at the unexpected fait accompli, section the composer's full complement of seven abandoned their well -laid plans for a controlled harps was on hand. Conductor Georg Solti led all change -over to stereo and quickly slipped into high these forces with taut incisiveness; Culshaw em- gear themselves. By September 1958 every record ployed his "effects" with knowledge and taste; and company of any importance in the United States the engineers succeeded in getting everything into was offering stereo discs for sale. easily tracked stereo grooves. The result was over- Most were of rather indifferent quality. The in- powering. Soon after Das Rheingold appeared in dustry had been pushed into stereo production too August 1959, everyone was talking about its magical quickly. Neither disc- cutting techniques nor car- moments: the passage of Wotan and Loge through tridge design were up to former monophonic stand- the anvil- hammering Nibelungens' caverns, the pil- ards, and the hapless customer in 1958 had to ac- ing of the hoard, the heaven -splitting thunder and custom himself to instruments that would wander lightning that dissolve the mists around Valhalla, and from one speaker to the other across a yawning at the very end the Rhinemaidens' seductive chasm in the middle, as well as to accept a degree song off in the distant depths while the gods cross of fuzzy distortion that would have seemed intolera- triumphantly over the Rainbow Bridge downstage. ble in a mono LP. It is no wonder that the customers Hearing all this, even an imperfect Wagnerite could were few. In December 1958 stereo discs accounted not help but succumb to stereo. for a niere 6 per cent of total dollar sales. The While Rheingold was doing its work in the ordinary record buyer had adopted a wait -and -see classical market, a record aptly titled Persuasive attitude. Something irresistibly attractive would have Percussion was engaged in the sanie kind of proselyt- to cone along before he converted to stereo. izing on a much larger scale in the popular field. The advertisements ( "greatest advance in sound since hi -fi was invented ") had a familiar ring, but every- FOR THE CLASSICAL CUSTOMER, the persuasive thing else about the disc was new: the label (Com- "something" turned out to be a recording of Das mand), the jacket (an abstract design of dots), and Rheingold, the first opera in Wagner's Ring tetralogy, the stereo engineering. Its producer, a veteran hand - and a work never before committed to discs. It came leader named Enoch Light, believed that the ordi- from the Decca Record Company Ltd. (London nary listener would take to stereo only if it were Records in the U.S.A.) and boasted an all -star cast made to sound entirely Continued on page 146

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www.americanradiohistory.com STEREO QUESTION BOX

BY NORMAN EISENBERG

Some expert answers to some recurrent queries.

AWRITER of antiquity said: "It is not every ques- that the groove may be not damaged even while the tion that deserves an answer." No doubt -and some record's surface is forced back to shape. A severely questions cannot be answered, or can be answered warped record -as from exposure to sunlight or only in part or with qualification. Particularly is other intense heat -probably cannot be restored. this true of the audio art, resting as it does on both science and aesthetics, and involving such variables 2. Most of the published advice on FM antennas as personal taste, room acoustics, different (hut assumes that the reader lives in a private house equally valid) approaches to similar problems. More- rather than an apartment. Just how can we cliff over, it seems to be a characteristic of this field that dwellers satisfy the needs of an all -out installation, as new answers are found. new questions come up, in terms of multielement antennas, rotators, and in a kind of self- perpetuating dynamism that fasci- the like? nates, even as it confounds, many observers. Thus, In a word, you probably can't -unless you are while some questions can be answered in clear -cut free to use the roof of your apartment building for fashion, others must rather he played with. For all such an installation. There are some "next best" this, and not forgetting the hazard of "a little knowl- solutions. however, and the one to be adopted de- edge," it seems self -evident that some information is pends largely on reception quality in your locale, or better than none at all. The questions that follow even in your own apartment (that is, what works for are based on a compendium of queries received here the neighbor an another floor, or even down the cor- over the past year or so: they are answered -we ridor, may not work for you). For instance, you may hope -in a manner that may provide some guidance find that tapping into the building's master TV an- in the fertile field of stereo playback equipment. tenna system may do the trick -especially if you use an "FM splitter," a small electronic device costing 1. Can a warped record be "unwarped "? a few dollars. Or, you may get by with a rabbit -ears Regrettably, a record is not as susceptible to being aided by a booster. Just make certain that there is straightened out as a dented fender. If the warp is enough free space around the rabbit -ears to permit not too severe, a record sometimes can be pressured rotating it by hand to orient it for different stations. hack to shape by being placed under a heavy weight In any case, you should expect to get best reception for several days: a pile of telephone directories, from local stations only. perhaps abetted by an unabridged dictionary, may do the trick. If you try this, however, be sure to place 3. Is it true that British watts are different from some cushioning -a felt pad or a thin layer of flexi- American watts? ble foam rubber- between the disc and the objects Actually, no. A watt is the same anywhere in the bearing down on it. Even then, there is no assurance world. The confusion arose some years ago out of

DECEMBER 1965 61

www.americanradiohistory.com If budgeting is a problem, you might consider selling or trading in everything but the turntable, STEREO to help you start from scratch. If you are not concerned about cost, you would do well to keep what QUESTION you now own for a "center channel " -either to provide monophonic versions of stereo programs in BOX another room or to enhance the "wall of sound" stereo effect in one fairly large room (or against the longer wall of an average -size room). To do so, make certain that your new stereo amplifier has a derived or "A plus B" output jack intended for a different system used by the British to rate ampli- connection to an external monophonic amplifier. fiers for power (wattage) output. This difference Connect a signal cable from this jack to a high -level exists in the U.S.A. too, between various segments input (such as "auxiliary") on your mono preamp, of the industry and even among different manufac- which will continue to drive the old mono power amp turers of similar equipment. It involves one's technical and speaker system. Use the stereo outputs on the frame of reference -or such variable factors as the new amplifier, of course, to drive a new pair of line voltage used, the distortion level at which an stereo speaker systems. Place these as far apart as amplifier is rated, the specific value of output power possible, and center your old speaker between them. chosen to describe the amplifier. For instance, an Use the volume control on the old mono preamp to amplifier (British or American) that provides continu- adjust the output of the center speaker so that it ous (or root- mean -square, sine -wave) power of 15 fills in between the stereo pair but does not over- watts at 0.05% distortion when plugged into a 117 - whelm them. volt line may provide as much as 25 watts at a You may be able to achieve this setup without higher distortion when energized from a 125 -volt even using the old mono preamp -simply connect line. The "peak" power of such an amplifier would the "A plus B" signal directly into the input on the be, under those conditions, as much as 50 watts. If old basic amplifier. If the basic has a level control, you double this figure, to emphasize stereo opera- use it to adjust the center channel. If it has no con- tion, it is possible (though obviously somewhat mis- trol, you will have to wire in an L -pad between it leading) to refer to this amplifier as a "100- watt" and the center speaker. amplifier. In general, the British prefer to think in Your present turntable may suffice, depending on terms of the less spectacular rating methods. So do what condition it is in. Playing stereo records will, of many Americans, although there has been a ten- course, accentuate any inherent vertical rumble dency in this country to promote the higher values (which would have been inaudible as long as it was (bigger numbers for expressing the same thing). used in a mono system). If rumble is a problem in The recent work by the IHF Standards Corn - the new stereo setup, you would do well eventually mittee and the procedures used by this magazine in to replace the turntable with a newer model. its published test reports represent an effort to "hold the line" to some reasonable level. Actually, no ex- 5. The controls on my amplifier make scratchy pression or rating of amplifier power has meaning noises when I turn them. Is this serious, and how can unless it is qualified by additional information as to I eliminate it? the distortion level, the load into which the ampli- Often, noisy controls can be silenced by injecting fier was working, the line voltage used, the specific a suitable fluid (available for $1.00 or less at radio value of power being presented (continuous, music, supply outlets) into the resistive element of the con- or peak), and -in the case of stereo amplifiers- trol, accessible behind the control shaft. Essentially, whether the figure is the sum of the outputs of both it is a matter of cleaning the metal contacts that may channels or the individual output of one channel and, have become dirty or corroded. If this dodge does if the latter, whether the other channel was being not help, the control needs replacement, or the noise driven at the same time (the most rigorous form of may be caused by current leakage. In either case, testing). For all this, it is quite conceivable that the seek professional help. same amplifier could be presented as a "15- watts- per- channel" unit or as a "75- watt" or even a "100 - 6. A tape recorder I am contemplating is listed watt" model. with response to 15,000 Hz (cps). Another model, costing less, claims response to 20,000 Hz (cps). 4. I finally have decided to convert to stereo, but Who's kidding whom? I would hate to waste the excellent monophonic Chances are that the wider frequency response equipment I now own and which still seems very claim of the cheaper model either does not include listenable. My system consists of a manual turn- such pertinent data as the degree of variation in the table and professional arm (which is wired for stereo response (plus and minus so many decibels), or else although I've never used it that way); a mono preamp; allows for a wider variation than the costlier model. and a huge coaxial speaker in a bass -reflex enclosure. For example, the cheaper unit may extend its re- What should I do? sponse to 20K Hz (kc) -but with such variation and

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com distortion in this frequency region as to render the a horn. Cone tweeters, he says, are all right for extreme high -end response virtually worthless; people who listen only to string music. Should this the more expensive machine will provide relatively argument determine what kind of speaker I buy? smooth response over whatever range its specifica- I play in a dance band and I am mainly interested tions include. Another factor to consider is whether in popular music. the response claimed is for playback (of commercial- You might legitimately prefer a horn tweeter ly recorded tapes -presumably tested by standard to a cone type, but not for the reason your friend test tape) or for record /playback (of tapes made on gives. The fallacy in his argument is that no speaker the machine itself). As a rule, the former response -of whatever type -is intended to replace a will be somewhat smoother than the latter. A fairly trumpet, or any other instrument. A speaker's func- rigorous statement of tape recorder response, for tion is to translate electrical signals from an amplifier record /playback, would include: tape speed, degree into sound energy and then to "couple" this energy of amplitude variation, distortion level over the fre- to the room. The design, material, and shape of quency range claimed, and recording level used, any speaker all are calculated to do these two such as the data supplied on tape recorders in this related jobs, not to "sound like" specific instruments magazine's own test reports. At the very least, any or even groups of instruments. It is absurd and mis- response claim that is stipulated without variations leading to think in terms of designing a speaker to in decibels should be questioned. imitate physically all the possible sources of live sound. The various designs encountered in speakers 7. What causes groove-skipping when I play records, represent individual approaches to solving the same and how can it be cured? basic problem: generating sound and transferring Any of several factors, or a combination of them, it to the listening area. If a speaker has a character- can cause the stylus to leave the groove of a record istic timbre of its own, it is not because it was de- momentarily or even to go skating across the sur- signed to favor one class of instruments or one face. To begin with, the turntable itself may not type of music; rather it indicates, to that extent, a be level. A check with a split level -and a shimming degree of imperfection in a man -made artifice. up of the base or mounting board -may readily solve the problem. Another cause of groove -jumping 9. What is the meaning of "high" and `low" mag- is an arm that is unbalanced towards its rear or netic phono inputs, and how do I know into which pivot end. Make certain that the instructions fur- my cartridge should be connected? nished with the unit are followed carefully in check- If your preamplifier or combination amplifier has ing out this critical area. With the arm balanced, two sets of magnetic phono inputs (or one set that the tracking force used for a particular cartridge can be switched from "high" to "low "), the one may be too light -if so, readjust it. Often it may be marked "low" probably will accept signal levels necessary to use the highest tracking force recom- of, say, 2 to 6 millivolts -which covers most of to- mended on the cartridge data sheet. day's cartridges. Higher output magnetic cartridges Groove -skipping also will occur when a car- may overload the preamp circuits and therefore tridge is seated too high up in the arm shell so should be fed to the "high" magnetic input, which that the edge of the shell, rather than the stylus, has less gain. The correct equalization will be pro- makes contact intermittently with the record surface. vided in either case. Where to draw the line between To remedy this, reinstall the cartridge, using the high- output and low- output magnetic cartridges is small stand -off mounts supplied with it or with difficult inasmuch as there is no industry standard the arm. If you have no such stand -offs, they in this particular area -and in fact much depends on can he purchased very cheaply at most dealers'. the sensitivity and gain characteristics of a given Under certain conditions, a very light tracking preamp. If you are still in doubt, after consulting force combined with a "natural" tendency for the both the cartridge data sheet and the amplifier in- arm to be pulled towards the center of a record may struction manual, simply try each of the two mag- cause groove-skipping during heavily modulated netic inputs. A cartridge that is overloading its input passages. The "bias adjustment" or "antiskating" will cause unusual loudness combined with distortion. adjustment found on some arms can overcome this A cartridge that is not getting enough gain will tendency and, in general, improve tracking of the sound weak even with the amplifier's volume control inner portion of the groove. turned to maximum. Dust, accumulated on the stylus tip, can cause groove -skipping, particularly with an elliptical stylus, 10. Can you suggest a simple way of checking the which rides somewhat higher in the groove. Finally, speed of my tape recorder? How serious is any given if a cuing device -either built in or added to the en- amount of variation from true speed? semble-is used, make certain that it does in fact per- There are two kinds of speed variation in tape mit the arm to be lowered fully to the record surface. recorders (as well as in turntables). The cyclic or steadily recurrent kind, known as wow and flutter, 8. A friend of mine insists that only a horn-type cannot be measured except by professional laboratory tweeter can reproduce the true sound of brass and instruments -although the effects of such variation, horn instruments because it is, after all, shaped like if pronounced, can be readily heard as slow and

DECEMBER 1965 63

www.americanradiohistory.com but a friend advises that this may not be strong enough for these speakers. How can this be? Isn't STEREO 120 watts an awful lot of power? Your friend probably is right. To begin with, the QUESTION "I20 watts" probably refers to the sum of both BOX channels. However, each speaker will have to be driven by its own amplifying channel-so with reference to what each speaker will get from the amplifier, we are talking about "60 watts peak power." (See Question 3, above.) It is well to remember that to produce only a small rapid changes in musical pitch. As for measured increase in volume from a speaker, an amplifier values, the figures of 0.3 % and 0.1% for wow and has to furnish double the power it supplied an in- flutter respectively are generally regarded as desir- stant before. The lower the speaker's efficiency, the able performance goals for high fidelity use. greater becomes the numerical value of that power. A steady departure from true speed (the machine For best performance with very low efficiency runs faster or slower than its nominal speed setting) speakers, an amplifier capable of supplying an is measured most accurately, again, with professional rms power of about 35 watts (per channel) is rec- instruments. However, a fairly good idea of speed ommended. Such an amplifier could perhaps be accuracy can be obtained by several alternate described as a "200 watts peak power" amplifier, but methods. One is to use a strobe tape, available at the manufacturers of such equipment eschew, as a audio dealers', and a neon lamp. The tape is run rule, astronomical numbers in favor of a more con- on the deck and the markings observed. If they servative statement of legitimate performance data. move in the direction of the take -up reel, the machine is running too fast; if the markings seem to 12. I own a fairly costly component stereo system move towards the supply reel, the transport is running that I'd like to take with me when I move to Europe too slow. A similar kind of indication can be ob- next spring. Will my equipment operate abroad? If tained by using a strobe wheel placed against regular not, what will I need to get it to do so? tape during its passage across the deck. It is impor- Power line standards differ abroad from the 117 -I20 tant to remember that the speed of each reel itself volt, 60 -cycle current used in the U.S.A. All foreign varies, depending on how much tape is on it at any current is supplied at a frequency of 50 Hz (cps), and given instant. The actual tape speed is the rate at the exact voltages vary. Throughout most of Britain which tape passes over the heads, and this is most the mains supply is 240 volts; on the Continent it is accurately gauged by checking it as close as possible 220 volts, although parts of France and Italy use

to the drive capstan, located just to the right of the 1 10 volts. So, for most locales, you will need a step - head assembly. down transformer. The most common type sold is While either of these methods can indicate whether for cutting 230 volts to 115 volts, which should the tape is moving too fast or too slowly, neither suffice in most places abroad. Cost ranges from can tell you by how much. A simple method for just below $5.00 to about $30, depending on the calculating the percentage of speed variation (which transformer's wattage rating. or power -handling may be useful, although not as accurate as the pro- ability. Be sure to estimate this figure correctly fessional instrument method used in the lab) is to by adding the power requirements of every one of use a length of timing tape, sold as an accessory at your components that has an AC line cord. This, most dealers'. Markings on this tape indicate specific by the way, is not the audio output power of your lengths for exact timing-for instance, a 71/2-inch amplifier, nor is it the power -handling ability of length represents 1 second at the 71/2 -ips speed. or your speakers. It is the power drain on an AC line 2 seconds at 33/4 -ips speed. By counting the number required for operating the equipment. The figures of marked sections, then timing the run with a often are printed on the rear of equipment, or are stop watch or a clock with a sweep- second hand. listed in the owner's manual, or can be obtained you can calculate the percentage of speed accuracy. from the manufacturer or your dealer. To the total Of course, the more timed sections and the longer wattage you have calculated, better add another 25 your test -run, the more accurate will be your cal- to 50 per cent for safety and to allow for the possible culation. For high fidelity use, a recorder that has acquisition of additional equipment. The resultant

an average speed variation of not more than 1 per figure is the wattage rating required for your step - cent would be quite acceptable; such a variation down transformer. If the transformer itself is not would represent no more than a tone -shift of about specified in terms of wattage, it will be listed with a 1/4. insignificant from a listening standpoint. "volt -amp" rating. For practical purposes, voltage multiplied by amperage gives you wattage. 11. I have been given a pair of speakers described In addition to the transformer, you will need as `low efficiency" and requiring "a high -powered for most turntables on 50 -cycle current a new motor amplifier to drive them." I have been considering an pulley. Your tape recorder may require a new amplifier advertised as "120 watts peak power" capstan or a sleeve fitted over the present capstan.

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Better consult the manufacturer of your particular At the opposite extreme, if you connect your model(s) for exact instructions. speakers in series, to increase the load to the amplifier, you may decrease your amplifier's damping 13. Just how important is the signal -to -noise ratio factor (see Question 19, below)' and thereby de- characteristic of an amplifier or tuner? I own an grade bass response. This is very relative to the old set which, when tested, had an S/N ratio of original damping factor of the amplifier and the 74 db. My friend has a new transistor amplifier requirements of your particular speaker, and there- which, according to a test report, has an S/N ratio fore cannot be predicted in advance. Usually, the of 61 db. Yet both amplifiers, playing the same instruction manual supplied with the equipment record through the same speakers, sound alike in will indicate what precautions, if any, should be this respect. Shouldn't we be able to hear a 13 -db observed for multiple speaker hookups. difference in noise level? For hints on impedance matching and switching At S/N ratios as high as 60 db, it is doubtful that arrangements, using more than one speaker, see an additional drop in relative noise level would be "Extension Speakers," HIGH FIDELITY. March 1965. audible except possibly in an anechoic chamber and For a "center- channel" speaker hookup, made with deliberately selected program material or test by interconnecting the opposite -side outputs of a signals. In other words, an S/N ratio better than stereo amplifier, again check the owner's manual 60 db may indicate a certain rigorousness of design for your amplifier or receiver. In some transistor rather than any significant listening improvement. models, such a hookup may defeat the built -in When comparing tube and transistor amplifiers, protective circuitry around the output transistors. another factor must be considered: the characteristic Nothing had may happen, of course, but you have noise frequencies of tubes are generally higher- left the door open for possible trouble. If in doubt pitched than those of transistors and consequently on this point, query the manufacturer of your set. more apparent to the ear. A really valid comparison between the noise level of a tube amplifier and that 15. Is it necessary to have several different kinds of a transistor amplifier ought to take into account of styli for playing various types of records -such the frequencies at which the noise occurs. Such as stereo discs, recent and older mono LPs, and "weighting" would be very difficult to assign, records of different speeds? however. The lower-pitched noise characteristic of An elliptical stylus of about 0.8 mil in its frontal transistors does not increase as rapidly, with respect dimension (or measuring across the width of the to lowering frequencies, as does the high -pitched groove) will do for all microgroove records, whether noise of tubes with respect to rising frequencies. stereo or mono and whatever the speed. A conical And the exact increase varies from one transistor to stylus of about 3 -mil radius will handle all 78 -rpm another. What's more, the ear itself becomes less discs made since the mid- 1940s. The larger stylus sensitive to increases of amplitude (of noise as well is offered by many manufacturers of stereo car- as signal) as frequency is lowered. For all this, it is tridges as an accessory item. Inasmuch as discs made entirely understandable -in fact, quite logical -that a much earlier than, say, 1940 may vary considerably solid -state amplifier of about 60 db S/N ratio in groove shape and width, the 3 -mil stylus may not will he as quiet as a tube amplifier of about 75 be able to play them all. Styli for such old rarities db S/N ratio. In comparing two tube amplifiers are no longer made commercially although an afflu- with a 15 -db difference in S N ratio the difference ent collector might be able to order one custom -made. probably will be more apparent than when A -B'ing If one doesn't own an elliptical stylus cartridge, two solid -state amplifiers with a similar difference. the next best "perfectionist" approach would be

to use a 1 -mil stylus for mono discs and a very 14. How many speakers can be connected to one narrow -radius conical stylus (average. 0.5 -mil) for amplifier channel? stereo discs. Industry sources advise that the nar- By "connected," we assume you mean "driven rower the stylus tip the more difficult it becomes from" or "played at once." As a rule, you can to hold dimensional tolerances, and a "0.5 -mil" stylus run as many as you like -up to the point at which actually may have a tip that measures from 0.4 to 0.6 the power reserves of the amplifier become so mil. Finally, the popular 0.7 -mil stylus can serve "drained" that not enough energy is delivered to as a suitable "compromise" for most microgrooves, any of the speaker systems to produce an appreciable stereo and mono. volume of sound. But this rather loose rule has some important exceptions. If the total impedance 16. What is the difference between "gain," "level," presented to the amplifier becomes too low (several "volume," and "loudness "? I have seen all these speakers in parallel), you run the risk of excessive terms used on audio components, and to my un- current in the output stages or of a near or actual trained eve and ear all these controls do the same short circuit across the output terminals. In some thing. Or do they? transistor amplifiers this condition could either blow The first three controls listed above do one and the a fuse or damage the output transistors. Usually, the same thing: they regulate the amplitude level of elec- instruction manual supplied with a solid -state ampli- trical signals. By custom or usage, rather than for any fier or receiver contains some advice on this point. technical reasons, "gain" Continued on page 155

DECEMBER 1965 65

www.americanradiohistory.com THE COMPLEAT AUDIOPHILE

The intrepid angler without a tackle box? The mighty this leads to the need for a place to store the many small hunter with no gun case? The philatelist without a stock and delicate items comprising your collection. book or stamp album? The artist without his taboret? The Cartridges, for example. The true audiophile invariably chef without a pantry? Never. Never. Never! owns more than one. He chooses the correct cartridge for The fact is you enjoy an avocation more fully with the the record -and for the occasion. Keeping them safe and right accoutrements for the task at hand -and, inevitably, handy is a problem that Shure has undertaken to solve. Voilá!

Exclusive, custom -designed, handsome 12" x 51/4" x 2h /2" black simulated leather box with gold leaf tooling. Compartment- alized and fully lined. Holds up to 4 cartridges and 6 extra styli -or 3 cartridges and 6,extra styli, with room to spare for your pressure gauge, brush, etc. Sim- ply send $4.95 and proof of purchase of any Shure Stereo Dynetic cartridge to the address below. (Value? Name your own price - the Shure Cartridge Caddy is un- available anywhere else at any price!)

... the Shure Cartridge Caddy only $4.95

IT'S YOURS FOR ONLY $4.95 WITH THE PURCHASE OF ANY SHURE STEREO DYNETIC ® CARTRIDGE (Offer available in U.S.A. only)

v-15 M55E M80E =

THE ULTIMATE! Literally handmade and in- MODERATE PRICE. Compares favorably to the THE "FLOATING" CARTRIDGE. M55E type, spected in accordance with the stringent stand- V-15, but produced under standard quality con- spring- mounted in head -shell for Garrard Lab ards of the Shure Master Quality Control trol conditions. Features elliptical 15° stylus. 80 and Model A70 Series automatic turntables. Program. Features biradial elliptical 15° Will improve the sound of any system (except Bounce -proof and scratch -proof. Cartridge stylus. Reduces IM, harmonic and tracing dis- those using the Shure V -15). $35.50. retracts when pressure exceeds l' /r grams. tortion. A purist's cartridge throughout. $62.50. 538.00. or the Shure M3D at $15.75; M7 /N21D at $17.95; or any of the Shure M44 series cartridges at $17.95 to $21.95. Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 72 ON READER -SERVICE CARD 66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com high Welt Q U 1 PM E NT ,1\1 REPORTS The consumer's guide to new and important high fidelity equipment

FISHER MODEL TX 200 can be adjusted simultaneously or independently on each channel, as desired). The larger knob at the volume. CONTROL AMPLIFIER upper right is for power off /on and The lower half of the escutcheon contains six rocker switches for: tape monitor; main speakers off /on; remote speakers off /on; low filter; high filter; and loudness contour. Centered between the rocker switches are three pilot lamps which indicate what mode of operation is being used, a stereo headphone jack, and a tape jack that permits hookup to a stereo tape deck directly from the amplifier's front panel. At the rear of the chassis are two sets of barrier terminal strips for speaker connections; two switched 1 tl#A11 i AC convenience outlets; seven stereo pairs of input jacks; another pair for feeding to a recorder; and four fuses for the set's eight output power transistors (one fuse for two transistors). A slide switch selects the speaker output impedance (4, 8, or 16 ohms). In addition, there are special input and output jacks for con- THE EQUIPMENT: Fisher TX 200, a solid -state pre- necting an external reverberation unit; normally, these amplifier and power amplifier on one chassis. Dimen- jacks are kept shorted. sions: front panel, 151/4 by 43/4 inches; depth behind The back panel of the TX 200 serves as the heat - panel, 12 inches. Price: $279.50. Manufacturer: sink for its eight output transistors. Individual bias Fisher Radio Corp., 11-40 45th Rd., Long Island City, controls are provided on the chassis for each set N.Y. 11101. of two output transistors, making four adjustments in all; these are factory preset and not normally used COMMENT: Solid -state and using no output trans- by the owner. former, the new Fisher TX 200 amplifier is a high - In tests conducted at Nationwide Consumer Testing performing unit that offers a full panoply of control Institute, Inc. (a subsidiary of United States Testing features as well as high, clean power across the Company, Inc.) the TX 200 shaped up as a very clean audio band. The gold- anodized front panel, divided performer, with characteristics that would suit it for into two horizontal areas by a decorative ridge, pre- driving any known speaker system of any efficiency. sents a neat and well- ordered appearance. The upper The measured performance data, shown in the ac- row of controls includes: a six -position program selec- companying chart and graphs, all follow the manu- tor; a mode switch (mono, stereo, reverse); a chan- facturer's specifications very closely and indicate an nel balance control; and a pair of dual- concentric, honestly rated, well- engineered product. The IM char- friction -coupled tone controls (so that bass and treble acteristic is representative of many solid -state inte-

Equipment reports are based on laboratory measurements and listening tests. Data for the reports, on equipment other than loudspeakers, is obtained by Nationwide Consumer Testing Institute, Inc., a subsidiary of the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization not affiliated with the United States Government which, since 1880, has been a leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, a supplementary REPORT POLICY agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. No reference to the Nationwide Consumer Testing Institute, Inc., to its seals or insignia, or to the results of its tests, including material published in HIGH FIDELITY based on such tests, may be made without written permission of the publisher.

DECEMBER 1965 67

www.americanradiohistory.com grated chassis, in which distortion measures higher at lower power output levels. However, at the levels most often used the IM doesn't rise much above 0.5 per cent. The amplifier's damping factor is a very favorable 10, and its harmonic distortion is very low across the audio band. Both the RIAA (disc) and the NAB (tape head) equalization characteristics are excellent, and this is one of the few integrated amplifiers encountered that can supply accurate playback direct from tape heads, if desired. Tone controls, filters, and loudness contour all Square -ueot e response to 50 Hz, left, and to 111 KHz. functioned smoothly and exhibited very favorable characteristics from a music -listening standpoint. Sensi- tivity and signal -to -noise ratios of all inputs were very good. The high -frequency square -wave response showed no ringing and good transient characteristics; +2 the low-frequency square -wave showed some tilt, re- 0 o -2 Power Bandwidth of -. flecting the rolloff in the extreme bass (below 20 Hz) 0.5% THD \ -4 1.5 that is typical of integrated amplifiers. The stability (Above 20K - estimated on scope) -6 1.0 of the TX 200 was found to be excellent. THDat40w -8 0.5 A versatile unit, the TX 200 is also a THD at 20w clean- sound- -10 0 THD of 20w ing one, and another example of how solid -state de- -12 sign can achieve AMPLIFIER PERFORMANCE CHARACTERISTICS superior performance in an attractive i -14 and relatively compact format. It should be of interest -16 Frequency Response at 1 watt to anyone seeking a substantial control amplifier at -18 a fairly reasonable cost. -20 -22 Zero db == 40w, load impedance = 8 n

1 10 100 1000 10K 100K

FREQUENCY IN Hz ((PS) Fisher TX 200 Amplifier Lab Test Data Performance characteristic Mea suremenl +5 RIAA o Power output (1K Hz into 8 -ohm load) -5 EQUALIZATION ERROR I ch at clipping 40 watts at 0.13% THD I ch for THD +5 0.5% 50 watts NAB ch at clipping 38.2 watts at 0.19% THD o ch at 0.5% THD 45 watts -5 both chs at once 20 50 100 300 500 1K 3K 5K 10K 20K I ch at clipping 35.7 watts at 0.14% THD r ch at clipping 34 watts at 0.2% THD FREQUENCY IN Hz (CPS) Power bandwidth for constant 0.5% THD 25 cps to 30K Hz Harmonic distortion 40 watts output under 0.5 %, 37 Hz to 15K Hz 20 watts output under 0.4 %, 20 Hz to 20K Hz 20 IM distortion Bass Boost 15 8 -ohm load under 1.3 %, 1 to 44 watts Treble Boost 10 output Loudness 4 -ohm load under 1.5 %, 2 to 46 watts 5 Contour output 0 High 16 -ohm load under 0.85 %, 1 to 32 watts 5 low Filter Treble Cut Filter output 10 Bass Cut 15 Frequency response, +0.3, -2 db, 10 Hz to 30K TONE CONTROL AND FILTER CHARACTERISTICS 20 \ 1 -watt level Hz 20 50 100 300 500 1K 3K 5K 10K 20K

RIAA equalization +0, -2 db, 29 Hz to 20K Hz FREQUENCY IN Hz (CPS) NAB equalization +0.5, -2 db, 25 Hz to 20K Hz

Damping factor 10 Characteristics, 4 various inputs Sensitivity S% N Ratio 60 and 7000 Hz -4:1 phono low mv 51 3.9 db 3 phono high 7.2 mv 51 db INTERMOOULATION DISTORTION tape head 2.5 mv 51 db 2 microphone 2.9 mv 54 db A tape monitor 270 mv 65 db 1 tuner 270 mv 67 db 270 mv auxiliary 67 db 0

1 2 4 7 10 15 20 30 40 50

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com To use the MI -3 requires study of its accompanying McINTOSH MI -3 instruction manual which, happily, is clearly written and well illustrated, and presumes no particular techni- PERFORMANCE INDICATOR MAXIMUM cal background on the part of the reader. The display patterns, of course, are derived from the variable trace THE EQUIPMENT: McIntosh MI -3, a self- contained that appears on the face of the scope, and which is visual -display (oscilloscope) device. Dimensions: front deflected- according to the signal being monitored - panel, 161/8 by 5% inches. Chassis depth, 111/z in various planes along the surface of the screen. inches behind panel. Price: $249. Manufacturer: Mc- Quite attractive, by the way: a green trace against an Intosh Laboratory, Inc., 2 Chambers St., Binghamton, opaque blue background. The position, and shape, of N.Y. 13903. the trace represent various operational conditions which, when interpreted correctly, indicate performance COMMENT: Originally designed as a tuning aid for characteristics as well as the possible need for adjust- dealers for its own line of stereo FM equipment, Mc- ment or even repair of some part of the stereo rig. Intosh's scope indicator has been revamped and For instance, when tuning in an FM signal, the hori- restyled, and now is offered as a general purpose instrument for use with other makes of tuners as well as for observing stereo characteristics of other program sources, such as discs and tapes. The unit's new nomenclature reflects the change too: from "Model MI -2 Multipath /Tuning Indicator" it has become "Model MI -3 Maximum Performance Indicator." Essentially the MI -3 is an oscilloscope using a 3- inch cathode -ray tube as its "screen." Front panel zontal level of the trace indicates incoming signal controls include a power off -on knob; an audio display strength; the left and right extensions of the trace knob which adjusts the relative size of the pattern; indicate station modulation and relative volume of a selector switch with positions for test, multipath, the audio. A wiggly trace signifies the presence of and left and right audio; and four additional adjust- multipath distortion and indicates the need for re- ments for horizontal and vertical position, focus, and orienting the antenna to get a cleaner signal. intensity of the trace. When used for monitoring the output of a tuner, The rear of the MI-3 contains additional operating tape deck, or disc playback system, the MI -3 can show adjustments, four input jacks and two output jacks. varying degrees of stereo separation, channel balance, Also at the rear is the AC line cord, a fuse -holder, and and whether the system, or the program source, is in an unswitched AC convenience outlet. Circuitry of the or out of phase. A more or less rounded, and con- MI -3 is part solid- state, part tubes. Heavy -duty profes- stantly varying, set of random lines (the "scrambled sional -grade parts are used on a well laid -out chassis, eggs" pattern) shows excellent stereo separation and and wiring and construction are very obviously in the full response on both channels. A single vertical line McIntosh tradition: sturdy and solid. For a near -pro- means that only channel A (left) is playing; a single fessional instrument, the MI -3 is unusually attractive in horizontal line shows that only channel B (right) is appearance. Its front panel is styled in the gold and on. With monophonic singles (A plus B), the single black of other recent McIntosh products -this, to- line shows diagonally; if running from top left to gether with its sensible dimensions, would suggest its bottom right of the screen, the signal is in phase; if suitability for "show -off" installation along with one's running in the opposite direction, the signal is out of other audio gear. phase. A single line that cants to either side of the Quality and appearance aside, what exactly is the true diagonal of the screen indicates channel un- point of a stereo display unit? Why should one think balance: thus, if the diagonal line leans to the vertical in terms of "watching" as well as hearing stereo? In axis, then channel A (left) is being favored; if to the great measure, the answer depends on the extent of horizontal axis, then the other channel is being one's involvement with stereo. While a device such favored. With some practice, it should be fairly easy as the MI -3 may not prove to be everyone's cup of for the user to readily identify these various signs, tea, it certainly could have value for the professional, especially since they are clearly shown in the instruc- and for the advanced hobbyist concerned about getting tion manual and quite easy to duplicate accurately on the best possible quality for listening and for tape re- the MI -3. With additional experience, the user can cording. Analogies can be misleading but we would even pinpoint possible sources of trouble and the say that the MI -3 relates to one's use of a high quality need for maintenance in a complex stereo system. stereo system roughly somewhat more pertinently In our tests, the MI-3 went through its paces than, say, an engine RPM indicator relates to the perfectly, displaying patterns that matched those driving of a high -performing motor car. shown in the manual for various conditions we introduced into the stereo system -deliberately un- plugging one of the stereo cables from a tape deck; mistuning an FM receiver; and so on. The MI -3 also HIGH FIDELITY is now employing the letters Hz indicated, happily, that no FM station within our reach -representing the name of the nineteenth - was overmodulating its signal and that every one was century physicist Heinrich Hertz-in place of the in phase. It did remind us that our own roof -top former abbreviation cps (cycles per second) used antenna needs repositioning, thanks to the recent to designate frequencies. This practice has been winds. (We probably will get a rotator and have done adopted internationally throughout the elec- with it!) tronics and allied fields, and is now used by The MI -3 may be hooked into a stereo system in the U.S. Government's National Bureau of Stand- either of two ways. If a stereo receiver is used, the ards, HIGH FIDELITY's testing agency, and by connecting cables supplied permit the MI -3 to tap off the Standards Committee of the Institute of a negligible amount of signal voltage for display High Fidelity. As Hz stands for cps, K Hz stands purposes. If a separate preamp and power amp are for kc (kilocycles per second) and M Hz for me used, the Ml -3 may be connected "in series" between (megacycles per second). them; that is, the preamp feeds the MI -3, and the MI -3 feeds the power amp.

DECEMBER 1965 69

www.americanradiohistory.com EUPHONICS CARTRIDGE SYSTEM that either the original arm cables must be snipped off and female jacks installed under the turntable, or the Euphonics' plugs must be removed and the THE EQUIPMENT: Euphonics CK- 15 -LS, a semicon- cables soldered directly to a terminal strip under ductor phono cartridge system (pickup and power the turntable, or a pair of double -ended feed -through supply). Price: $55. Manufacturer: Euphonics Corp., phono jacks must be used for connecting the arm Box 233, Guaynabi, Puerto Rico. Distributed by cables to the Euphonics' cables. Euphonics Marketing, 173 W. Madison St., Chicago, Once installed, however, the Euphonics has much III. 60602. to recommend it. Compliance is quite high (rated at 20 x 10-6 cm /dyne), and the required tracking COMMENT: From the way it is installed in a tone force rather low. In tests at Nationwide Consumer arm to the manner in which it generates signals, Testing Institute, Inc. (a subsidiary of United States the Euphonics cartridge is about as different as a Testing Company, Inc.), a tracking force of 1.5 pickup system can get. A brochure explaining its grams was found to yield optimum performance. theory and operation is available from the distributor The manufacturer's recommended tracking force is on request. Briefly, the cartridge element itself con- within 0.75 to 2 grams. sists of tiny silicon semiconductor elements which, Measurements indicate that the smoothest and when deflected by stylus motion in the record groove, widest response from the Euphonics was obtained modulate an external current to produce the elec- with the switch in the "low" position -that is to trical signal. The current is derived from a small say, when using the pickup system for standard "power source" (the box shown in the photo) which magnetic phono inputs. In this mode, the Euphonics contains a solid -state circuit, input and output con- performed like a typically good magnetic cartridge. nections, an AC line cord, and a "high -low" switch. A five -prong connector hooks up the power source to the leads from the tone arm; another pair of prewired cables feeds to the amplifier. The AC line cord may be plugged in wherever convenient; an AC outlet on the rear of the amplifier chassis would be the most logical place. In the "high" position of the switch, the power source furnishes an output signal strong enough to permit connecting the cables directly into a high -level input, such as "auxiliary." In the "low" position of the switch, the system puts out a signal suited for magnetic phono inputs. The cartridge itself is a small, lightweight unit Response- tu 1 KHz sgnere -ware. boasting very low mass, fitted with a biradial (elliptical) stylus, and designed to track at the 15- degree vertical angle. Its four connecting pins are fairly tiny and very closely spaced, and connecting it into a tone arm by means of the sleeves usually 0 found is virtually impossible. Instead, a sleeve is -5 FREQUENCY RESPONSE & CHANNEL SEPARATION provided which fits over the pins; the leads from this 10 sleeve Right Channel, Zero DB = =7.7 MV It then must be soldered to the leads in the tone 15 Left Channel: Zero DB= 6 MV 20 Left Channel n 25 Right Channel y; 30 ': ., 35 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY IN Hz (CPS)

For instance, output signal levels were 6 millivolts and 7.7 millivolts for left and right channels respectively-values amply suited for magnetic inputs and reasonably well balanced (within 2 db). Harmonic distortion did not become apparent until about 5K Hz (5 kc) and remained low on both channels. Lateral and vertical tracking both were excellent, and lateral and vertical IM distortion both were low. Channel separation was very good: better than 25 arm. The assembly is fairly delicate and requires db at 1K Hz, and remaining at least 17.5 db up to care and some patience. Moreover, the cartridge - 10K Hz. Frequency response was fairly smooth across being so light and relatively small-will require the the audio range: the left channel was measured as use of the spacers and small weight(s) supplied when within plus 1, minus 3 db out to 20K Hz; the right installed in many standard arms. Another complication channel showed plus and minus 3.75 db out to 19K arises when running the cables from the turntable Hz. Square -wave response had a fast rise -time, and to the Euphonics' power pack. Most high fidelity tone some ringing which was quickly damped. arms-whether supplied separately or as part of The "sound" of the Euphonics, as is true of all a turntable ensemble -come with prewired signal transducers, was in our listening tests-as it has cables fitted with standard male pin plugs for become in the industry generally -a source of dis- connecting into amplifier input jacks. The Euphonics agreement. Some listeners preferred it to all others cables also are fitted with male plugs. This means they have heard; others allowed that it was good, but

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com not better than today's top -performing magnetics. the right -hand system is on the left -hand side. This ar- Our guess is that while many audio enthusiasts may rangement assures a satisfactory balance between choose this unit, it probably will make its greatest stereo separation and stereo blending for a broad mark as a means of upgrading older, or relatively "wall of sound" effect with no "hole in the middle." lower- priced, or package- set -type rigs. Its method of A control, on the rear of the enclosure, adjusts the installation and hookup (which seems to be based relative level of the highs to suit the system to differ- on the type of wiring usually found in the changers ent room acoustics. supplied as part of a package set) plus the indication In our tests, the B -4000 has proven to be one of by the manufacturer that the power pack cuts the cleanest, most transparent speaker systems yet down by nineteen the number of parts in a medium - auditioned, irrespective of size, type, or price. Full priced phonograph (simultaneously improving its and clean bass is audible down to 30 Hz (cps); re- sound) would seem to bear out this conclusion. sponse continues somewhat below this frequency with some doubling when driven very hard. Upward from the bass, response is outstandingly smooth and uniform through the midrange and extreme highs to beyond audibility. It also is quite nondirectional, and produces a very wide and broad dispersion pattern that does not seem to diminish until well above 10K Hz BOZAK B -4000 (kc). Actually, a 10K -Hz test tone is completely audible from any spot around the system, and even 14 SPEAKER SYSTEM K -Hz test tones could be heard well off -axis of the system. White noise response was very smooth, subdued, and, again, THE EQUIPMENT: Bozak B -4000, a full -range speaker perceptible as a fairly broad spread system in an enclosure. Dimensions: 44 inches high, throughout the listening area. On program 27 13/16 inches wide, 16 inches deep. Price, in oiled material, the B -4000 is quickly dis- cerned as walnut, $495. Manufacturer: R. T. Bozak Manufactur- one of the top -performing speaker systems ing Company, 587 Connecticut Ave., South Norwalk, currently available. Its over-all quality can be described Conn. 06854. as full, clean, well -articulated, musically balanced, transparent, and eminently honest. It comes as close COMMENT: The Bozak B -4000, known as the Sym- as any we have auditioned to providing a sense of phony No. 1, is an infinite -baffle speaker system. "listening through" to the program material, and is in fact a system That is to say, the drivers are installed in a complete- that helps reveal, rather than blur over, ly sealed, nonresonant cabinet so that only the front subtle differences in program sources including record- radiation is permitted to emanate into the listening area. This design approach depends, for its bass response, on well- constructed, low- resonance speakers and a very solid, internally braced, and acoustically dead enclosure. The Bozak system qualifies admirably on all counts. It actually employs a total of eleven speakers: a 12- inch woofer is mounted fairly near the bottom of the front baffle- board; another 12 -inch woofer is mounted nearer its center; an 8 -inch midrange driver is installed near the top of the baffle; and an array of eight 2 -inch tweeters is found in a vertical column nearer to one edge of the baffle, starting near its top and running down for about two -thirds its length. A dividing network, also housed inside the enclosure, provides frequency crossovers at 400 Hz (cps) and at 1,500 Hz (cps). The rate of crossover is 6 db per octave, intended to function as a "slow" or "gradual" crossover to lend tonal continuity from one range to the next. An interesting, and useful, design departure in the B -4000 is the vertical column of tweeters. Known as a "line s radiator," this array of drivers feeds into a nar- rowing opening, or slot, which -because of its inverted ings and broadcasts. On stereo, the pair provide a taper -helps spread the highs and load them to the satisfying combination of breadth and depth so that room with a broad and smooth dispersion pattern. the "wall of sound" seems to have some dimension The enclosure itself is of oiled walnut, faced with forward and back as well as from side to side. On shaped walnut strips over a neutral -tint - grille cloth to solo material, the sound is nicely "focused" between present a neat and attractive appearance. The same the pair; on complex ensemble material, the presenta- system, in an alternate style enclosure featuring a tion of the blend, combined with a revealing of inner double -arch design, is available for $510. Connections musical detail, is superb. are made by screw terminals at the rear, marked for The B -4000 does not emphasize one portion of the polarity. Input impedance is 8 ohms. Efficiency is on audible range over any others; nor does it favor one the low side, and the B -4000 is recommended for use type of instrument over others. Its "sound" is essen- with a high -quality amplifier capable of delivering at tially the sound of the program source, the music, least 30 watts per channel over the entire audio range, itself. To a great degree of course the performance of and with a damping factor of 8 to 20. When bought the B -4000 depends on the quality of the associated in twos as a matched stereo pair, each B -4000 is -as equipment used for driving it. The B -4000 almost de- far as the arrangement of speakers on each baffle is mands, and certainly merits, being teamed up with a concerned -a mirror image of the other. That is to low -noise turntable, sensitive pickup, and high -pow- say, the high- frequency columnar array of the left- ered wide -range amplifier. In this sense, the B -4000 channel system is toward the right-hand side of the suggests use as a professional monitor as well as for baffle -board as you face the system; the column for installation in the finest of home music systems.

DECEMBER 1965 71

www.americanradiohistory.com CONCORD MODEL R-2000

TAPE RECORDER

THE EQUIPMENT: Concord R -2000, a two -speed tape recorder deck supplied with remote control box and featuring automatic -reverse playback. Dimensions in integral case: 17 inches wide, 153/4 inches high, 7 inches deep. Deck plate, removed from case: 161/2 by 141/2 inches. Price: $795. Manufacturer: Concord Electronics Corp., 1935 Armacost Ave., Los Angeles, Calif. 90025. Both channels may be regulated simultaneously or COMMENT: The R -2000 is Concord's "top of the independently, as desired. Next is a similar type line" model and a worthy addition to the class of control for line input signals (from a tuner or from high -quality tape decks near -professional in design the tape -feed jacks of an amplifier). Next in line is a and performance, but styled and loaded with features dual output control, with a section for each channel. to appeal to the home recordist. As supplied, it is a The off position of this control is at dead -center; ro- quarter- track, two -speed (71/2 and 33/4 ips) machine; tating it clockwise increases playback volume from the other configurations, such as half -track and 15 -ips tape on the deck; rotating it counterclockwise in- speed, are available too. The deck contains built -in creases the volume from the source feeding the deck recording and playback preamps; signal outputs are (for monitoring purposes). Separate, calibrated VU provided for driving headphones and, of course, an meters are provided for each channel; these work on external amplifier and speaker system. both record and playback. The R -2000 offers automatic- reverse playback with- Mechanical functions are selected by a series of out the need to stop the machine and flip the tape push buttons for fast -rewind, fast -forward, stop, play, reels. In addition, the tape can be reversed manually and record. This group is followed by the power off /on at any time by moving a lever near the left -hand reel. switch, and another dual- concentric (but not friction - A separate head is used for playing a recorded tape coupled) switch. The outer section of this switch se- in the opposite (right -to -left) direction of tape travel. lects playback, stereo record, channel A or B mono For the normal left-to -right direction, the R -2000 em- record, and sound -on -sound recording. The inner por- ploys a three -head complement, with separate heads tion of the switch selects tape speed. for erase, record, and playback. The machine thus is The left -hand side of the deck contains a pair of supplied with four heads. The transport is powered phono jacks for line input, and a pair of phone jacks by three hysteresis- synchronous motors for capstan for high- impedance (10K ohms or more) microphones. drive, and left and right reels. For low- impedance mikes, plug -in matching transform- The deck is strikingly styled and logically arranged. ers-available as an accessory-must be used. Mike The tape runs from the supply reel past the reverse - and line inputs may be mixed on each channel during play lever, around a swinging guide (a tension arm recording by the front -panel level controls. The right - that serves as a "flutter filter "), around a large fly- hand side of the machine contains a stereo pair of wheel- loaded idler capstan, across the head assembly, output phono jacks for connecting to an external between the drive capstan and its associated pinch amplifier, and a stereo headphone jack for driving a roller, around another tension arm, and to the take -up is and built reel. The entire mechanism machined ó NAB PLAYBACK FREQUENCY RESPONSE @ 71/t IPS in our tests, to with extreme precision, and proved, _ _ run very smoothly. o Zero DB = -10 VU Recording level con- The lower portion of the deck plate contains d on Ampex 31321 -01 Test Tope is a dual- concentric, friction - trols. At the lower left left Channel Right Channel - coupled stereo gain control for the microphone inputs. 20 50 100 300 500 1K 3K SK 10K 20K

FREQUENCY IN Hz (CPSI 5 °m -5 5 0 D8=-10 VU -10 0 -15 Left Channel -5 Right Channel - VU left Channel oc - - - - - O DB-= --10 -10 -20 Right Channel RECORD /PLAYBACK FREQUENCY RESPONSE @ 31 IPS -15 RECORD /PLAYBACK FREQUENCY RESPONSE @ 7t /t IPS 20 50 100 300 500 1K 3K SK 10K 20K 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN Hz (CPS) FREQUENCY IN Hz (CPS)

RECORD /PLAYBACK HARMONIC DISTORTION @ 33/4 IPS RECORD /PLAYBACK TOTAL HARMONIC DISTORTION @ Viz IPS Left Channel Recording level = -10 VU ó Left Channel 4 ó Right Channel - - - - - ' Right Chnelan 4

W 2 D Recording Level=.-10 VU 20 50 100 300 500 1K 3K 5K 10K 20K 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY IN Hz (CPS) FREQUENCY IN Hz ((PSI

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com high- impedance headset. This side also contains the connector for the remote -control cable and a 2 -amp fuse for the power line, itself connected through a Concord R -2000 Tape Recorder safety interlock -plug which becomes disconnected when the chassis is removed from its outer case. Lab Test Data During use, the VU meters light up; in addition, a red Performance light comes on when the record button is pressed. characteristic Measurement Tape alignment and bias adjustments are found under the head assembly name -plate. The circuitry of the Speed accuracy, 71/2 ips 0.18% slow, all line voltages R -2000 uses nine vacuum tubes and seven diodes. 33/4 ips 0.24% slow, all line voltages In addition to recording and playback of mono- Wow and flutter, 0.06% and 0.08% phonic and stereo quarter -track tapes, the R -2000 either speed respectively can be used for sound -on -sound recording in which a recording from one track is impressed, along with Rewind time, 7 -in., 1,200 -ft. new material, onto another track. This composite reel, either speed 35 seconds signal then can be re- recorded, with still more new Fast-forward time 35 seconds material, onto another track -and so on. Echo effects also can be introduced during recording. The auto- NAB playback response (ref. Ampex test tape matic reverse -play feature is activated by attaching a No. 31321 -01), 71/2 ips length of leader tape to the end of a reel of recorded I + tape, and ch 1.25, -1.5 db, 50 Hz to then looping the end of the leader to the 15K left-hand Hz (supply) reel. The machine shuts itself off r ch +2, -0 db, 50 Hz to 15K Hz at the end of a tape. It will not go into the record function unless both the record push button is de- Record /playback response pressed and the selector switch is moved off the play (with -10 VU recorded signal), 71/2 ips, I ch +0, -5 Hz 14K position. Details on all operations are carefully spelled db, 40 to Hz r +0.5, out in the unit's instruction manual. ch -4.5 db, 45 Hz to 15K Hz In tests conducted at Nationwide Consumer Testing 33/4 ips, I ch +0, -5 db, 40 Hz to 9.6K Hz Institute, Inc. (a subsidiary of United States Testing r ch +0.25, -5 db, 40 Hz to Company, Inc.), the Concord R -2000 met its specifica- 7.8K Hz tions with ease, providing mechanical and electrical S/N ratio (ref. 0 VU, test performance of very high caliber. Speed accuracy was tape), playback either ch: 50 excellent and no variation of speed with respect to db record/ playback I ch: 48 db; r ch: 49 db changes in line voltage was observed. Wow and flutter were insignificant. The transport responded quickly Sensitivity (for 0 VU and smoothly to all its control orders, including fast level), line input I ch: 85 mv; r ch: 97 mv buttoning in which fast -forward and rewind are acti- mic input I ch: 0.75 mv; r ch: 0.95 mv vated, one after the other, without first pressing the THD, record /playback stop button. Throughout the tape was handled posi- (-10 VU recorded signal) and gently. tively 71/2 ips, I ch under 1.6 %, 50 Hz to 5K Hz; The response and distortion characteristics of the under 3 %, 30 Hz to 14K Hz R -2000 were, in sum, above average for typical home r ch under 1.6%, 62 Hz to 5.8K equipment. Playback response, for recorded tapes, Hz; under 3%, 36 Hz to was about as smooth as we have yet seen, indicating 15K Hz that the R -2000 will render commercially recorded 33/4 ips, I ch under 3 %, 27 Hz to 8K Hz r ch under 3%, 25 Hz tapes accurately-at both speeds. Record /playback to 7.2K Hz response at the faster speed was uniform within a IM distortion, record few db across the audio range; at the slower speed, playback response rolled off a bit before 101( Hz but was still - -10 VU recorded signal I ch: 2.8%; r ch: 3% for 33/4 ips, and especially in view of the low distortion 0 VU recorded signal I ch: 4.7%; r ch: 4.9% at that speed -very good over -all. Detailed measure- Recording level for max ments are given in the accompanying chart and 3% THD I ch: +5 VU; r ch: +4.5 VU graphs; they bespeak an exceptionally well -made tape deck, offering superior performance. Clearly, the Accuracy, built -in meters R -2000 is aimed at pleasing the advanced hobbyist, for 0 VU recording level meters read 3 VU law for -10 VU recording and the deck even may have appeal for some professional recordists. level meters are exact

MARANTZ RE -TEST Due to an error in USTC's multiplex generator, which became apparent just after tests were concluded on the REPORTS IN PROGRESS Marantz 10B tuner reported here last month, some of the test figures given were incorrect. On re -test, separation on stereo was found to exceed the limits of the generator, being better than 40 db at mid -frequencies and con- Dynaco Beocord 2000 Tape forming to Marantz's specification of better than 30 db across the band to 15 KHz. Frequency response, also re- checked, was found to be +0, 0.4 db from 20 Hz Recorder to 15 KHz in mono, and on either channel in stereo. THD was less than 0.2% in stereo, and the suppression of both the 19 KHz pilot and 38 KHz subcarrier signals Kenwood KT -80 Receiver was greater than 60 db. These new figures indicate an even finer tuner than originally reported.

DECEMBER 1965 73

www.americanradiohistory.com ELEGANT... INIMITABLE!

4 Mt a.mEEEookoEB BACH KARAJAN JOHANN SEBASTIAN BACH The Six 6 Brandenburg Concertos Conducting the Berlin Philharmonic Brandenburg Orchestral Suites 2 and 3 Edith Picht -Axenfeld, Concertos harpsichord HERBERT VON KARAJAN

and Orchestral BERLINER EHI LHARMON I IIR (Boxed 3 -disc set with brochure) 18 976/8; Suites 2 & 3 Stereo 138 976/8

New Recording More of A Definitive Masterpiece Performances of by Opera Buffa Richter

DONIZETTI: Don Pasquale (Complete) with Al- SVIATOSLAV RICHTER: Piano Recital, Bach -5 fredo Mariotti, Mario Basiola, Ugo Benelli, Anna Preludes & Fugues from "The Well- Tempered Maccianti, Augusto Frati, Chorus & Orchestra of Clavier ", Book 1; Schubert -Allegretto in c/ Florence May Festival, Ettore Gracis, cond. Laendler in A; Schumann -"Abegg" Theme and (Boxed 2 -disc set with libretto) Variations; Rachmaninoff -Prelude in G# minor; 18 971/2; Stereo 138 971/2 Prokofiev-Visions fugitives, Op. 22, Nos. 3, 6, 9 18 950; Stereo 138 950

And continuing the DGG tradition of great artists!

DAVID OISTRAKH -BACH'S Violin & Harpsichord Sonatas No. 2 in A, BWV 1015 / No. 3 in E, BWV 1016; Hans Pischner, harpsichord. 18 989; Stereo 138 989 //1/7L EVELYN LEAR -HUGO WOLF LIEDER: "Elfenlied ", "Zitronenfalter geniis-a:aft im April" and 15 other songs; Erik Werba, piano. 18 979; Stereo 138 979 (leaflet of texts) Free! On request: The new DGG /ARCHIVE illustrated catalogs. SERENADES: Serenata LUCERNE FESTIVAL STRINGS -MOZART Write: MGM Records, Notturna in D, Divertimentos in D, B flat, F; Rudolf Baumgartner, Classical Division, cond. 19 480; Stereo 136 480 1540 Broadway, N. Y. 10036

CIRCLE 23 ON READER -SERVICE CARD H": ':II): l Iry M:u;1 /INF 74

www.americanradiohistory.com reviewed by "N. BERNARD JACOBSON NATHAN BRODER ROBERT LAWRENCE O. B. BRUMMELL ecords CONRAD L. OSBORNE R. D. DARRELL ALAN RICH SHIRLEY FLEMING eview ERIC SALZMAN ALFRED FRANKENSTEIN DENIS STEVENS HARRIS GOLDSMITH JOHN S. WILSON

by Conrad L. Osborne

Berg's W ozzeck

All Made Lucid and Urgent

Protagonists Lear and Fischer -Dieskau.

EVEN IF this recording were not the with a seemingly firm sense of direction, any work that is "original," in the sense brilliant achievement it undoubtedly is, but still end up in nowheresville. of being outside a tradition. In the it would have immense importance as This view will no doubt mark me as nineteenth century, there were accepted the first adequate disc presentation of an antimodernist. E sia. I really am not notions of what an opera was- notions an essential work. (I do not mean that trying to express an opinion, but to de- that worked very well. One can imagine the Mitropoulos performance on Co- scribe a situation. Wozzeck, like Pelléas, that if someone had given Donizetti an lumbia, which for so many of us con- works because it is a nearly perfect early or even middle -period Verdi sce- stituted the first experience of Wozzeck. fitting together of elements in an abso- nario (not even, I mean, a finished li- is incompetent, but only that it is badly lutely unique set of circumstances. The bretto), he would have produced a out of date in a technical sense. and that loudly bruited -about formal structure of score of course different in all its de- this is an extremely important matter the score is feasible, almost necessary, tails from the one his successor would with this opera.) only because of the unarranged, unse- in fact write, but almost identical in its One is tempted to term Wozzeck a quenced condition of the scenes which outline and even, probably, in its gen- cornerstone work, except that it is a cor- made up Büchner's Wozzeck manuscript, eral rhythmic pattern. Half the writing, nerstone of nothing. The only parallel and because Berg was genius enough in both libretto and music, was acis to Pelléas, another cornerstone with to make it the organic means of dramatic complished not by the composer, but no structure rising above it. It was progression, rather than simply some by the accumulation of accepted no- Shaw's view that the great "revolution- music coexisting with a play. The sub- tions called tradition, as with any current ary" operas were not that at all -not ject matter and atmosphere of the drama Broadway musical comedy. But where we the beginnings of new traditions, but are admirably suited to expression by have no secure idea of what an opera is- the culminations of old. I am not sure atonal means, as those of Pelléas are to and we still have not decided on that we need agree: I do not think it is true expression by impressionistic means. -or even what music is, this fevered - of Wozzeck or Peléa.s. And yet the But largely it is a case of a composer love-at- first -sight is necessary, which is new roads that each work seemed to being seized and compelled by his why there can be only one of a kind, take turned to a confusion of meander- subject. of recognizing that in this par- and not many of those. ing footpaths and boggy ruts through ticular subject lay precisely the vehicle Wozzeck is one such, a finely hewn which operatic composers are still slog- he needed for expression of everything cornerstone amidst a rubble of busted ging; they pass the bleaching bones of that had been growing within him. This bricks. What a job Berg made of it! It verismo and the romantic grand opera is the sine qua non for the creation of is one of the great pieces of operatic

DECEMBER 1965 75

www.americanradiohistory.com construction, tight. unified with a ter- needs to be, we are conscious that he THERE ARE NOW Some twenty complete rifying logic. All the rules are suc- is doing just that. This is a Wozzeck Brandenburgs in the domestic catalogues. cessfully defied -the emphatically un- who seems to realize the meanings of If number of recordings is an acceptable lyrical blatherings of the Captain and events as they happen, and that cannot gauge of popularity, this puts the six the Doctor turned into brilliant char- be right. Musically and vocally, every- compositions, formerly regarded as com- acter studies. for instance. One of the thing is magnificently accomplished. and plicated, abstract, and devoid of feel- emphases achieved by the DGG pro- for that matter, the interpretative ideas ing, on the same level as the Beethoven duction is on the structural function of are right too. But we should have the Violin Concerto or the Tchaikovsky the scene interludes. both as ingeniously feeling that if we were to ask Wozzeck, Fourth, and above the Franck Sym- colored framework and as dramatic "Tell me, are you unhappy ?" the answer phony, Beethoven's Seventh, and any motive forces, so that we see clearly a would be puzzled and inconclusive. symphony by Brahms! If anyone had series of progressively moving scenes em- Fischer -Dieskau sounds capable of writ- predicted this a generation ago, he would bedded in an orchestral fabric that draws ing at least a coherent composition on have been rushed to a hospital for men- around the drama like a net. the subject. Still, who else could have tal disorders. Of all the wonderful contributions come this close to a complete execution This month we get two new recordings that Dr. Böhm has made of late to the of the role? of the Brandenburgs. One of them takes catalogue of recorded opera, this is pos- Evelyn Lear is wonderful in the a place among the best of the available sibly the finest, though he must share straight singing passages and in the versions. The other presents problems. the credit with the DGG engineers, who straight speaking passages. The voice Let us consider the former first. have assisted him in laying out the ele- sounds beautiful, the pitches are secure, Karajan with the excellent players of ments of this score as if it were on a and there is a knowing projection of a the Berlin Philharmonic turns in a read- dissecting table. So many pages of the woman who has feelings she does not ing that is warm, vivid, and except in score are like a series of overlapping know what to do with yet who is not one movement, free of eccentricity. transparencies -and so many are lit quite ready simply to surrender to the There is never any tendency to place the from behind here for the first time, subhuman status clearly intended for conductor, rather than the composer, at least in my experience. Orchestra and her and her peers. Her version of in the forefront of the listener's atten- conductor really know their music; they Sprechgesang seems to me less success- tion. At the same time the men do not may concentrate on it, and it alone, and ful; she really sings nearly everything, merely read notes. This is not a drawing so may we, as we cannot in the theatre. somewhat colorlessly, it is true, and of sound- patterns but a musical dis- All the magnificent contrasts and join - with peculiar little quasi -rests between course. There are many fine details in ings of sonorities, all the passages of notes, to distinguish the Sprechgesang this performance; to mention a few: the such fragile balance between leading from the outright cantabile bars. But she horns in No. 1 are pointed and on pitch, and subsidiary voices, all the detail is by no means simply speaking the instead of blurry and approximate, as brought up for sharp focus, like the words with a suggestion of pitch and they often are; in No. 2 the trumpet keening of the muted solo double bass singing overtone, which is what is want- blends very well with the other solo under the humming of the soldiers in ed. I might add that there is more than instruments instead of lording it over the barracks scene-everything is made one point at which cast members (usual- them; the slow movement of No. 6 has lucid and immediate, so that the com- ly Fischer -Dieskau, strangely) fail to ob- just the right mood and tempo, it seems ing- together of everything musically in serve the relationship between the in- to me- grave, but with motion. There the final interlude is all the more crush- dicated pitches of the Sprechgesang- is only one miscalculation, I think: the ing. It would be hard to select a better inflections go up where the score goes Minuet of No. 1 is dragged out uncon- cast from among all the singers of the down, and a shout intended for the vi- scionably. Even though the second Trio contemporary world; this one is especial- cinity of middle C will attain the same is speeded up considerably, this move- ly strong in the vital character roles level as one pitched around high F. Berg's ment takes twelve minutes, which is far which populate the world of Wozzeck's instructions in the score are most specific too long. There are a couple of impre- tragedy. Gerhard Stolze achieves his on this matter. cise moments in the first movement of finest recorded interpretation yet with It must not be thought that these No. 4 and, as frequently happens, the his captain -he has a reinforced falsetto reservations in any way overbalance the harpsichord in No. 5 is not forward that sounds like a factory whistle, and positive nature of the achievement, for enough, but otherwise there seems to be makes of every line a specific part of the impact of the whole is tremendous, nothing wrong with either the perform- his characterization. Fritz Wunderlich and at many points one feels that parts ance or the recording. is probably the finest Andres one will of the scoring are coming to life in quite In the Suites too, Karajan offers many ever hear, with wonderful reserves of a new way. A great and unique opera splendid things. The orchestra sounds clear, brilliant tone for the high Bs and has been given a splendid cast, the large here, but it is very flexible and Cs, but a good sense of his function as right sort of engineering, a most authori- spry. In No. 2 the flute is always audi- a dramatic foil too. tative leader, and an orchestra which is, ble, even when its only function is to The doctor of Karl Christian Kohn at least in this score, a great one. The add a bright edge to the violins. The has an almost bourgeois air -one is result is a near essential recording. orchestra is handled in masterly fashion: reminded of Hannah Arendt's phrase Karajan doesn't miss a trick when it "banality of evil." I wish Kohn's voice comes to pointing up- without stressing had a bit more of a sharp, bright color, BERG: Wozzeck -thematic work in the inner voices; the particularly on top (he avoids a couple opening attack in No. 3, usually a blurt, of the top F sharps altogether); but Evelyn Lear (s), Marie; Alice Oelke often ill- balanced and sometimes ragged, the picture is a complete one, never- (ms), Margret; Gerhard Stolze (t), The is as smooth as silk. It is only in a few theless. Helmut Melchert has the right Captain; Helmut Melchert (t), The matters of interpretation that what enters sort of brassy, crowing sound for the Drum Major; Fritz Wunderlich (t), the ears may lift the eyebrows. The first role of the Drum Major, and all the Andres; Martin Vantin (t), The Fool; period of the Polonaise in No. 2 begins comprimario parts are in good hands. Dietrich Fischer -Dieskau (b), Wozzeck; forte, suddenly sinks to piano, and just It is impossible to complain of any- Robert Koffmane (b), Second Appren- as suddenly reverts to forte. Why? The thing Dietrich Fischer -Dieskau does here, tice; Walter Muggelberg (b), A Soldier; familiar Air of No. 3 seems endless, it but I often have the feeling that this Karl Christian Kohn (bs), The Doctor; is played so slowly. Aside from these Wozzeck is too aware of what is going Kurt Böhme (bs), First Apprentice; aberrations, this is a superior perform- on, too alive to the ironies of his situ- Chorus and Orchestra of the Deutsche ance, and first -rate recording, of both ation, too much an activist. Part of it, Oper (Berlin), Karl Böhm, cond. works. perhaps, is the voice itself -it is too DEUTSCHE GRAMMOPHON LPM 18991/ Pablo Casals must be the best -known beautiful and colorful, and though the 92. Two LP. $11.58. and most admired musician in the world singer does a great deal towards making DEUTSCHE GRAMMOPHON SLPM today. Nothing can detract from his his delivery as straightforward as it 138991/92. Two SD. $ 11.58. heroic stature as a fighter for freedom,

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 111

Classic,

BACH: Air With 30 Variations, in G, S. 988 ( "Goldberg Variations ") Peter Serkin, piano. RCA VICTOR LM 2851. LP. $4.79. RCA VICTOR LSC 2851. SD. $5.79.

Casals: passionato octogenarian. Karajan: smooth as silk. Martin Galling, harpsichord. TURNABOUT TV 4015. LP. $2.50. TURNABOUT TV 34015S. SD. $2.50.

To make your solo recording debut at The Brandenburgs- the age of eighteen with the Goldberg Variations is a courageous act that prompts respect and that should preclude "So Musical a Discourse" any patronizing critical indulgence. There is a story that when Rudolf Serk- in made one of his first appearances by Nathan Broder with orchestra and was prevailed on to give an encore, he played the variations complete; and now here is his son recording them. and for half a century he has been the No. 5 on a piano, and Alexander The first thing to be said is that Peter emperor of all cellists. But no one can Schneider, as solo violin in No. 4. Mod- Serkin is clearly a musician of stature. be supreme in everything, and I am ern instruments are used. The continuo The second is that this performance afraid that the conducting of Bach is is played on a piano by Serkin in Nos. l does not really succeed. It is full of not one of Casals' great gifts. Some of and 4 and on a harpsichord (which is felicitous touches, it is beautifully exe- his recordings from the Prades Festivals often inaudible) by his son Peter in Nos. cuted in terms of piano tone, and it revealed certain idiosyncrasies; in the 2, 3, and 6. Except for the faintness of has moments. such as the wonderful present set they seem more marked than the harpsichord and the roughness in the 25th variation in G minor. when a bold ever. The most obvious one is his tend- first movement of No. 2, the sound is choice of tempo and an ency to play a rising figure crescendo very good. imaginative conception prove entirely convincing. But and a descending one diminuendo. His As a bonus, Columbia includes with the felicities are obtrusive. Mr. Serkin phrasing is curious in other respects, the set a third disc containing excerpts has thought deeply about the music, but too. The beginning of the finale of No. from the rehearsals this for recording. his thinking is too apparent, and spon- 5, for example, is written as a sixteenth, This is remarkable testimony to the vi- taneity flies out of the window. There a dotted eighth, and a sixteenth but is tality and patience of a man just short are far too many "expressive" bulges in usually played as a triplet eighth, ninety. It and of shows the great pains he the line, far too many mannerisms. like then a full triplet. This conforms with takes to get precisely the articulation the contrived holding -back on the first what is believed to be general practice he wants. Regardless of how distorted note of the penultimate measure of the in Bach's time and certainly makes a the result may be, one cannot help ad- Aria and the fussy accentuation in the smooth beginning for the giguelike miring the spirit of this octogenarian fugal 10th variation. But in total, with theme in triplets. Casals not only artist who doesn't admonishes his men to play all these irritations. this is responsible lengthen the sixteenths; he shortens them Bach "passionato ... not one note cold." music making. and I to thirty- am sure that this seconds, accents the dotted artist will go eighth, on to do great things. and makes a little rest after it. In comparison with Peter Serkin, The result is Mar- a jerkiness that breaks the BACH: Brandenburg Concertos, S. tin Galling is venerable: he was flow of music whenever born in the figure ap- 1046 -1051; Suites for Orchestra: 1935. My previous acquaintance with pears. There his are other questionable No. 2, in B minor, S. 1067; No. 3, work has been limited to several excel- aspects of this performance. There is, in D, S. 1068 lent pieces of continuo for -playing in Bach example, the hurried, breathless recordings conducted by Marcel tempo Cour- of the first movement of No. 4 Berlin Philharmonic Orchestra, Herbert aud. I find his performance (the players on the here are not always precisely von Karajan, cond. present disc technically competent, styl- together); the similarly breakneck speed DEUTSCHE GRAMMOPHON I.PM 18976 istically unobjectionable -and so dull of the first movement of No. 2, which is /78. Three LP. $ 17.37. that I can't imagine myself ever wanting a coarse- sounding scramble; the Rossin- DEUTSCHE GRAMMOPHON SLPM to listen to it again. Paradoxically, the ian crescendos to fortissimo in No. 3, 138976/78. Three SD. $17.37. variations are far less sharply perhaps char- the richest, most poetic of all acterized here, with all the resources of the Brandenburgs and the least in need BACH: Brandenburg Concertos, S. the harpsichord, than they are by tonal of any such artificial stimulation. There 1046 -1051 variety and purposeful phrasing in Mr. are also some very beautiful things, in- Serkin's piano performance. cluding such entire movements as the Marlboro Festival Orchestra, Pablo In my opinion the Goldberg Variations slow sections of Nos. 2, 5 (especially 1. Casals. cond. really need the resources of a two -man- and 6. The solo playing throughout is COLUMBIA M2L 331, Three LP. $9.58. ual instrument, and I would put at the magnificent, especially that of Rudolf COLUMBIA M2S 731. Three SD. head of the recorded versions either the Serkin, who plays the clavier part of $11.58. Landowska set (RCA Victor) or that

DECEMBER 1965 77

www.americanradiohistory.com matter of what by George Malcolm (Oiseau- Lyre). troduced by the horns, is given its full one. There is also the (Kirkpatrick is stylish and often beau- grandeur by Werner and his able forces. is behind the notes. and in this respect tiful, but over -all his reading lacks Krebs again does well with his aria, Galling is less satisfactory. The rhythm strength.) Landowska is irritating in her though in passages where he is supported of a piece is seldom departed from by inconsistency with repeats-she throws in only by the continuo, the harpsichord more than a hairsbreadth. Everything- an odd one here and there -and once or cannot be heard. Kelch is in excellent dances, preludes, fugues -is played in twice her rubato obscures the structure form, singing his recitative and aria with an utterly straightforward fashion, with of the music, but for the most part her attractive, well -focused tone and mu- little give or nuance. This is an approach performance combines rare artistry with sicianly phrasing. From the standpoints that suits some of the fugues, but leaves irresistible human warmth. Malcolm is of both performance and recording this the more improvisatory preludes sound- on a less exalted plain, but he uses his supersedes the Lyrichord set, the only ing dull. In the French Suites each sec- lovely Goff instrument with imagination other one domestically available. N.B. tion is repeated exactly, and in some of and enormous technical skill, and his the dances, while the tempos remain recording has the great advantage of convincing, the rhythm is metronomic. being the only one complete with re- BACH: Keyboard Music, Vols. 1 and This regularity of rhythm is even more peats. This makes his edition twice as 2 pervasive in the Partitas. Sometimes it long and twice as expensive (it is, of does no harm, as in the Sixth Partita, course, a two -disc album), but to my Martin Galling, harpsichord. which comes off best. In the Toccata mind the gain in musical sense is de- Vox VBX 434/35. Six LP. $9.95 of this suite. for example, the drama cisive. (And anyway, if you like the each three -disc set. is built in. and all the performer music, why shouldn't you want to listen Vox SVBX 5434/35. Six SD. $9.95 has to do is play the right notes and to it for an hour and a half ?) each three -disc set. keep the piece going. But when nuance If you want a piano version, princi- is called for. it is not forthcoming here, pal competition comes from Glenn The first volume of a series of seven and the mechanical accuracy of the Gould. and I think Serkin wins. Gould that will contain all of Bach's clavier playing renders such movements as the is brilliant and often profound, but most music offers the French Suites and a Menuetto of No. 1 and the Sarabande of his tempos are far too fast. B.J. number of miscellaneous preludes and of No. 2 deadly. Most of the dance sec- fugues. In Vol. 2 are the six Partitas tions are repeated. as is proper. but and several shorter pieces. Galling shows with no change whatever. Mr. Galling BACH: Brandenburg Concertos, S. an easy command over his instrument. accomplishes the remarkable feat of 1046 -1051; Suites for Orchestra: There is nothing here that appears to making even the romantic C minor Fan- No. 2, in B minor, S. 1067; No. 3, present any technical problems to him. tasy, S. 906. sound monotonous. What is in D, S. 1068 Moreover, he has a knack of hitting lacking. in short, is imagination, fan- upon a tempo for each piece that seems tasy -which we now know, thanks to Berlin Philharmonic Orchestra, Herbert entirely right. The pace chosen not only such artists as Landowska and Kirk- von Karajan, cond. suits the character of the piece but also patrick, is just as vital in playing Bach often keeps the music moving along as in any other type of music. N.B. BACH: Brandenburg Concertos, S. in a connected, shapely discourse. 1046 -1051 This is, of course, one of the main problems in Bach, but it is not the only BACH: Motets (5) Marlboro Festival Orchestra, Pablo Casals, cond. Chorus of St. Hedwig's Cathedral (Ber- lin), Karl Forster, NEXT MONTH IN cond. For a feature review of these recordings, 1 MACE M 9016. LP. $2.49. see page 76. MACE SM 9016. SD. $2.49. BACH: Motets (3) BACH: Cantatas: No. 6, Bleib' bei high fideli uns; No. 65, Sie werden aus Saba Norddeutscher Singkreis. Gottfried Wol- alle kommen ters. cond. Michelangeli and the Machine NONESUCH H 1060. LP. $2.50. NONESUCH H 71060. SD. $2.50. Ingeborg Reichelt, soprano; Hertha Introducing a celebrated nipper, contralto; Helmut Krebs, tenor; European pianist Franz The chorus heard on the Mace disc is Kelch, bass; Heinrich Schütz who regards his instrument Chorale of Heilbronn; Pforzheim Cham- very efficient: everyone, man and boy, ber Orchestra, Fritz Werner, cond. as a racing driver regards his I sings in tune and follows the conductor MUSICAL HERITAGE SOCIETY MHS 653. by Roy McMullen with precision. Forster leans towards fast LP. $2.50. tempos. This works out well in some sections, not so well in others. Thus the MUSICAL HERITAGE SOCIETY MHS A Survey Of 653. SD. $2.50. beginning of Jesu. meine Freude seems Solid -State Stereo Receivers a little too businesslike. but later on in In the opening movement of No. 6, Bach by Robert Angus the same work "Gute Nacht" is not builds out of a single sentence one of dragged or sentimentalized, as it sometimes is. The difficult first section of his great choruses, a moving and beauti- The Posthumous Care con- Singet dens Herrn is sung accurately, ful supplication. The Cantata also Of J. S. Bach tains two fine arias, one for alto with but this marvelous ululation needs more obbligato oboe da caccia and one for To Johann Sebastian we owe dash, more bravura. I have not heard a motet tenor with extremely expressive counter - not only a legacy of masterpiec more exciting performance of this melody in the violins. Miss Töpper's but our common musical language. than Hindemith's. still available on an Overtone disc. The chorus seems large pitches, unfortunately, are often only by Leonard Marcus approximate, but Krebs is his usual capa- for the eight -part pieces. Forster uses but the ble self. Miss Reichelt has only an un- solo voices in a few passages. writing are adorned chorale to sing. The old Re- The Unfashionable Generation tuttis in this complicated part- are not helped by naissance recording, now cut out, had The case for rather thick. Matters setup; there is not much di- alto singing, but in every other -wars the stereo better some between composers works for double is a superior performance rectionality, and the respect this who turned away from that way on the and recording. chorus are not divided the prevailing vogues of their time. No texts are supplied. In No. 65 it is again the opening cho- sound tracks. disc offers only three rus that reveals the great Bach. This by Peter 1. Pine The Nonesuch Jesu, komm (which is magnificent procession, majestically in- motets -Komm,

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www.americanradiohistory.com not included in the Mace set), Der Geist BARTOK: The Wooden Prince hilft unsrer Schwachheit auf, and Jesu, meine Freude -but they are beautifully London Symphony Orchestra, Antal done. Wolters has women for the treble Dorati, cond. parts. and while boys may be more au- MERCURY MG 50426. LP. $4.79. thentic from the historical point of view. MERCURY SR 90426. SD. $5.79. I'll take the color of women's voices any time. Konn, Jesu, komm, with its gar- This ballet. dating from 1917, was Bar - lands of intertwined melody. is sung tók's first large -scale success. Based with tenderness. All three motets are on a scenario by Béla Balász (who also accompanied by a couple of low strings did the libretto for Bluebeard) it tells and an organ: this definitely adds to the a fairy tale for grownups of a Prince security of the singers' intonation. The whose wooing of a Princess is be- continuo is maintained a little too dogged- set with difficulties conjured up by a ly -there are moments when the effec- spirit first malignant and later benign. tiveness of the music would he enhanced The score represents Bartók in a if the instruments were silent -but this period of transition. The orchestration is a small blemish. In general. Wolters has much of the shimmer and the myriad keeps everything moving with a kind of colors of his later scores, although the watchful relaxedness: there is no tense- French influence is quite pronounced ness, but nothing drags either. Very good and not completely assimilated. As a sound. with clear separation in the works listening experience. however. the prin- I for double chorus. German texts and cipal lack is of strong melodic profile. -{ English translations are provided. N.B. Much of the music seems sketchy and lacking in direction, even in compari- BERLIOZ: _. son with the composer's other scores of REQUIEM .: BACH: The Passion According to St. the period. PHILADELPHIA Mark, S. 247 Dorati and his orchestra give an ex- ORCHESTRA cellent account of the score's strong EUGENE Helen Erwin. soprano: Emmy Lisken, point, its fantastic range of sound. ORMANDY contralto: Georg leiden. tenor: Members Minor Bartók though it may be. The r1! TEMPLE Wooden Prince is still worth UNIVERSITY CHOWS of Stuttgart Madrigal Choir: Pforzheim investigat- POMMY ! P.M. uACTdI ing as a way station in the develop- =AM VALLETTI, Chamber Orchestra. Wolfgang Gönnen - 111011 wein, cond. ment of a magnificent composer. A.R. EPIC LC 3906. LP. $4.79. EPIC BC 1306. SD. $5.79. BEETHOVEN: Bagatelles, Op. 126; 15 Variations with M2L 330/ M2S 730' (A 2Record Set) / Last year Lyrichord offered us a setting Fugue on Eroica Theme, M2Q 759+ of the Passion According to St. Luke Op. 35 attributed to Bach but very likely by Joerg Demus, piano. someone else. The present disc repre- WESTMINSTER XWN 19066. LP. $4.79 sents a different type of problem: that WESTMINSTER WST locating missing compositions by Bach. 17066. SD. of $4.79. The text of this Si. Mark Passion has Dvoíák survived. but no music. Since it is E This is easily the best playing well known that Bach often adapted to that I have THE SLAVONIC DANCES yet heard from Demus. He gives the tax- Carnival Ove-ture new texts music written for a different ing Eroica variations 311 occasion, scholars have hunted among a superbly judged George Sz reading, full of eloquence impetuous The Cleveland Orchestra his works for music that would fit the and detail, and clarifies the more introspective text of this Passion. known to have been r later writing of the six great performed at Leipzig in 1731. The pres- Op. 126 Bagatelles ent disc contains twelve numbers that with consummate poise and faultless dexterity. have been arrived at in this manner (it All considered, the pianist's interpretations here can be does not include a chorus later used in placed alongside the Christmas Oratorio). Five of them those of the old masters Schnabel and -two big choruses and an aria each for Kempff. Moreover, the pi- soprano, alto. and tenor -come from ano sound is magnificent, both in mono the Traterode (Cantata I98). Another and in stereo. H.G. alto aria comes from Cantata 54. Then M2L 326/ M2S 726* (A 2- Record Set) there are five chorales. including the music of O Haupt roll Blut and Wundea, familiar from the St. Matthew Passion. Much of this music- especially the two choruses -is of very high quality and all of it seems to suit the new text well enough in singability as well as in mood. The result. while not presenting any hitherto unknown music. may very well he regarded as a small portion (twelve out of 132) of a Bach Passion heretofore unrepresented on records. Of the soloists Miss Erwin sings with skill and attractive tone. and Miss Lisken and Georg Jelden deal with their arias ably. Gönnenwein's reading is not always as effective as it could be: the great choruses from the Trauerode are considerably more impressive in Scherchen's recording. Good sound. N.B. Demus: alongside the old musters.

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www.americanradiohistory.com BEETHOVEN: Quartets for Strings thoroughly admirable, with fine spacious- to, in particular, emerges in a decidedly ness, great clarity, and excellent balance. languid fashion. On the other hand, No. 1, in F, Op. 18, No. 1; No. 9, in C, In striking contrast to the Weller's Moto perpetuo sections such as the final Op. 59, No. 3 ( "Rasumovsky"). readings are those of the Juilliard. With fugue apparently give the players less their militaristic precision and thoroughly time to ruminate, and are thus tossed Barchet Quartet. direct tonal quality, these performers off with breath -taking control and knife - VICTOR RCA LM 2832. LP. $4.79. are as un- Viennese as could be imagined. edged brilliance. A similarly driven ac- RCA VICTOR LSC 2832. SD. $5.79. Their best work is done in Op. 74 and, count of this third Rasumovsky (minus particularly. in Op. 59, No. 2, where the lily -gilding showiness) may be had No. 7, in F, Op. 59, No. 1 ("Rasumov- they are content. for the most part, to in the superb performance by the sky"); No. 8, in E minor, Op. 59, No. 2 permit the music to speak for itself. The lamented New Music Quartet on an old ("Rasumovsky"); No. 9, in C, Op. 59, Juilliard Harp lacks the tenderness (and Bartok Society record, while adherents No. 3 ("Rasumovsky"); No. 10, in E also the first -movement repeat) heard in of the more expansive conventional view flat, Op. 74 ("Harfen"). the Weller exposition, but compensates need look no further than to the fine with its expertise and sheer self- assured- stereo Columbia disc by the Budapest. Juilliard Quartet. ness. It is a worthy competitor of the Epic's reproduction is, on the whole, EPIC SC 6052. Three LP. $14.37. Weller edition-and certainly much to very suave and spacious -presumably EPIC BSC 152. Three SD. $17.37. be preferred to the stolid Amadeus read- there was little the engineers could do ing (DGG) or to the current, relatively to remedy the thin, acerbic, bloodless No. 10, in E flat, Op. 74 ( "Harfen "); lackluster Budapest (shorn of repeats sound which passes for the first violin No. 11, in F minor, Op. 95 ( "Serioso "). yet inexplicably spread over an entire line. twelve-inch Columbia disc). The Juil- The Barchet set offers the identical Weller Quartet. liard's E minor Rasumovsky is hand- coupling as that of the excellent Lenox LONDON CM 9431. LP. $4.79. somely played too, opening with a slash- Quartet disc issued on the cut -rate Dover LONDON CS 6431. SD. $5.79. ing nervous tension and sustaining taut- label. and its release at RCA's standard ness throughout (as the latest Budapest prices is rather curious (it originally One would be hard put to find three reading, with a similar approach, quite appeared in Europe in the Oriole -Euro- groups more divergent in style than fails to do). This version also makes disc bargain series). Purely as instru- those represented on the discs here under the work sound "big," simply by observ- mentalists, the Barchets, I'm afraid, are review. The Weller performances could ing the all- important repeats of the not much above middle- routine student aptly be classified as "Neuw ieneri.sch." first -movement exposition and third - level: sour intonation, inept bowing, Along with some recent perform- movement da capo. A long line is limited articulation, and coarse texture ances of chamber music by members of maintained throughout the poignant in general characterize their work the Vienna Octet and the newly recon- Adagio molto, while the third movement here. Where the going is relatively easy, stituted Vienna Philharmonic Quartet, is delightfully crisp and supple in ex- the Stuttgart ensemble can manage the Weller's readings attempt to combine ecution. I also like the sea -shanty effect some good things -for example, in the the Gemiitlichkeit of old Viennese tradi- which the Juilliard's sprightly timing and wonderful slow movement of Op. 18, tion with the more objective hard - clipped efficiency produce in the Finale. No. I, which for once has a true adagio hitting approach heard in most other In sum, this Op. 59, No. 2 is an ex- quality -but on the whole they are parts of the world. The results are al- ceedingly fine presentation. exceeded in simply not up to the competition. They ways interesting if not completely con- my affection only by the Jangek read- have been accorded close -up, well -bal- vincing; while much of the emotional ing for Westminster (monumental and anced sound (with more cello in the spontaneity of the instinctive Viennese searching) and by the memorable pre- monophonic pressing). H.G. manner has been quelled, the hallowed war Budapest set. Viennese failings -sentimentality and The two remaining Juilliard perform- lack of incisiveness -are still very much ances exhibit some of the ensemble's BEETHOVEN: Serenades: for in evidence. The performance less admirable String of the aspects. Most of the Trio, in D, Op. 8; for Flute, Violin, Op. 74 is the more successful of the two trouble, I suspect, derives from this and Viola, in D, Op. 25 included on the London disc: it is. in foursome's desire to be a little different fact, arguably the best stereo edition now in their approach to Beethoven. Fre- Jean -Pierre Rampal, available. Its tempos are well chosen quently, they substitute theatricality for flute (in Op. 25); Michel Tournus, cello (in Op. 8); (although the pyrotechnics of the scherzo drama, brashness for fervor. Nor can Gerard Jarry, violin; Serge Collet, viola. tax the players), and there is much in they always convincingly negotiate those DECCA DL 10116. LP. $4.79. the way of coloristic lyricism to be tricky tempo modifications so necessary DECCA DL 710116. heard. In one or two places the first if the true significance of contrasting SD. $5.79. violinist's heart -on- sleeve manner of in- sections and episodes is to be realized. flection comes dangerously close to in- In Op. 59. No. 1, for example, the very If you are seeking an accessible introduc- strumental crooning; but as the Harp opening sounds curiously noncommittal, tion to Beethoven's chamber music, the Quartet is not, by Beethovenian stand- while the Budapest -at practically the present disc ought to prove ideal. The ards, of great emotional substance, I same fast tempo -seems thoroughly elo- unusual divertimento structure of the find this sentimentalizing only mildly quent and at ease with the music. After Op. 8 captures attention with its lively inimical. The brusque, angry, and settling down to a more comfortable opening march (a sort of predecessor to desperately anguished music of the expansiveness for the lyrical secondary the great one in the monumental Op. 132 Serioso demands far more emotional material, the Juilliard then summarily String Quartet) and holds it fast through- subtlety and restraint than the Weller resumes a dryly inexpressive approach. out the subsequent sections. As for the group is able to provide. The onslaught This arbitrary fluctuation between what Flute Serenade, an unusual instrumenta- of the opening movement sounds ele- one presumes is instinctive feeling and tion transforms austerity into perpetual phantine, with all sorts of tenutos and analytical cerebration makes for a dis- delight, and that delight is immeasurably rubato mannerisms which would be far jointed. unsettled reading of the entire heightened by the pliant, witty, masterly more appropriate to the Brahms- quartet (although in the heavenly slow writing. Schumann literature. As for the scherzo movement the feeling almost wins out). The present readings, happily, uphold movement, the Weller's heavily "inter- The gracious. elaborately decorative writ- a long tradition of first -rate recorded per- pretative" reading would be excessive ing of the second and third movements formances for these scores. Rampal's even in Tchaikovsky. This ripely senti- of Op. 59. No. 3 also proves a problem artistry goes without saying at this late mental, grandiosely romantic exposition for the Juilliard foursome. Here they date, but the exquisite work of his less of Op. 95 is, in my opinion, dead wrong. sound thoroughly out of their element. well -known colleagues deserves explicit I should make it clear that my objec- with awkward ritenutos at the ends of praise. Their playing of the Op. 8 String tions are to this approach per se and phrases, arbitrary dynamic gradations, Trio is more closely akin to the Pougnet/ not to the over -all caliber of the ensem- and contrived Luftpausen before many Riddle /Pini ideal than to those of Hei- ble's playing. London's engineering is forte -pianos. The lovely, flowing minuet- fetz /Primrose /Piatigorsky or Goldberg/

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www.americanradiohistory.com Hindemith /Feuermann. Composure, ele- CAMPRA: Psalms: 129 (130), De pro- gant ensemble tone, and classical finesse fundis; 46 (47), Omnes gentes of line take precedence over vehemence, steely showmanship, or romantic extro- Soloists; Philippe Caillard and Stéphane version. By this statement I mean not to Caillat Choirs; Jean- Francois Paillard imply any lack of robust humor or emo- Orchestra. Louis Frémaux, cond. tional warmth in the present rendition MUSICAL HERITAGE SOCIETY MHS 613. but to associate it with the finest Franco - LP. $2.50. British tradition of ensemble work rather MUSICAL HERITAGE SOCIETY MHS than with the Russo -American or Teu- 613. SD. $2.50. tonic approach. The engineering (originally by Pathé- The same conductor Marconi) has faultless balance and choral and in- and defi- strumental forces nition. Stereo and monophonic pressings that gave us André Camprá s Requiem sound equally realistic and agreeable. and Te Deum (both but issued here by Westminster) treble should be reduced a bit for even now put us further in their greater warmth. H.G. debt with these two Psalms. For Campra, though he does not belong on the exalted level of his younger contemporaries Bach and Han- BERG: Wozzeck del, wrote music of a grandeur and expressiveness that still create a deep im- Evelyn Lear, Gerhard Stolze, Fritz Wun- pression. Each Psalm is composed as derlich, Dietrich Fischer -Dieskau, et al.; a kind of cantata. The solo writing has Chorus and Orchestra of the Deutsche an Italian cantability, the choral writing Oper (Berlin), Karl Böhm, cond. is rich and effective. Psalm 129 begins with a poignant bass Composer- conductor Morton Gould. For a feature review of this recording, solo. From the second movement on, the see page 75. mood grows optimistic, in keeping with the text, and the final chorus, when it reaches "Et lux perpetua," is full of joy. yard impact. This is the France not of BIBER: Sonata for Strings, No. 1, in Psalm 46 is set to brilliant, jubilant Debussy's scudding clouds nor of Ber - B minor, from "Fidicinium sacro- music; it includes a noble trio for basses lioz's Gothic frenzy but of café concerts, profanu,n" - See Haydn, Michael: and a soprano solo with a beautiful mid- street -corner urinals, and 1910 architec- Turkish March. dle section. Helmut Krebs turns coun- tural opulence gone to seed. Some of the tertenor for this occasion. He ought to music has infectious humor, à la Satie, go right back to being a tenor again; but in most of it the intent to amuse is BOCCHERINI: Concerto for Cello here his voice has an unattractive, metal- submerged by gaudy instrumentation, and Orchestra, in B flat -See lic sound. Denise Monteil, who sings a obvious effects. Ansermet and his men do Haydn: Concerto for Cello and Or- movement in each work, does them very their best, performing with clarity. The chestra, in D. nicely; she is aided by resonant record- trombonists, in particular, have a field ing. Xavier Depraz sings the bass solo day. R.L. in No. 129 with feeling. Frémaux paces BRAHMS: Quartets for Strings, everything in lively fashion, and there is Op. effective separation in the stereo. Latin 51: No. 1, in C minor; No. 2, in A COPLAND: Dance Symphony minor texts and English translations are pro- (Gould: Spirituals for Orchestra vided. N.B. Weller Quartet. Chicago Symphony Orchestra, Morton Gould, cond. LONDON CM 9431. LP. $4.79. CHABRIER: España; Suite pastorale: RCA VICTOR LM 2850. LP. $4.79. LONDON CS 6431. SD. $5.79. Joyeuse marche; Le Roi malgré lui: RCA VICTOR LSC 2850. SD. $5.79. Danse Slave; Fête Polonaise These quartets are already splendidly Copland's Dance Symphony dates from represented in stereo by the Amadeus Orchestre de la Suisse Romande, Ernest 1929, and is a reworking of material Quartet (DGG) and by the Fine Arts Ansermet, cond. from an even earlier score, the ballet (ConcertDisc). There is nothing wrong LONDON CM 9438. LP. $4.79. Grohg of 1922 -24. Its present form was with the present coupling, however. The LONDON CS 6438. SD. $5.79. created for a recording prize offered by Wellers are earnest, musicianly, and very Victor; the prize materialized, but the Viennese in their outlook. Some of the I used to meditate on the most effective recording has taken another thirty -six tempos (the finale of the A minor, for way of torturing war criminals and de- years to bring about. And high time, instance) are a bit slower than usual, cided it might best be done by drilling for this is a brilliant work, the neglect with rugged rhythm supplying the fire their teeth to the roots. For lesser foes of which in the concert hall is puzzling, lost in sheer bravura. Ludwig Beinl, the of society I should propose compulsory to say the least. It is recognizably Cop- cellist of the ensemble, has a curiously attendance at an all -Chabrier program. land all the way, even to a distinct pallid sound, but the other players are España, of course, has its points; and it foreshadowing near the beginning of a more forthright. (If they too are rather is here led by Ansermet with cool bril- passage from Appalachian Spring. Bright- oversweet and underintense in their liance instead of warm glow, a linear ly scored, vital, and resourceful (includ- phrasing. at least they are using sugar rather than coloristic flair . all goes ing some adventures with polytonality), rather than saccharine!) well, with the bassoon sonorities (always it is clearly worth reviving. This is its The Amadeus gives very similar per- difficult of projection in a concert hall) second recording, the first (on CRI, by formances to those of the Wellers, albeit picked up deftly by the microphones and Watanabe and the Japan Philharmonic) with a bit more tonal finish and sweeping the trombone glissandos played impec- being intelligent but poor in sound. assurance. But it is the sinewy, muscular, cably. The rest of the program, however. Gould's performance is extremely fine, and rather analytical Fine Arts version is an irretrievable loss. Whatever Fauré- and the orchestral execution is equally which best emphasizes Brahms's classical like charm might be inherent in portions superb. The other side of the disc, given containment and intellectual strength. of the Suite pastorale is dissipated by the over to one of the composer- conductor's Theirs is the rendition that most corre- work's enormous length and common- most attractive large -scale scores (which sponds to my own preferences. London's place material; while the Joyeuse marche has made better headway in concerts sound, like that on the two rival discs, and both excerpts from the comic opera than the Copland), is also played with is excellent. H.G. Le Roi malgré lui thrive on brassy boule- verve. A.R.

84 HIGH 'TY MAGAZINE

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CIRCLE 7 ON READER -SERVICE CARD DECEMBER 1965 85

www.americanradiohistory.com DEBUSSY: La Mer; Prélude à slickness) in some l'après- of the Fine Art's body (she is not a thin, gargly sort of midi d'un faune phrasing, and also to an overdone ritard coloratura) has the trace of tRavel: Daphnis acidulous - et Chloë: Suite No. 2 or two (e.g., in the last movement of the ness that comes to some Italian singers Ravel, six bars after letter M to letter N with very forward, high placements; Chorus of the Schola Cantorum (in the in the International score which the com- some listeners may find it unbeautiful, Ravel); New York Philharmonic, poser indicated should be "à tempo" but I think it is exactly the quality a Leonard Bernstein, cond. until just before letter N). In the main, Norma should have. Beyond this, she COLUMBIA ML 6154. LP. $4.79. though, the cleanliness and unanimity handles it with dash and freedom -the COLUMBIA MS 6754. SD. $5.79. shown by the Fine Arts team more than coloratura is always acceptable and some- offset the momentary calculated section - times brilliant, the tone in sustained pas- Although the present Bernstein program alizations. Furthermore, the recorded sages pliant and secure. She is especially is selection for selection identical with sound is both spacious enough to avoid fine in the Act III scene with Pasquale the same company's release just over the uncomfortable closeness of Vox's ( "Signorina, in tanta fretta," etc.), where six years ago of an Ormandy /Philadel- Loewenguth coupling and compact all those top -to- bottom runs are really phia disc, competition between the two enough to prevent the overblown effect beautifully done, and the recitative has a sets is minimal, since the conductors' marring the otherwise satisfactory Stuy- pointed, vixenish quality of the sort that readings are distinctively different. vesant pairing (originally Philharmonia, even good non -Italian sopranos always Bernstein's characteristically impas- now Nonesuch). seem to overshoot. sioned performances of the Ravel Suite It should be added that the excellent The Pasquale, Mariotti, is less im- and Debussy Prelude are already well violist in the present performances is pressive-a solid, secure bass but a known to record collectors, the former Irving Ilmer, not Gerald Stanick as spec- somewhat throaty one, with a weak bot- in his complete Daphnis et Chloë of ified on the record sleeve. Though the tom. The characterization is correct with- 1961, the latter as part of a 1961 all - disc is being released only now, it was out being at all inimitable or lovable, Debussy program and, more recently, taped several years ago, before the quar- or ever really funny. Competent and well - as part the miscellany of "Leonard Bern- tet's personnel changed. H.G. routined are the appropriate terms. Ugo stein Conducts for Young People." His Benelli is not in the form he showed on La Mer appears here for the first time, the London Barbiere or, more particu- but its technical qualities are much the DONIZETTI: Don Pasquale larly, in the Cenerentola. His slim lyric same: extremely robust, seemingly quite tenor is attractive only so long as he closely miked stereo sonics, particularly Anna Maccianti (s). Norma; Ugo Be- does not push with it, and too much of notable the for glitteringly vivid presence nelli (t), Ernesto; Mario Basiola (b), his singing here is rammed at us in an of the -surely somewhat spotlighted - Dr. Malatesta: Alfredo Mariotti (bs), unpleasantly strained way; he is obvious- percussion instruments. (I haven't yet Don Pasquale; Chorus and Orchestra of ly giving his all, for example, in the heard the mono edition.) Inasmuch as the Maggio Musicale Fiorentino, Ettore climaxes of "Sogno soave e casto" (pp. La Mer is a work that lends itself to an Gracis, cond. 30-31 of the Ricordi vocal score). We extraordinarily wide variety of interpreta- DEUTSCHE GRAMMOPHON LPM 18971/ must grant that the role's tessitura is not tive approaches, Bernstein's somewhat 72. Two LP. $11.58. easy, and that there are surely some grimly earnest, fiercely dramatic one is DEUTSCHE GRAMMOPHON SLPM fine moments when Benelli is not press- by no means unjustified. It is not at all 138971/72. Two LP. $11.58. ing- " Tornami a dir the m'ami" is "impressionistic" in either this vigorous lovely, with an excellent top C sharp. reading or the penetratingly detailed re- It is rather unusual nowadays to find a Mario Basiola, son of one of the most cording, and there are surely architectural major company releasing an opera set prominent baritones of the 1920s and grandeurs and profundities of eloquence with no big -sell international names in '30s, makes a better impression here which Bernstein has yet to encompass. the cast list; both Anna Maccianti and than on the Angel Bohème, revealing Nevertheless, his version is an immensely Alfredo Mariotti, in fact, are completely himself as a gifted character baritone vital one. R.D.D. unknown quantities to most American who can be counted on to bring life listeners, and none of the others is going and understanding to his scenes. A to bring the riot force to your friendly really first -rate Malatesta, though, will DEBUSSY: Quartet for Strings, in G neighborhood record outlet. Nonetheless, add some sunny, smooth vocalizing to minor, Op. IO this is a perfectly presentable Pasqua /e. the characterization, and Basiola's bari- tRavel: Quartet for Strings, in F While the singing is only occasionally tone, at least as presently produced, sim- much above competence, it is never less ply is not beautiful, except at very low Fine Arts Quartet. than that, and Ettore Gracis proves to dynamics-it has a woolly, hot -potato CONCERTDISC M 1253. LP. $4.98. be an admirable conductor of this mu- sort of focus. He "does" it well, as they CONCERTDISC CS 253. SD. $4.98. sic -the performance has plenty of idio- say, and fits into the ensembles nicely. matic life and spirit without becoming The orchestra, not a brilliant virtuoso Performances of these works are ex- knockabout or provincial. ensemble, nevertheless plays more than tremely difficult to evaluate. As with Among the singers, the most positive acceptably, and I am quite favorably im- much so-called impressionistic literature, impression is made by Miss Maccianti, pressed by Gracis' cantante feeling for some of the seemingly most convincing an artist new to me. Her voice, basically the music, his sensible selection of tem- interpretations summarily shed their of a fresh, bright quality and some pos, and his sense of ensemble balance. magic when one consults the score. Con- Once in a while he allows a recitative versely, because so much of the music to go a bit dead, but I have no other depends for its communication upon the serious strictures to make. The chorus evocation of atmosphere and on tonal sings extremely well, and the sound is beauty per se, a performance well -nigh fine. "perfect" from the textual standpoint can This version embraces all the "stand- fail utterly in capturing a listener's fancy. ard" cuts. I think this is too bad, espe- The new Fine Arts edition stands up cially with respect to the Act II finale very well, both from the point of view and Ernesto's serenade -as I noted in of sheer music making and of an accu- reviewing London's genuinely complete rate rendition of the scores. The group version, most of the omitted music is gives strong, forthright, polished readings usable ore, not slag. London certainly has midway between the warmly subjective the superior Pasquale (Corena), but (too warmly in the case of the Ravel) DGG has the better Norina, and the Budapest statements and the tautly purist other roles are mostly a matter of taste. Juilliard -Paganini versions. I would take C.L.O. occasional exception to a slight matter - of-factness (as opposed to the Juilliard's Continued on page 92

86 CIRCLE 26 ON READER -SERVICE

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www.americanradiohistory.com RECORDS IN REVIEW Quartet in B flat shows the composer shortest of Haydn's three -note phrases, still under the influence of Wagner -an and who, at the same time, holds him- Continued from page 86 influence manifested here mainly in the self a bit more in reserve than Pierre work's prolixity: despite the heavy cuts Fournier, for instance. One thing Navar- DVORAK: Chamber Works in the present performance, it takes 33 ra lacks is Fournier's wonderfully palat- minutes and 29 seconds to play. Not- able tone on the high registers; the thin - Quintet for Strings, in G, Op. 18; Quin- withstanding its derivative nature and air acrobatics of the Haydn first move- tet for Piano and Strings, in A, Op. 81; structural gaucheries, however, the B ment seem to catch Navarra under a cer- Quartet for Strings, in B flat, Op. postes.; flat Quartet is obviously the product of tain stress here. And I can't forget the Twelve Cypresses for String Quartet, Op. an incipient master. As for the lovely inimitable Gallic something which Four- posth. Cypresses, which Dvoiák reworked from nier puts into the opening figure of the some songs, they can be enjoyed without Boccherini third movement (on DGG György Sandor, piano (in Op. 81); Mur- any reservations whatsoever. SLPM 138816). But Navarra should by ray Grodner, double bass (in Op. 18); The sound is occasionally a bit tubby no means be short -changed on these Berkshire Quartet. in the Double Bass Quintet's opening two performances, and he has excellent co- Vox VBX 51. Three LP. $9.95. movements (it somehow improves later operation in the Salzburg players. (The Vox SVBX 551. Three SD. $9.95. on) and the piano is just a shade too lively, articulate precision of the rising, dominant in the A major Quintet. In the crescendo scale figure of the Boccherini Here is Volume 3 in a projected com- main, though. Vox has provided excellent Adagio, to cite one instance, is a measure plete survey of the Dvoi-ák chamber mu- sonics and quiet surfaces. H.G. of the quality of their support.) None- sic literature. The album is the first such's sound is adequate. S.F. recording made by the Berkshire Quar- tet, a foursome which spends its winters FARBERMAN: Evolution; Impres- teaching at the University of Indiana sions; Progressions HAYDN: Katherinentänze (H. IX:11) and its summers playing at Music Moun- -See Mozart: 12 Deutsche Tänze, tain in Falls Village, Connecticut. Vol- Phyllis Curtin, soprano; Ralph Gom- K. 586. berg, oboe; John Perras, flute; Ralph umes 1 and 2 of the series featured the Kohon Quartet of New York University, Pottle. horn; Boston Chamber Ensemble, and the change of artists is, to judge Harold Farberman, cond. HAYDN, MICHAEL: Turkish March; from the present album, much for the CAMBRIDGE CRM 805. LP. $4.98. Concerto for Trumpet and Orches- better. In place of the nasal, edgy CAMBRIDGE CRS 1805. SD. $5.98. tra, in D; Divertimento in G ( "The sounds produced by the New York Pastoral Wedding ") group, the Berkshire ensemble plays with We are given here three compositions by tMozart, Leopold: Sleigh Ride warm, expansive sonorities and a good Harold Farberman using the percussion tBiber: Sonata for Strings, No. 1, in deal of old -fashioned romantic spirit. ensemble with other instrumentalities. B minor, from "Fidicinium sacro- To be sure, they are hardly more subtle Evolution is a three -movement work em- pro fanum" than the Kohons, but the over -all mu- ploying voice and horn in its second sical feeling is far more sympathetic to chapter. Impressions and Progressions are Adolf Scherbaum. trumpet (in the the music. both in four movements; the first uses Haydn); Camerata Academica (Salz- Two new versions of the popular Piano oboe and strings in addition to the per- burg), Bernhard Paumgartner. cond. In the music be most Quintet are slated for release in the not cussion. all, may MUSICAL HERITAGE SOCIETY MHS 622. charitably described as utterly sterile too far distant future: a Vanguard disc LP. $2.50. and hopeless, but the with Peter Serkin, Alexander Schneider, performances are MUSICAL HERITAGE SOCIETY MHS superb and so is the recording. A.F. Felix Galimir, Michel Tree, and David 622. SD. $2.50. Soyer; and one from RCA Victor with Jacob Lateiner, Jascha Heifetz, Israel This is an agreeable assortment of musi- Spirituals for Orchestra small beer from Salzburg, most of Baker, Joseph de Pasquale, and Gregor GOULD: - cal relatives. The odd man Piatigorsky. In the meantime, I am pre- See Copland: Dance Symphony. it by people's temporally and because he pared to call the Sandor /Berkshire per- out, both have been the father or formance the best available in stereo. doesn't seem to Songs Songs. brother of anyone special, is Heinrich The Vox team delivers here a big, warm- GRIEG: -See Sibelius: (1644 He is best known ly extrovert reading, stronger and more Biber -1704). violin figured exciting in spirit than the rather precious for his sonatas for and bass. which have attracted some attention Curzon /Vienna Philharmonic Quartet HAYDN: Concerto for Cello and Or- lately. Here he is represented by the first edition (London) and more effectively chestra, in D of a collection of sonatas for strings: the paced than the otherwise forthright -IBoccherini: Concerto for Cello and Orchestra, in B flat music has some stimulating turns of Frank Glazer /Fine Arts reading (Con - harmony and rhythm, but I doubt if its certDisc I. If you can still derive satis- interest would survive many hearings. faction from monophonic reproduction, André Navarra, cello; Camerata Aca- demica of the Salzburg Mozarteum. Bern- The three pieces by Joseph Haydn's the beautifully recorded 1953 Curzon/ hard Paumgartner, cond. younger brother that make up one side Budapest Columbia disc offers an ele- of this disc are good Kapell ,eister gant. subtle account this irresistible NONESUCH H 1071. LP. $2.50. of music, no less but no more. Mozart's work. NONESUCH H 71071. SD. $2.50. father. whose important violin manual The Double Bass Quintet receives a was recently reissued in Holland in a reading Haydn and Boccherini, perpetually wed- from the Berkshire ensemble fine facsimile edition, comes off better: that is somewhat ded as far as recording of their cello brisker and more busi- his Sleigh Ride, an early piece of descrip- nesslike than the performance by the concertos are concerned, are both quite handsomely dealt with here. is tive music resembling some of Ditters- Dvorák Quartet and Frantiek Posta Navarra a warm -hearted instrumentalist who dorf's symphonies. is simple -minded but (Supraphon, mono only). While the lat- can put a large measure of love into the tuneful. and it has more character than ter version scores by virtue of a more the present example of Michael Haydn. spacious type of acoustics, the economi- Performances and recording are fair, cal Vox exposition gives one little to though the strings sound a bit thin. But cavil at. I would also be interested in Adolf Scherbaum can hardly have gained hearing a Repeat edition, which reputedly his enormous reputation on playing like uses special electronically treated instru- this: his phrasing is slack, his breathing ments designed to minimize the factor careless. and his tone often painfully of room acoustics in the recording of shrill. The record has its pleasures. but this odd work. they are less positive than its historical Dvoìák's very early (1869) String interest. B.J.

92 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com IVES: Sonatas for Violin and Piano skein. But Ives was always conservative Extensive and excellent notes by Samuel (4) in his use of the violin, always respected Charters make the thing complete. More, its lyric nature, and never experimented please. A.F. Paul Zukofsky, violin; Gilbert Kalish, with its potentialities as, say, Stra- piano. vinsky did in his Story of a Soldier. Con- FOLKWAYS FM 3346/47. Two LP. sequently the Violin Sonatas, while great KODALY: plissa Brevis; Jesus and $5.79 each. and essential Ives, are a little less far the Traders out in style than the Piano Sonatas or Ives's four Violin Sonatas provide a par- the Symphonies. Whikehart Chorale, Lewis F. Whikehart, ticularly persuasive introduction to his It would be difficult to imagine a cond. idiom. The music is full of the complex, finer performance of these pieces than LYRICHORD LL 144. LP. $4.98. tormented, transcendental Ives; the folksy, the one provided here and equally diffi- LYRICHORD LLST 7144. SD. $5.95. barn -dancy, country -fiddler Ives; the cult to imagine a finer recording. Zukof- who profoundly polyphonic Ives used sky and Kalish, both young New Yorkers, The Missa Brevis might just turn out to the as Bach American Protestant hymn are superb virtuosos, and together they be Kodály's masterpiece. For sheer had used the Lutheran chorale; and the make a really great chamber music team; beauty of choral sound; for the rich, Ives for whom past and present ran to- and the subtlest nuances of their playing lovely, subtle orchestration of voices and gether in a many- stranded complex, are perfectly caught by the engineers. organ; for exalted mysticism and enchanting melodicity there has been nothing like it since the Fauré Requiem. No small part of this effect, of course, is to 4 VANGUARD be credited to the Whikehart Recordings for the Connoisseur Chorale's magnificent performance and the excel- The most glorious music lent recording. of CHRISTMAS The pinnacle of today's O!lk'i ,A; RfL'U,(' The Missa Brevis occupies all of one by its most dedicated flamenco art. side and most of the next. Jesus and the perfortners. Traders is a short motet, very complex in its polyphony, a little on the angular side, and scarcely the kind of thing one expects of this composer. It is probably 40.0 more fun to sing than it is to hear, but it J is not bad hearing, either. A.F.

LISZT: Missa Choralis

Margit Lászlo, soprano; Zsuzsa Barlay, mezzo; Alfonz Bartha. tenor; Sándor Palcsó, tenor; Zsolt Bende, baritone; Tibor Nádas, bass: Sándor Margittay, organ; Budapest Choir, Miklós Forrai, cond. QUALITON LPX 1141. LP. $5.98.

This Mass, basically for a cappella choir sometimes reinforced with organ, and with short incidental solo passages, was STILLE NACHT. JEANNE -MARIE composed by Liszt in 1869, the same HEILIGE NACHT MANITAS DARRE, piano year in which he took holy orders. The "France's first lady of the 18 beloved German and Mid- keyboard -and very possibly work can reasonably be taken, therefore, dle European Christmas DE PLATA the world's." Louis Biancolli. as some measure of his attitude towards songs and folk songs of the New York World Telegram religious faith. Nativity. A LISZT RECITAL ERICH KUNZ, baritone Guitarra B minor Sonata -Feux follets As such, it is a rather damning docu- with the Mozart Boys Choir - Harmonies du Soir - So- ment. I find this a work of almost painful of Vienna Flamenco netto 123 del Petrarca -La Campanella pretentiousness, all the more so because Vienna State Opera Orch. VRS-9203 & VSD-79203 VRS -1150& VSD-71150 its austere format is supposed to invoke VRS -1143 & VSD-71141 A CHOPIN RECITAL a host of memories of the great liturgical 24 Preludes, Op. 28 - Fan- "A great and savage tasy in F minor, Op. 49 - settings of the past. The pseudo- counter- Berceuse, Op. 57 point is labored, and it seems quite clear CHRISTMAS CAROLS artist" VRS-1151 & VSD -71151 AND MOTETS OF ANTON HEILLER,organ that Liszt is far more interested in a MEDIEVAL EUROPE JOHN STEINBECK ORGAN WORKS OF procession of sweet (and often cloying) J. S. BACH, Vol. 2 harmonies. By comparison, the far more THE DELLER CONSORT Prelude & Fugue in E minor. with Musica Antiqua of "Wedge spectacular liturgical works by Berlioz Vienna "In that kind of music, ", BWV 548 - Pre- lude & Fugue in A major, and Verdi are also far more devotional (Renaissance Instruments) I have never heard the BWV 536 Passacaglia - and in their total effect. Only once, in the BG -680 & BGS -70680 equal of the man with Fugue in C minor, BWV 582 - Fantasia. in G Major. Benedictus with its stabbing dissonances, the hands of silver (Ma- BWV 752 BG -674 & BGS -70674 do I feel in the presence of an important - CZECH AND POLISH nitas de Plata)." ANTONIO JANIGRO, and dedicated composer. SONGS OF 'cello & Forrai leads an admirable perform - CHRISTMAS VINCENT SHEEAN JOERG DEMUS, piano ance, captured (mono only) with reason- THE 'CELLO -PIANO CHILDREN'S CHORUS SONATAS OF able clarity. His soloists are better than OF RADIO PRAGUE, "With Manitas de Plata BEETHOVEN -Complete those on the Vox recording under Hans acc. by gambas, recorder, Vol. I Sonata in G minor. the begging and the cry- is a bagpipes, organ, harpsi- Op. 5 No. 2- Sonata in A Gillesberger. That, however, dollar chord. glockenspiel and ing are actually a cry of major, Op. 69 cheaper, and I don't consider this music VRS -1136 & VSD -71136 triangle. angels." a A.R. Vol. 2. Sonata in F major. worth penny more. c 1 Op. 5 No. 1 - Sonata in C conductor. MACKINLAY KANTOR major, Op. 102 No. I- Sonata in D VRS -1144 & -71144 major. Op. 102 No. 2 VSD VRS -1137 k 'VSr) -'I Arioso; Minuet Mozart: Steteu II' LULLY: -See Divertimento No. 17, in D, K. 334. CIRCLE 89 ON READER -SERVICE CARD

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www.americanradiohistory.com MARAIS: Three Folk Dances -See recording of Mozart's complete dances Mozart: Divertimento No. 17, in and marches offer additional evidence of D, K. 334. that master's inability to produce shoddy work. The marches are elaborate and inventive pieces. Of the two in Vol. 3, MOZART: Concerto for Flute, Harp, K. 249 was intended to introduce the and Orchestra, in C, K. 299; Fan- Haffner Serenade (K. 250) and K. 335, tasia for a Mechanism in a Clock, No. I, to perform the same function for in F minor, K. 608; Adagio for the Postlorn Serenade (K. 320). Neither Glass Harmonica, in C, K. 326 of the large works is really complete without its introductory march. Vol. 2 Helmuth Rilling, organ (in K. 608); includes an unusual pair of dances, Bruno Hoffmann, glass harmonica (in K. 463: each one consists of a fast con - K. 326); Jean Patero, flute, Helga Storck, tredanse flanked fore and aft by a grace- harp, Württemberg Chamber Orchestra ful minuet section. Most striking of all (Heilbronn), Jörg Faerber, cond. (in K. are the German Dances, of which there 299). are twelve (K. 586) in Vol. 2 and six Vox PL 12880. LP. $4.79. (K. 600) in Vol. 3. Here are eighteen Vox STPL 512880. SD. $4.79. pieces, each in 3/4 time and thirty -two measures long (not counting repeats), The works offered here may be far out yet no two of them are alike. The same of the way for concertgoers but they have is true of the twelve Minuets, K. 568, long been available on records. The Milstein: purity's the word. in Vol. 3. Even though all of these pieces are intended double concerto is nicely done. Both of for dancing, Mozart seldom takes the easy, the soloists are excellent. Pateró s lovely, mechanical way. He Concertos for Violin and takes special pains make the liquid tone is favored a little too much MOZART: to trios not by the engineers, especially in the first Orchestra: No. 4, in D, K. 217; No. only contrasting to the main body of the movement, and in the finale the conduc- 5, in A, K. 219 dance but especially attractive. He even tor's rhythm could he firmer, but by and uses, once or twice, a bit of contrapuntal Nathan Milstein, violin; Philharmonia large this is another of the several satis- imitation. factory recordings now in the catalogue. Orchestra. As in Vol. 1. the Vienna Mozart En- ANGEL 36007. LP. $4.79. According to both sleeve and label, semble plays with zest as well as with ANGEL S 36007. SD. $5.79. the big Fantasia is played here on a polish and finesse, and the sound is first - "mechanical organ." I had a vision of rate. The same unfortunately cannot be The word that came into my mind more said Mr. Rilling turning a wheel, or perhaps of the performance or recording of often than any other as I listened to this pedaling away at a gadget like a player - the Turnabout disc. There the playing is disc was purity. Here is fiddle playing in piano roll, but a phone call to Vox consistently stodgy and three -square. so to which every note, no matter how long or elicited the admission of an error and speak. Moreover there is little definition short, no matter where on the finger- the information that the instrument in and not much clarity in the sound. This board it is obtained, no matter how is a because the a set question is a normal pipe organ. It is the pity, Haydn pieces, much or how little of the bow is applied, playing that is, unfortunately, a little of twelve minuets he wrote. without fee, nor with how much pressure, is clean mechanical. By no means the least infor a charity ball in 1792. are almost and live. Milstein's tone is the triumph of teresting of the pieces performed here symphonic in scope. and in quality on sheen over schmaltz. All the joints in his is the one for glass harmonica, with its the same level as the mature Mozart right are clearly well lubricated and shivery, ethereal sounds, clearly con- arm pieces. N.B. under complete control. Add to the mas- veyed in this excellent recording. Hoff- tery of the mechanics of violin playing mann, who seems to have a monopoly a discerning taste and sound musical in- on the instrument, plays it well. N.B. MOZART: Divertimento No. 7, in D, stincts, mix further with first -class work K. 205 (with March in D, K. 290); by the orchestra (conducted by the solo- Cassation in B flat, K. 99 performances that Concertos for Horn and ist?), and you have MOZART: rank with the best on records. As always Orchestra: in D, K. 412; in E flat, Members of Vienna Octet. with Milstein the approach is a bit imper- E K. in E flat, LONDON CM 9433. LP. $4.79. K. 417; in flat, 447; sonal, but it wears better in the long run K. LONDON CS 6433. SD. $5.79. 495 than many a more individual or flamboy- ant interpretation. Excellent sound in Mason Jones, horn; Philadelphia Orches- very both versions. N.B. This disc presents two attractive tra, Eugene Ormandy, cond. products of the teen -age Mozart. To me, COLUMBIA ML 6185. LP. $4.79. the earlier one is even more interesting COLUMBIA MS 6785. SD. $5.79. than the other. In this Cassation the MOZART: Dances and Marches, Vols. thirteen -year -old composer strews ideas Mr. Ormandy, having displayed the vir- land 3 around in profusion. Each one of the tuosity and musicality of his first flutist, seven short movements has its own oboist, clarinetist, and bassoonist in Mo- Vienna Mozart Ensemble, Willi Boskov- charm, but the first Andante, a poetic zart concertos for those instruments, now sky, cond. little nocturne for muted strings, and LONDON features his first hornist in the same way. CM 9413/14. Two LP. the finale, a swift piece with a highly Mason Jones, like his colleagues, is a $4.79 each. contrasted interpolation, are especially musician of whom Philadelphia -and LONDON CS 6413/14. Two SD. noteworthy. The Divertimento is un- America-can be proud. His playing of $5.79 each. usual in that it calls for only one violin these tricky works is impeccable. Rapid instead of the usual pair, though it has passages are tossed off effortlessly, slow MOZART: 12 Deutsche Tänze, K. two horns and the bass is doubled by ones are sung beautifully, the trills are 586 a bassoon. In the fast movements this clean and accurate. The finale of K. 447 tHaydn: Katherinentänze (H. IX: 11) work has an open -air breeziness and seems a little too fast -the players have vigor, while the slow movement, for vio- to slow down for the first episode -but Innsbruck Symphony Orchestra, Robert lin, viola, and bass, has a chamber otherwise I could hear no defect of any Wagner, cond. music intimacy. The players of the sort here. Ormandy. of course, provides TURNABOUT TV 4015. LP. $2.50. Vienna Octet as usual turn in an excel- his usual considerate but far from per- TURNABOUT TV 34015. SD. $2.50. lent performance. This is a welcome functory support. There is no finer per- addition to the Octet's series of Mozart formance of these works on discs. N.B. The second and third discs in London's recordings for London. N.B.

96 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com MOZART: Divertimentos: No. 7, in MOZART, LEOPOLD: Sleigh Ride - on less happy ground. There are some D, K. 205; No. 10, in F, K. 247; See Haydn, Michael: Turkish March. good contributions in comprimario roles Six Country Dances, in B flat, K. -Christiane Gayraud, Michael Sénéchal, 606 Jean -Pierre Laffage, and Robert Geay OFFENBACH: Les Contes d'Hof (- are all first -rate, and Jacques Loreau is Salzburg Mozart Players. mann certainly acceptable in the four small MUSICAL HERITAGE SOCIETY MHS 609. tenor roles. Nicolai Gedda sings with LP. $2.50. Gianna d'Angelo (s), Olympia; Victoria his usual clarity, sense of phrasing, re- MUSICAL HERITAGE SOCIETY MHS de los Angeles (s), Antonia; Elisabeth liable musicianship, and expert French, 609. SD. $2.50. Schwarzkopf (s), Giulietta; Christiane and projects everything knowledgeably - Gayraud (ms), Voice of the Mother; the Kleinzach ballad, for instance, is MOZART: Divertimento No. 15, in Nicolai Gedda (t), Hoffmann: Jacques very well defined and animated. The B flat, K. 287 Loreau (t), Andrès, Cochenille, Frantz, voice itself, though, is not as relaxed Pitichinaccio; Michel Sénéchal (t), Spa - and beautiful as it has been on some Orchestre des Solistes de Paris, Louis lanzani; André Mallabrera (t), Nathan - past recordings -the quality often has Martin, cond. aël; Ernest Blanc (b), Dapertutto; a sour edge, and there seems less re- NONESUCH H 1046. LP. $2.50. Jean- Christophe Benoit (b), Nicklausse; serve behind his singing than there has NONESUCH H 71046. SD. $2.50. Jean -Pierre Laffage (b), Luther, Schlem- formerly been. He is still probably the il; Jacques Pruvost (b), Hermann; best Hoffmann available; it is just that he George London (bs), Coppélius, Dr. does not seem here at his best. MOZART: Divertimento No. 17, in Miracle; Nikola Guiselev (bs), Lindorf; Of the three ladies, the most satis- D, K. 334 Robert Geay (bs), Crespel; Renée factory is Gianna d'Angelo, who lacks tLully: Arioso; Minuet Fauré (actress), La Stella, La Muse; only a touch extra dash and brilliance tMarais: Three Folk Dances Choeurs René Duclos; Orchestre de la to make a really stunning effect. She Société des Concerts du Conservatoire sings everything very prettily and very Leningrad Philharmonic Orchestra, Kurt de Paris, André Cluytens, cond. musically, and almost everything in tune, Sanderling, cond. (in the Mozart); Mos- ANGEL CL 3667. Three LP. $14.37. which is unusual in this music. Elisabeth cow Chamber Orchestra, Rudolf Barshai, ANGEL SCL 3667. Three SD. $17.37. Schwarzkopf does not have the sort of cond. (in the Lully and Marais). voice, whether soprano or mezzo, that MONITOR MC 2067. LP. $1.98. This is the first full -length edition of I like for Giulietta, for it has little MONITOR MCS 2067. SD. $1.98. the opera we have been given since Epic's warmth or sensuality. She sings well, was released seven years ago. Hoffmann though, except for heavy weather in The divertimento (or cassation, nocturne, is a work that has fared badly on discs. some of the climaxes, and does a good or serenade) seems to be mainly an Aus- There was an Opéra -Comique version on deal with little inflections and accents, trian product. Its origins, and whatever Columbia in the late Forties, which at which one will find advantageous or not, differences may be indicated by the dif- least had integrity and the right flavor, according to one's taste. Victoria de los ferent terms, are still vague, but one but it has long been unobtainable; then Angeles, in her first operatic recording in thing seems clear: once Mozart took it there was the Beecham sound track, on some time, shows that the cherishable up, it turned to gold. Each of the four London, with Beecham, an English trans- timbre of her voice is still intact (even examples offered on this batch of discs lation and some wretched singing; then the off -stage D natural is there, and sub- is a delight. Especially noteworthy in K. the Epic, quite heavily cut and lacking stantially so); and that her musician- 205 are the two fine minuets and the in dramatic punch, with much too much ship and taste are of their accustomed high- spirited finale. The "Salzburg Mo- doubling and tripling and even worse by high order. It cannot be said, though, zart Players"-here violin, viola, bass, the singers, and only some good work that her singing here is as secure or and two horns -perform it in clean and by Heinz Rehfuss and Mattiwilda Dobbs spontaneous as it once was -there are lively fashion. K. 247 is even more and pleasant, if pale, singing by Léopold some precarious moments, mostly early charming. Here, however, the strings Simoneau to compensate. on, and a feeling of overcarefulness in (with only one player on a part) sound The new Angel has some serious fail- most of her work. Her best singing, a bit thin; a few more fiddlers and an- ings, but since it is the one acceptable curiously, comes in the arduous trio other viola are needed, it seems to me. Hoffmann on the market, let us first near the end of her scene. The first movement of K. 287 has a investigate its virtues. To start with, it The four villains just do not fare well. development section that is surprisingly is the most complete of all the recorded George London, who has sung all four dramatic for a genre supposed to be for performances. The usually cut final of these roles with high competence on entertainment only; the Adagio is a beau- scene of the Muse is restored, and so many occasions, is in far from his best ty; and a mock- serious instrumental rec- are most of the shorter passages some- form; the voice sounds ponderous and itative leads into a gay, dancelike finale. times dropped en route. The stature of labored, with little real flow, and the The French orchestra plays the work the score gains thereby, particularly in top Es and Fs are effortful and unattrac- with grace and some elegance. If you the strengthening of the Prologue and tive. At least, though, he is at pains to don't mind streaked violin tone, this disc Epilogue episodes, which often form an project his two roles dramatically. Niko- is a bargain. If you do, try the London. inappropriately delicate frame for so la Guiselev, the Lindorf, shows a fine The sound on the Monitor record is splashy a canvas. In terms of construc- bass voice, presently a little hooty and quite good, and K. 334, with another tion and pacing, this opera is a beautiful unfocused at the top. He does almost serious development section, a fine set piece of work, and since it is not espe- nothing to draw a character for us. And of variations, a familiar minuet, and a cially long and certainly not lacking in Ernest Blanc is also off -form for his delicious rondo, is perhaps the best of variety, there seems no good reason for Dapertutto. Except at the top, where the four. But the conductor doesn't know any significant cutting. I am also favor- it opens out beautifully, his voice sounds what to do with his excellent orchestra ably impressed by André Cluytens, not dry, with a husky edge on it, as if he in this music. In the first movement the generally the most brilliant or galvanic of were recovering from a cold, and his articulation of the sixteenth -note figures conductors but one who seems to hold singing has a literal, bland quality that, is swallowed up, and the tempo is slowed this music in affection and is willing again, fails to establish his place in the down for the development section, as it to let it play and sing-it is a nice dramatic scheme. is for the trio of the Minuet, and for an change from the pressing and pushing The idea of casting a light baritone episode in the finale. Even worse, the of some of our "exciting" young maestros. as Nicklausse seems to me a dreadful second minuet and the Adagio arc When we come to the casting, we are one, whatever the precedent. Jean - omitted and instead we are given the Christophe Benoit is a pleasant, easy Lully and Marais lollipops. And in the singer, but even a high lyric baritone Lully Arioso the players pour butter does not wrap itself easily around these cream over the candy. A good complete, lines, and, more importantly, does not up-to -date recording of K. 334 is badly weave through the chorus in the Pro- needed. N.B. logue in any distinguishable manner-

98 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com these an octave down. figurations are RAVEL: Daphnis et Chloë: Suite No. is rather more than that. Such is an apt meaningless. And it is still necessary to 2 -See Debussy: La Ater. summation of this record. import a mezzo (Jeannine Collard) for Mr. Rorem's Eleven Studies for Eleven what becomes a concert rendition of the Players RAVEL: Quartet for Strings, in make adroit use of the instru- Barcarolle. F- ments' resources, exploring their coloris- See Debussy: Quartet for Strings, in What it comes down to is a complete tic possibilities entertainingly G minor. Op. 10. and gen- Hoffmann with good leadership; good, erally affording an excellent show; the up -to -date sound; a recognizable French work must be amusing to watch. and its ambience from the native artists in small ROREM: Eleven Studies for Eleven fast movements are amusing to hear. roles: and a strong -looking group of Players Its slow movements are unfailingly principals, almost none of whom are in tSydeman: Orchestral Abstractions trashy and obvious, however. and the top form. It is the best available ver- indebtedness of the whole to film and sion, even if it is not what one had Louisville Orchestra, Robert Whitney, television scores need scarcely have been hoped for. C.L.O. cond. pointed out in the titles to the various LOUISVILLE. LOU 644. LP. $7.95. movements. LOUISVILLE LOU S644. SD. $8.95. Mr. Sydeman's Orchestral Abstractions RANGSTROEM: Songs -See Sibe- is actually a symphony in three move- lius: Songs. Ned Rorem is clever. William Sydeman ments, and a most attractive one. Dating from 1958, it is a relatively early work of its composer and its idiom is rather more conservative than that of Syde- man's recent music. but it weaves a complex orchestral skein with considerable mastery both in the manipulation of thematic materials and in orchestration. The Presto with which it ends is an altogether breath -taking affair. Both works are performed with great zest and vitality. and to my ears the recording marks a special high for fidelity of sound so far as the Louisville series is concerned. A.F.

SCARLATTI, DOMENICO: Sonatas for Harpsichord (34)

Fernando Valenti, harpsichord. WESTMINSTER WM 1010. Three LP. $9.57. WESTMINSTER WMS 1010. Three SD. $9.57.

The 313th to 346th Scarlatti Sonatas released by Westminster in Valenti's mam- moth project. Previous recordings have been issued in a long run of separate discs numbered up to Volume 26. The new releases are not similarly referenced in the sequence but packaged as a three - record album in the company's current, compact "Multiples" series. The result is a large economy -size package with a good sampling of the seemingly endless richnesses that issued from the Italian on Stereotape! [ óN TI master's fertile brain (with Scarlatti any reasonably large sampling is likely to Here are just a few of the many Christmas favorites you'll find yield considerable treasure). Valenti's in the special Ampex display at your tape dealers. playing is characteristically open. large - scaled. and expressive. There are. as I Joan Sutherland -"The Joy of Bing Crosby-"l Wish You a Merry can gather. a few textual and ornamenta- Christmas" (London) Christmas" (mono or stereo) tion problems here and there: in one or Joan Sutherland-"Handel: The Mantovani- "Merry Christmas " two places Valenti seems to have omitted Messiah " (2 reel set) (London) (double -play) things inadvertently (see. for example,

(Also available: the Westminster "Christmas With the King Family " the missing measure in L. 331, mys- "Messiah " with the Vienna Academy) Jack Jones-"Christmas Album " teriously restored on the repeat). In any Leontyne Price-"A Christmas Harry Simeone Chorale -"Little case. the harpsichordist's flexible approach Offering" (London) Drummer Boy" is (if the bad pun can be pardoned) sound and he is the technician. the color- Lisa Otto /Berlin Handel Choir /Berlin Johnny Mathis-"Sounds of Christmas " Radio Symphony -"Hallelujah... " "Twas the Night Before Christmas" ist. and the musician to carry it through. Hallelujah " (Great vocal choruses from and other Children's Stories The recording is dry but acceptable. One Deutsche Grammophon) List prices start as low as $4.95. footnote: for some reason the works are listed on the album jacket in order of Longo number but this is not the actual tape recorders /speakers/microphones/headsets/blank tape / accessories/stereotapes sequence in which they are performed; if you care about which sonata is which. ask anyone who knows you'll have to copy the listings off the label before putting the record on the AMPEX turntable-unless you can read a spinning AMEK COMM00T10M. 2201 LANDMEIEM MO*D, ELK GMOVE VILLGE, ILL,NO$S 60007 record label, that is. E.S. CIRCLE 6 ON READER -SERVICE CARD 100 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com y ti .r 41.. r SCHUBERT: Music for Violin and ' Piano .Sonatas for Violin and Piano, Op. 137: joyous com6ination. No. I, in D: No. 2. in A minor; No. 3, g in G minor; Sonata for Violin and Piano, in A, Op. 162 ( "Duo "); Fantasy in C, Op. 159: Rondo brillante, Op. 70.

Michel Auclair, violin; Genevieve Joy, piano. SutherlanZ MUSICAL HERITAGE SOCIETY MHS 606/07. Two LP. $2.50 each. MUSICAL HERITAGE SOCIETY MHS 606/07. Two SD. $2.50 each.

Sonatas for Violin and Piano, Op. 137: No. I, in D; No. 2, in A minor; No. 3, Ch rCtmas in G minor; Sonata for Violin and Piano, Ave Maria; O Holy Night; in A, Op. 162 ( "Duo "); Rondo brillante, Adeste Fideles; O Divine op. 70. Redeemer; Good King .I011 SITIIEIIE11fl ..III1 OF l'IIIiISI'II IS Wenceslas: Virgin's Johanra Martzy, violin; Jean Antonietti, Slumber Song: Hark The piano [from Angel 35364/66, 19581. Herald Angels Sing; It MACE M 9012/13. Two LP. $2.49 Came Upon The Midnight each. Clear: The Twelve Days Of Christmas; Angels We It will he noted that the Auclair /Joy Have Heard on High; The cycle (originally a French Erato prod- Holly And The Ivy; uct), like that of Max Rostal and Colin What Child Is This; Joy To The World; Horsely for British HMV, manages to Deck The Hall squeeze onto two discs everything that Stereo OS 25943 Mono 5943 Schubert wrote for the violin -piano combination. The Martzy /Antonietti traversal was similarly complete in its issue on the Angel label, but took three discs.

111 ItIIlIt11111111\It1 . t,1ttl p11MLI1tN1'f1t Even with the new regrooving techniques available today, the slower tempos of these artists evidently precluded Mace's v kk encompassing all the material in a two - record set: alas, the superb Fantasy - easily the best music and also the least known of these compositions -was the piece discarded. As a result. the Musical Heritage album has an initial advantage, for and, fortunately, the Fantasy is here very well played. Its impassioned substance Christmas (but a step removed from the Kreutzer) MERCURY can absorb the kind of hectic verve which both Auclair and Joy furnish in Living such plentiful degree. In the Rondo, a Presence decision between these performers and Martzy /Antonietti boils down to personal preference. In this piece, I myself feel more comfortable with the deliberate GINA BACHAUER pacing, emphatic shaping, and essentially TCHAIIKOVSKY I III: F. SIR JOHN GIELGUD Germanic handling of Martzy /Antonietti STROUP., P. cn -POLISH- CN4Chl,kt ItY than I do with the undeniably more im- IS\II.II Ar~ 4II N fCIIÁÌK7AnY petuous, Italianate precipitateness of

\Vl:\I. 1H112:111 E. Auclair /Joy. Both versions, however, are I n\Url\ 101' decidedly well played and excellently recorded. When it comes to the Duo Sonata, Op. 162, Martzy /Antonietti are A RARE COLLABORATION essentially the genial lyricists, while Au- ~ LOPS. SYMPHONY ORCHESTRA A.1.,. Doe.n IN POETRY AND MUSIC clair /Joy present a greater volatility. While either edition would be worth SR 2-9015/0L 2-115 SR 2-9013/0L 2-113 SR 90431 /MG 50431 owning, neither would make me want to part with my Kreisler- Rachmaninoff RCA Victor disc. Similarly, both versions of the Op. 137 ROYAL FAMILY OF THL SPANISH GUITAR CAPRICCIO i TAL IEN Sonata under scrutiny fall slightly wide of the mark. Martzy /Antonietti are PA cIE sound, musical, but a trifle prosaic. Auclair /Joy are fast, efficient, and GERSHWIN :Art 00' An equally prosaic. Although the recorded American in 4.1 balance on both of these sets is superior Paris to the Vanguard (which gave short shrift to Peter Serkin's piano), Schneider and young Serkin got far closer to the SR 90391/MG 50391 SR 90054/MG 50054 SR 90434/MG 50434 heart of Schubert's writing here. H.G. CIRCLE 54 ON READER- SERVICE CARD 102 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com SCHUBERT: Octet for Strings and just about creep to a halt -the introduc- heaviest orchestral fabric should listen, Winds, in F, Op. 166, D. 803 tion to Triinenregen, for instance, sounds here, to the gradually accumulating quo- very mannered. tient of warmth in her soft, inward sing- Berlin Philharmonic Octet. Several of the songs are taken a semi- ing. For Miss Nilsson is no longer out DEUTSCHE GRAMMOPHON LPM 19102. tone or full tone down from the nominal merely to bury her material, as on her LP. $5.79. "middle" keys of the Peters edition. previous song recital on RCA: she has DEUTSCHE GRAMMOPHON SLPM This seems to me to make no difference become, instead, a moving stylist in the 139102. SD. $5.79. at all (there are no sudden wrenches) small forms as well as on the operatic except in Der lager, which loses con- stage. The lovely, humorous way she The second Berlin Philharmonic Octet siderable brilliance and bite in this trans- treats subsidiary episodes in the Grieg version of Schubert's wondrous score, position, well as Souzay articulates it. Fra Monte Pincio is a case in point. this recording duplicates the performance It is, in sum, an extremely musical The material is largely familiar, but qualities of the first (once on Decca Miillerin. My own choice is the second sung with this formidable artistry it be- 9669) and provides some of the most Fischer -Dieskau /Moore version, a tre- comes all fresh. For those unfamiliar lustrous and balanced sound ever ac- mendous emotional experience as well with the Swedish composer Türe Rang - corded a chamber ensemble. In the play- as a virtuoso performance. But for those ström (1884- 1947), I might add that he ing there is a sense of momentum that who want something a bit less over- wrote songs much in the Grieg manner, sweeps the listener past any awareness of powering, simpler, and more chamber - somewhat touched by the harmonic rich- length and repetitiveness. Nothing is like, this would be an excellent choice. ness and declamatory gestures of Richard slighted, no phrase robbed of its tender- Philips' sound is good; there was, how- Strauss. A.R. ness, but there is shape and substance ever, a higher than acceptable level of as well. This is, to my ears, an excep- surface noise on my copy. C.L.O. tional way to deal with this music, and STRAUSS, RICHARD: Die ägyp- creates a wholly sympathetic picture of tische Helena: Zweite Brautnacht! Schubert's state of mind when he fash- SCHUETZ: Cantiones sacrae: Motets Salome: Dance of the Seven Veils; ioned this treasurable score. A.R. Interlude: Final Scene Niedersächsischer Singkreis (Hanover), Willi Träder, cond. Leontyne Price, soprano; Boston Sym- SCHUBERT: Die schöne Müllerin, NONESUCH H 1062. LP. $2.50. phony Orchestra, Erich Leinsdorf, cond. Op. 25 NONESUCH H 71062. SD. $2.50. RCA VICTOR LM 2849. LP. $4.79. RCA VICTOR LSC, 2849. SD. $5.79. Gérard Souzay, baritone; Dalton Bald- Of the forty sacred motets published by win, piano. Schütz in 1625, this disc presents seven- When Leontyne Price first hit the inter- PHILIPS PHM 500074. LP. $4.79. teen. Not one of them is a dud, and national opera circuit and we got our PHILIPS PHS 900074. SD. $5.79. most of them are exquisitely beautiful. first recordings of her voice, one of the In these four -part choruses, some with speculations I allowed myself (a specula- instrumental and This is a somewhat muted realization of support some without, tion entered in these pages about six Renaissance flexibility and freedom the cycle, but within its frame, a sensi- from years ago) concerned her suitability for tive and often satisfying performance. I rhythmic regularity are combined with some of the Strauss roles. The Capriccio find it much more interesting than the a new warmth and expressivity. In ad- Countess? Chrysothemis? Ariadne? Even, same team's Die Winterreise, partly be- dition there is Schüti s special sensitivity in time, the Marschallin? So far as vocal cause this cycle does not demand quite to quantity and accent in the words: timbre and quality goes, these still seem the same sustained intensity of mood and these pieces are models of the correct to me distinct possibilities. For the the- partly because Souzay is especially good and smooth setting of Latin to music. atre, at least, Salome does not-the voice at bright, quickly moving songs, of which Willi Träder, a conductor new to me, is not large enough or cutting enough, Schöne Miillerin affords several. leads his group with a sure hand, elicit- has a weakness in the low register, and By and large, the dynamic level is ing a fine tone and shaping the lovely narrows a bit at the top. The actual kept quite low. Given the very lyrical na- lines so that they flow naturally. In view sound, though, is an appropriate one; ture of Souzay's voice, this is a shrewd of the quality of the music, of the per- Salome's voice should he young and decision, since it means that the few formance, and of the recording, this disc soaring and ecstatic, not hochdramatisch, songs which do get the full measure is a great bargain. N.B. and Price's round, floating soprano has (such as Eifersucht and Stolz, Die böse these qualities. For recording purposes, Farbe, the climax of Trockne Blumen) the relative lack of power is of minimal make a strong impact by contrast. Also SIBELIUS: Songs: Var det en Dröm ?; importance. on the positive side are the prevailingly Flickan kam ifrän sin älsklings So she starts with some advantages, relaxed, even legato (Souzay sings on Mote; Svarta Rosor; Säv, say, Susa; and as it happens, she is also in excellent the vowels more than most of his Ger- Demanten pa Marssnön; Höstkväll; voice. Thus, there is a basic plus -she man competitors, and it is soothing to Vären f lyktar hastigt sounds good, and refreshingly girlish find the flow unbroken by clusters and tGrieg: Songs: En Svane; Fra Monte alongside some of the Salomes we hear splatters of expectorated consonants) Pincio; Vären more regularly. The recording is em- and the unfussy musicality of the straight fRangström: Songs: Melodi; Bön till phatically more successful than the strophic songs -Das Wandern, for ex- Natten; Skiildmön; En gammal broadcast Boston Symphony concert of ample. Most of the big challenges (I Dansrytm the same program last season. am thinking particularly of Mein!) are As yet, however, Miss Price does not intelligently and thoroughly met. Birgit Nilsson, soprano; Vienna Opera do a great deal to shape the big scene A few songs do not come off -the Orchestra, Bertil Bokstedt, cond. or to propel it towards its dramatic con- failure really to encompass the top cli- LONDON OL 5942. LP. $4.79. clusion. The handling of the text is cor- maxes more or less compromises an LONDON OS 25942. SD. $5.79. rect but a little flavorless, and the tone otherwise well -done Am Feierabend, and color tends to remain pretty much the Ungeduld suffers from this same prob- Heinous indeed, the crime of performing same throughout. Since it seems unlikely lem (the Fs on "ewig" in all four verses art songs with orchestrated accompani- that she would commit herself to this are overopen and lacking in ring) and ment, but there are two mitigating factors part onstage, this is probably her fin- from a deliberate pace which sounds here: one, that Sibelius and Grieg (and, ished statement on the matter, and we schoolish rather than impetuous -any- presumably, Rangström) orchestrated must be content with lovely, occasionally thing but ungeduld -especially in the some songs themselves; two, that pitting exciting vocalism and generally sound, repeated piano introduction. Some songs Miss Nilsson against a mere pianist sets sensible phrasing. seem a little slow and careful, at least up a rather unfair battle. The irresistible little scene from Aegyp- for my taste (Wohin? is one), and Bald- Those who prize this marvelous singer tische Helena goes extremely well, ex- win sometimes indulges in rubatos that only for her ability to cut through the cept for one high climax that is just not

104 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com quite within Miss Price's real singing ter- is in the rhythmic pulse. With seeming- ritory. Her voice moves well in this sort ly no inner metronome to guide him, the of music. conductor succumbs to the plasticity of Leinsdorf's work is well controlled and his phrasing. with resultant bogging of nicely detailed, though I do not happen impetus. The music goes as limp as wet to like the brilliant. pinpointy kind of Monday wash. sound he secures (intensified by Victor's Of available Tchaikovsky Fifths, the customarily bright engineering), nor the far more mature and thoughtful Klem- taut, considered way he knifes through perer (also Angel) is the one to have, the points where some dramatic quicken- while Sawallisch's youthful, controlled ing is needed. Reiner /Welitch, of course, account (Philips) is also worth looking remains the reference point. C.L.O. into. H.G.

SYDEMAN: Orchestral Abstractions TELEMANN: Fantasias for Harpsi- -See Rorem: Eleven Studies for chord, Nos. 13 -36 Eleven Players. Helm Elsner, harpsichord. DovLR HCR 5236/37. Two LP. $2.00 ... right into your tape recorder TCHAIKOVSKY: Swan Lake: Or- each. - then play it back and listen to chestral Suite; Sleeping Beauty: Or- the lively sound of your own voice - so natural, no one can tell the chestral Suite Some years ago Miss Elsner recorded all difference. University's new revolu- thirty -six of Telemann's fantasias. Vox tionary Attaché is the smallest Vienna Philharmonic Orchestra, Herbert brought out the first dozen soon there- cardioid dynamic microphone ever von Karajan, cond. after, but the rest have had to wait until made. Priced right too! LONDON CM 9452. LP. $4.79. now. It is good to have them all, not Free! "Microphones '66" - LONDON CS 6452. SD. $5.79. only because they are the only examples a book every owner of a of Telemann's music for solo clavier in tape recorder should have. There are many symphonic suites from the lengthening list of his recorded works Swan Luke on records but none quite so but because they show that he had worth- UNIVERSITY SOUND - moving, for my taste. as the latest ver- while things to say in any medium he Dept. 11151N1I Box 105 6 , sion directed by Herbert von Karajan. tackled. Nos. 13 -24 are French in style: Oklahoma City. Okla. 73101 This conductor's gift, revealed in a new they have French markings and their light, seems truly theatrical, gleaming pattern is A (slow or moderate) -B Name with footlight magic, yet always chaste. (fast) -A (exact repetition) -C (very Address Everything is free, marvelously rubato - fast and short). The final dozen are City a case in point being the haunting oboe Italian, with the pattern A -B -A (usu- solo that begins the second act: the ally fast -slow- fast). The texture is two - LState Zip rhythm is easy and unforced, the cotln- part practically throughout. These pieces -_J terrhythms miraculously articulated. may not have the contrapuntal interest Some outstanding memories are the sinis- of Bach's Inventions or the originality ter decrescendo that ends the introduc- of Scarlatti's Sonatas, but they are re- tion, the amusing lilt of the Baby Cyg- markably varied in melody and rhythm nets, the exquisitely played solos in the and make highly pleasurable listening pas de deux by Josef Sivo, violinist. and when heard a few at a time. Miss Elsner Emanuel Brabec. cellist. In addition to plays with skill and verve, maintaining extracts from Act II, the suite brings interest by tasteful changes in registra- us the Czardas of Act III. and the tion. Good sound. N.B. apotheosis with which the ballet ends. If the selections from The Sleeping Beauty (Introduction and the Lilac Fairy, TELEMANN: Musique de table, Pro- Pas d'action, Puss in Boots. Panorama, duction II Waltz) are a bit less dazzling in performance. they are still wonderfully well Schola Cantorum Basiliensis, August done. with great melodic afflatus in the Wenzinger. cond. Rose Adagio. R.L. ARCHIVE ARC 3236/37. Two LP. $11.58. The lively sound of the Mustang! ARCHIVE ARC 73236/37. Two SD. The more- than -you -pay -for per- TCHAIKOVSKY: Symphony No. 5, $11.58. formance of University's newest in E minor, Op. 64 and liveliest line of Mustang speakers. New slim line profile The two entries. Archive and Telefunken, permits easy installation. Read New Philharmonia Orchestra. Georges in the complete Musique de table derby the full story of the Mustang Prêtre. cond. are running neck and neck. Both have in University's newest catalog. ANGEL 36259. LP. $4.79. now issued the first two of Telemann's You'll also receive our Guide To ANGEL S 36259. SD. $5.79. three "productions," and both have Component Stereo High Fidelity. done such good work that a choice be- They're Free! Write today. While Prêtre's New York performance of tween them boils down to such peripheral this symphony with the Philadelphia matters as the number of hands on the UNIVERSITY SOUND Orchestra last spring must have been, disc (Archive has them between move- to judge from the reviews, a really ments. Telefunken only between works). I Desk M5 I S Box 1056 I .tartling one, the present recording is In the present performance of Part Oklahoma City, Okla reasonably straightforward and un- II, Wenzinger and his expert players I I Name exceptionable. The French conductor once more turn in stylish readings. a obtains a pleasing clarity from the or- player here and there embellishing his I I Address chestra, and I especially like the way the part with taste and with an easygoing syncopes come forward at the end of air of improvisation. This is particu- I ... I City the waltz movement (a notable feature larly true in the Solo, a violin sonata. I State Zip I also of the Klemperer and Cantelli recordings). Where Prêtre lets one down Continued on page 110 CIRCLE 87 ON READER -SERVICE CARD 106 HIGH FIDELITY MAGAZINE

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FEATURES INCLUDED PEASE DON'T MISS this upcoming reference guide if you're passion- Musician of the year featured on the cover and in a ately absorbed in classical music. Concert managers, musicians. li- major article. braries, music schools and those who have a voice in the selection of Review of the year in music. concert performers have kept its predecessors handy for decades. Activity reports and photos of leading concert managers. List of American orchestras with address and phone plus musicians, concerts, budgets, hall seating capacity The Concert Artist Booking Issue will he published as the December number of and other pertinent information. 15, 1965 issue of HIGH FIDELITY /MUSICAL AMERICA Edition. List of American opera companies, festivals, music While single copies sell for $5, as a HIGH FIDELITY reader you may schools, music publishers, critics, record manufacturers, with head personnel, address, phone $3.95 provided you send the coupon herewith with other organizations have one for only and other pertinent information. your payment before December 15, 1965. The foreign section will include a comprehensive list of foreign managers with addresses and head personnel - -music In HIGH FIDELITY MUSICAL AMERICA Edition, which is orchestras -opera producing organizations -festivals publications -radio and TV music departments -musical our "new magazine," you find all of HIGH FIDELITY plus a 32 page organizations. section each month devoted to news and reviews of concerts and opera Also, an index by category of many concert artists. advertising. throughout the world. Also. fascinating chit -chat about concert artists. And much informative artist A reference guide worth its weight in gold ... 400 pages! many of whom record. HIGH FIDELITY /MUSICAL AMERICA, Subscription copies of this special issue go only to HIGH FIDEL- Publishing House, Great Barrington, Mass. 01230 of your special pre- publica- ITY MUSICAL AMERICA Edition subscribers ($9 a year) as the I wish to take advantage tion rate to HIGH FIDELITY readers of the upcoming thirteenth issue in an annual subscription. It is not included in HIGH FIDELITY /MUSICAL AMERICA Concert Artist Book December 15, 1965. subscriptions to the regular edition of HIGH FIDELITY (S7 a year). ing Issue scheduled for publication Instead of paying the regular price of $5, please accept the enclosed payment in full of $3.95. You pay the Subscribers to the regular edition of HIGH FIDELITY who send postage. us S9 now will receive this special Booking Issue plus 12 issues of the Enter my subscription for one year of the new HIGH /MUSICAL AMERICA Edition for which I enclose the unex- FIDELITY HIGH FIDELITY MUSICAL AMERICA Edition -and $9. Include the Booking Issue of December 15, 1965. pired term of their subscription to HIGH FIDELITY will he trans- Inasmuch as I already subscribe to HIGH FIDELITY ferred to the MUSICAL AMERICA Edition. The subscriptions will regular edition, transfer the remaining term of my subscription to your MUSICAL AMERICA Edition at no extra 1101 overlap. charge. (Good only if the $9 payment referred to above accompanies this order.) 1265 The offer of $3.95 a copy instead of $5 expires December 15. NAME 1965. As this offer applies to HIGH FIDELITY readers only, the coupon herewith and your payment must he sent to us for this special ADDRESS

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www.americanradiohistory.com RECORDS IN REVIEW MUSICAL HERITAGE SOCIETY MHS 579. SD. $2.50. Continuad from page 106 Reinhold Barchet, violin; Southwest Ger- Melkus, Eduard the soloist, plays cleanly man Chamber Orchestra, Friedrich Tile - and with vitality. Also especially well gant, cond. exemplified in this section is Constantin NONESUCH H 1070. LP. $2.50. Floros' interesting and musical realiza- NONESUCH H 71070. SD. $2.50. travel in style tion of the continuo. In the Quartet, with stereo... Wenzinger, like his opposite number on Well, maybe Bernstein is just what the Telefunken, opts for a recorder for the Four Seasons needs, after forty seasons top part. although Telemann doesn't in- of having been worked over by ensem- sist on a f/auto dolce and says the part bles good and bad, rough and smooth, may be played by a bassoon or cello in- quick and dead. One thing is certain: stead! The sound of the recorder, two nobody is going to make background flutes, and continuo is charming. In music out of this version. It is incredibly the Suite that opens Part II the trumpet virile, incredibly fast in the finale, jubi- does not cast everybody else into the lantly militant in the strength and em- shade. It blends very nicely with the phasis of its rhythmic articulation -in oboe and in fact seems a little too bland short. an adventure from beginning to and not brassy enough. end. The virtuosity of the ensemble is This is pleasurable listening through- at times almost disconcerting. The tre- out. and in some sections, as in the Trio mendous speed and sizzling, jazzed -up and the slow movement of the Concerto nervousness of the Allegro non molto of (for three violins and strings), it attains Summer, for example (where the non a rather high level of expressivity. As ntolto is thrown overboard in favor of in Part I (and in both Parts on Tele- hurricane velocity) makes of Vivaldi a funken) the sound is first -rate. N.B. pure virtuoso showcase; and the finale of the same Concerto is simply frenetic. This mode of jet travel forces Corigliano VICTORIA: Motet and Mass "O at times to dash somewhat peremptorily Qrram gloriosum "; Motet and Mass past notes of lesser importance on his "O magnum mysterium" way to the next point of emphasis; but _Aula-lap P :00 his stop -watch performance is on the Choir of the Carmelite Priory, London, whole his Magnificent musk of your choice sur- admirable, and tight, precise John McCarthy, cond. hold on the music in the opening move- rounds you wherever you go in full OISEAU -LYRE OL dimensional stereo. No static noises, 270. LP. $5.79. ment of Wittier creates a tension that no fading, no commercials - just pure OISEAU -LYRE SOL 270. SD. $5.79. pushes almost to the breaking point. As undistorted sound you never thought for Bernstein in the role of continuo possible in a car. Completely different in style from the player, he seems born to the part: his Occupies minimum space under dash singing of the better -known King's Col- melodic embellishments and occasional in most cars. Two speakers mount lege Choir, recently heard in a recording flourishes are anything but self -effacing, in doors or under dash for full of Palestrina, this London group pre- but neither are they intrusive. The slow stereo effect. Operates off 12 volt sents a perfectly valid approach that is car battery. movement in Autumn, in which the harp- at the same time more vigorous and less sichord moves freely above the sustained Wide variety of music tapes in car- mannered than that of the Cambridge tridges never fuss with threading orchestral harmonies, adds up to the - team. It sounds like tape or turning reels - superb record- an idealized Conti- most interesting performance I've heard. ings by outstanding artists. nental interpretation, the kind of sound The recorded balances are beautifully that Charcoal black or stainless steel satin Italian choirs aim for but never handled; the harpsichord is given due at- finish compliments car decor. "2 really achieve. The tone is full-bodied tention, but no more than it deserves. speakers, sample stereo cartridge, with ample reserve, and the soprano and Whether this Seasons will be easy to live hardware included. alto lines are sung by women's voices. with remains a question. But it is hardly It was an excellent plan to preface one you can afford to ignore. From $149.95 each Mass by the motet on which it is On the daily living level, the Pro Arte based, even though the relationship performance on Musical Heritage would seems fairly free, as in O Quartz glorio- be hard to beat. The tempos are happily sum. Also welcome, for reason of con- chosen, the rhythms resilient, and the trast, are the sections sung by a highly soloist superb -perhaps a bit more im- competent quartet ( Mary Thomas, Jean personal than Corigliano (especially in Allister, Edgar Fleet, Christopher Keyte). the slow movements, where less heart Good sound throughout. D.S. shows on sleeve), but effortless -sounding and note -perfect in the rough places, and dedicated throughout. The interesting VIVALDI: Il Cimento dell' armonia e thing about this performance is Büch- dell' inventione, Op. 8, Nos. 1-4 ner's free elaboration on the solo part Ask your dealer for the Auto -Tape 500 or write to factory ( "The Four Seasons ") as written. It takes some getting used to (the Autumn slow movement, in which MADE BY SKILLED John Corigliano, violin; Leonard Bern- Bernstein has his way at the keyboard, AMERICAN CRAFTSMEN stein, harpsichord; Members of the New sounds like a different piece of music York Philharmonic, Leonard Bernstein, here, with Büchner having his way on MINNEAPOI IS ing OF cond. the fiddle). But the improvisation is

9600 Altloch Avenue So. Minneapolis. M nn. 55420 COLUMBIA ML 6144. LP. $4.79. well handled, and sets this recording COLUMBIA MS 6744. SD. $5.79. quite apart from the run -of- the -mill. The Nonesuch entry is third in the Otto Büchner, violin; Lies] Heidersdorf, running, with rather stodgy rhythms and harpsichord; Pro Arte Chamber Orches- nothing new to offer in exploration of tra of Munich, Kurt Redel, cond. the score. From here on in, anyone get- MUSICAL HERITAGE SOCIETY MHS 579. ting set to record the Seasons will have LP. $2.50. to look sharp. S.F. CIRCLE 91 ON READER -SERVICE CARD

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www.americanradiohistory.com The Christmas Gift pany eventually succumbed to the popularity of Italian opera, and the Most Appreciated theatre itself was razed in 1765. One entire side of the record is oc- cupied by the selections from Croemis, ¡1M 14W M by Richard Keiser. perhaps the most Division of Scepter Records important of the Hamburg composers (assuming we regard Handel as a Lon- don composer). The most captivating Music For The Connoisseur moments of this music, at least for me, are the five selections from a peasant scene, including a charming dance song ( "Kleine Vöglein") which has an almost romantic warmth, an engaging soprano air with children's chorus, and a lovely ritornello and ballet movement to begin and end the sequence. The serious portions are certainly solid, but less distinctive, except for the slow movement of ACADEMY OF ST. MARTIN IN the overture, a gorgeous little section THE FIELDS: Recital for Strings with a lute continuo. The excerpts from Johann Mattheson's Telemann: Concerto for Viola and Boris are not so individual, though very Strings, in G. G. Canzona Noni GERMAN LITJRGICAL MUSIC Gabrieli: listenable; the best of them, I think, J. S. Bach Moritz Van Hessen Johann Toni. Vivaldi: Concerto for Four Violins is a chorus whose text parallels almost Staden Heinrich Isaac Tilman Susato. and Strings, Op. 3, No. 10, in B minor. M9022 $2.49 Mono or Stereo exactly the people's chorus in the pro- Handel: Concerto grosso, Op. 6, No. 4, logue of Mussorgsky's Boris. The Tele- in A minor. mann Pimpinone is the Serra padrona business, nowhere near as good as the Soloists; Academy of St. Martin in the Pergolesi intermezzo but enjoyable in Fields, Neville Marriner, cond. this short scene. OISEAU-LYRE OL 276. LP. $5.79. It was out of all this that Handel OISEAU -LYRE SOL 276. SD. $5.79. emerged. His Almfra was produced in Hamburg in 1705. The ballet interlude The St. Martin players are decidedly is a lovely one, especially the concluding accomplished in the baroque line, and Sarabande (later transferred into Rinal- approach this music in a bold and know- do), with some really magical employing fashion. The Telemann finale is ment of the harp. probably the most vitamin- packed on The performances here are practically records, and in addition the solo violinist faultless. Brückner -Rüggeberg is a reg- 4 CONCERTI FOR PIANO & STRING ORCH. displays a fine, full tone and a happy ular conductor of the current Hamburg J. C. Bach: Concerti in E -flat Major, B Major, sense of freedom in the dark, low re- forces, D Major. C. P. Bach: Siciliana. and certainly knows his way M9024 $2.49 Mono or Stereo gions of the instrument. The four solo through this music, which he reads in violins in the Vivaldi are extremely com- a clean. steady. but never metronomic 6Uí11 r,n:.,l'.n n". ! . petent, though at the beginning of the manner. Of the soloists, only Otto and first movement the lead -off player falls Prey have "international" reputations just short of the crisp style set by the (unless we count Adam. the latest Bay- tutti. The Gabrieli seems to me to cry reuth Wotan), but the others are fully for brass sonorities and echoing arch- up to their assignments, and I was par- ways, but the Handel leaves absolutely ticularly struck by the fresh, free lyric nothing to be desired. S.F. soprano of Ursula Schirrmacher who sings the Peasant Girl's music in the Keiser. The sound is splendid. and there EARLY GERMAN OPERA FROM are texts as well as annotations. C.L.O. THE GOOSEMARKET

Keiser: Croesus (excerpts). Mattheson: BRACHA EDEN AND ALEXAN- CLASSICS OF THE EARLY 18TH CENTURY Boris Goudenow (excerpts). Telemann: Rosetti: Symphony in C Major - Hertel: Sym- DER TAMIR: Two -Piano Recital phony in D Major - Sachsen -Weimar: Con- Pimpinone: Recitative & Duet. Handel: certo No. 4 in D Minor / Concerto in B Major / Concerto in C Major. Almfra: Ballet Music. Lutoslawski: Variations on a Theme of M9021 $2.49 Mono or Stereo Paganini. Milhaud: Scaramouche. Pou- Lisa Otto, Shige Yano, Marlies Sieme- lenc: Sonata for Piano. Four Hands. ling, Ursula Schirrmacher, sopranos; Rachmaninoff: Suite No. 2, Op. 17. Manfred Schmidt, Karl -Ernst Mercker, tenors; Hermann Prey, Herbert Brauer, Bracha Eden and Alexander Tamir, pi- Theo Adam, baritones; Günther Arndt anos. Chorus: Berlin Philharmonic Orchestra, LONDON CM 9434. LP. $4.79. Wilhelm Brückner -Rüggeberg, cond. LONDON CS 6434. SD. $5.79. ANGEL 36273. LP. $4.79. ANGEL S 36273. SD. $5.79. Bracha Eden and Alexander Tamir are an Israeli duo who have been playing This delightful disc draws its contents together in Europe for fourteen years. from operas performed in Hamburg at This is their first record to reach this the opera house on the Gänsemarkt country, and may there be many more! (Goosemarket). From 1677 to 1738 (I From whatever standpoint you care to 1. S. BACH: FLUTE SONATAS - Vol. 1 B. Minor / A Major / G Minor E -Flat Major. owe all this information to the interest- judge these players' work, it is obviously M9017 $2.49 A ono or Stereo ing liner notes accompanying the rec- first -class. For one thing, it is entirely ord), an energetic and successful com- fresh and spontaneous. Individually, the Send for complete FREE catalog. Write Dept. H, pany held forth there -probably the first pianism sounds brilliant and limpid at MACE Records, 254 W. 54th St., N.Y., N.Y. native German opera house. The com- the same time: in terms of ensemble CIRCLE SC' ON READER -SERVICE CARD

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www.americanradiohistory.com playing, it has extraordinary give -and- Allegro assai. The spare texture, in this 704 take. case particularly, is well framed in sharp The lyrical portions of the Rachmani- left -right stereo separation, and the sound euer c e íe4 noff Suite have a supple expressivity throughout is close and clear. S.F. 64 which virtually sings and breathes, while the more bravura moments of that piece are conveyed with stunning presence (and JOSE MARIA MANCHA: Recital of none of the hardness that blemished the Spanish Organ Music OSAKA recent Vronsky /Babin RCA Victor ver- INTERNATIONAL sion). I also admire the saucy, light - José Maria Mancha, organ. handed manner with which the Milhaud MUSICAL HERITAGE SOCIETY MHS Scarantouche and the Poulenc Sonata 603/04. Two LP. $5.00. FESTIVAL are projected. (The latter, incidentally, is written the work in 1918, and not Just as German organ music conjures the Sonata dedicated and later to Gold up preludes, fantasias, and fugues, so Fizdale.) for the connoisseur does the organ music In sum, these pianists have a feeling of Spain bring to mind tientos, glosas, for romantic music that for sheer flair and diferencias. Each country brought equals the legendary Bauer /Gabrilo- forth its own forms and styles, in organ witsch performance of the Arensky Waltz. music, organ playing, and organ build- Perhaps in the near future Eden and ing; and if Spain's contribution to the Tamir will turn their attention to the sum total is less well known than that They would ap- complete Arensky Suite. of other nations, it is partly due to the pear to be an ideal choice for the assign- very small proportion of recorded ma- ment. H.G. terial. An anthology such as this one is therefore welcome, though in a brief two - THEODOR GUSCHLBAUER: "Com- disc survey some important composers posers to the Court of the Holy have been omitted entirely (the Peraza Roman Empire" brothers, José Lidon, and Felix Lopez. for instance) and the music is often pre- Georg Muffat: Sonata No. I, for String sented in an incomplete form. Never- Orchestra, in D. Wagenseil: Trio Sonata theless, Padre Mancha's contribution is for Two Oboes (English horns), Cello, a useful one, and he gives the impression und Harpsichord, in F. Fux: Sinfonia of being technically and musically com- for Flute, Oboe, Cello, and Harpsichord. petent, besides demonstrating an almost Froberger: Suite for Harpsichord, in A easy familiarity with the fine but cum- Five minor. bersome organ in Seville Cathedral. ReasOs He plays music by acknowledged mas- Hilde Langfort, harpsichord (in the ters of the sixteenth century-Cabezón, Go od Froberger); instrumental soloists; Aus- Santa Maria, and Heredia -as well as a Season tiento by the little -known Bernardo best trian Tonkünstler Orchestra (Vienna), ocOlton Theodor Guschlbauer, cond. Clavijo del Castillo. But he has obvious- Per{ect Acltsts MUSICAL HERITAGE SOCIETY MHS 601. ly not read Santa Maria's famous book bco ò LP. $2.50. on how to interpret organ music of that Pco9cOm MUSICAL HERITAGE SOCIETY MHS age, for his quarter notes plod evenly N°(\ 601. SD. $2.50. one after the other instead of bending M to the rhythms of the three subtle and A quite enticing collection of works different tonneras, and in consequence that were born in Austria (except for what could have been interesting sounds Muffat's, probably all in Vienna) over merely boring. As for Cabezón's Mag- APRIL 12 -30, a period, roughly, from mid -seventeenth nificat, we hear only the organ verse, century to mid- eighteenth. The great and not the intervening (and very neces- 1966 organist Johann Jacob Froberger is, of sary) plainsong verses from the choir. course, the earliest of these composers; Later generations are well represented, his harpsichord suite, displaying a certain and room has been found for excellent Symphony Concert amount of his famous German "severity," pieces by Correa de Arauxo, Alvarado, is an imposing and at times complexly Cabanilles. Elias, Oxinagas, and Soler. Chamber Music linear essay -strongly rhythmic (and this Two pages of notes, atrociously trans- Opera comes through beautifully in Hilde Lang - lated from Spanish via French, could fort's superb performance) and always have been cut to make way for a speci- Soloists boldly drawn. Muffat strikes me as the fication of the Seville organ. D.S. least interesting here, with a suite of Noh -Plays dances cast in a conventional Corelli -ish mold. The Fux Sinfonia- essentially a NEW YORK PRO MUSICA: "The Kabuki trio sonata in which the two winds pur- Renaissance Band" Bunraku sue quite separate paths at times -is given an extra dimension by the vitality Praetorius: Terpsichore: Suite of Dances. of the continuo -cello line, and is agree- Isaac: A la bataglia. Lassus: Hor the la ably lighthearted most of the way. nuora; Chi chilichi'; Echo -Valle pro - Probably the most immediately appealing fonda; Passait vostri triomphi. Demon- work of the four is Wagenseil's (he was stration of instruments. For details please write to a pupil of Fux's, and much admired by INTERNATIONAL the six -year -old Mozart). The bright New York Pro Musica, Noah Greenberg. OSAKA oboe pairing in the first movement gives cond. FESTIVAL SOCIETY way to English horns in the second, DECCA DL 9424. 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Further information on this system is available from: ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141 CIRCLE 3 ON READER -SERVICE CARD DECEMBER 1965 115

www.americanradiohistory.com torical interest. musicological accuracy. PETER PEARS and JULIAN and the like, which virtuous readers will BREAM: English Lute Songs he anxious to have evaluated. the best thing about this record is the lovely Dowland: Fine Knacks for Ladies; Sor- "No one can noise it makes. A varied assortment of row Stay; if My Complaints; What If I recorders, krummhorns, cornetts. sack - Never Speed. Rosseter: Sweet Come buts, rauschpfeifes, flutes, shawms, rack - Again; What Is a Day; Whether Men Do make a guitar etts, and dulcians, together with viola da Laugh or Weep. Morley: Thyrsis and gamba, harpsichord. regal. and portative. Milla; I Saw My Lady Weeping; With My is used in a skillfully contrasted succes- Love My Life Was Nestled; What If My sion of instrumentations. and the last Mistress Now. Ford: Come Phyllis Come. `speak' as eight minutes of the second side are Pilkington: Rest, Sweet Nymphs. Cam- taken up with a useful demonstration of pian: Come Let Us Sound with Melody; many of these instruments, alone and Fair If You Expect Admiring; Shall 1 does SEGOVIA. in combination. Conic Sweet Lore. Anon.: Have You Seen The works included here range from but a White Lily Grow; Miserere, My The master brings to the 1487 -the Heinrich Isaac battle piece - Maker. by way of the second half of the six- music a scintillant control, teenth century -the four madrigals by Peter Pears, tenor; Julian Bream, lute. Lassus -to 1612. when Michael Prae- elastic rhythm, and wealth LONDON OL 5896. LP. $4.79. torius completed his collection of over LONDON OS 25896. SD. $5.79. three hundred dance tunes from of poetic color, and he French court sources harmonized and arranged One of the most astounding things about in four to six parts. Documentation of is gorgeously recorded." the quarter- century around 1600 when instrumental practice during those times the English lute song flourished is the -High Fidelity is sketchy, and it is rarely possible to sheer number of fine composers who declare categorically that one realization were active. Of the selected six who, to- is right and another wrong: but insofar gether with Anon, make up this record, as there is evidence. the versions put only Thomas Ford can be regarded as together by Noah Greenberg and his unequivocally minor and even his work assistant director, Lalloue Davenport. has ample charm. Francis Pilkington, are faithful to it. The music, which is who was Canon of Chester Cathedral, played as it would have been on big likewise wrote only a small quantity of festive occasions, neatly pinpoints the music, but he had a ravishing melodic difference between talent and genius. The gift, and Rest, Sweet Nymphs is one of four Lassus madrigals was common -it his two best songs. Philip Rosseter's tal- Renaissance practice to perform vocal ent was perhaps not on the same high music in instrumental versions. and level as that of the remaining Charles Canfield Brown's helpful liner three masters, but he too could turn a de- note here properly stresses the vocal ori- licious tune -Sweet Come Again is melt- gins of much instrumental music -are ingly lovely -and in Whether Men Do enough to show what a great composer Laugh or Weep he captures the devil - this Italianized Netherlander was. Prae- may -care quality of the words perfectly. torius is thought of primarily as a musi- Another legitimate cause for astonish- cologist (above all for the Syntagma ment in these songs is the way in which, Musicttm, an exhaustive treatise dating more than the products of any other from 1615 -19): but though he was not period, they combine the finest music a creative musician of Lassus' caliber, of the age with the finest poetry. In the arrangements in Terpsichore display the case of Thomas Campian, who for both technical skill and a lively imagina- good measure was a doctor too, the two tion. Isaac occupies a level between the arts were combined in one person, for other two, and he is represented by the his airs are settings of his own words. earliest surviving large -scale example of Shall 1 Come Sweet Love is a melody of a popular Renaissance genre, the mu- wonderful subtlety, and in this particular sical battle scene. collection Campian emerges not a whit The performers handle their often inferior to Dowland and Morley, who awkward instruments with authority and are both represented by some of their convey an infectious sense of enjoyment. best work. The record is beautifully engineered: The two anonymous songs are beauti- the mono version may be slightly less ful ones -and this brings me to the per- spacious and than brilliant the stereo. formance, for in the refrain of Have but it is excellent in its own right. You Seen but a White Lily Grow there is ANDRÉS SEGOVIA, GUITAR Alexandre Great care has been taken with the pres- a piece of singing as exquisite as any Tansman: in Modo Polonico entation, and the album is so good Suite that I know on record. Pears is one of the Federico Mompou: Suite Compostelana I hope Decca will not mind my suggest- great musicians of our time. For me, María Esteban de Valera: Two Minia- ing two ways in which projects similar he is also one of the great singers of tures. DL 10112 (M) DL 710112 (S) could be made even better in future: our time, but that is a much more per- fuller documentation of the instrumenta- sonal judgment. I know there are many tion of individual movements would be people who do not like his voice. How- helpful, and pictures of instruments are ever, for anyone not irreconcilably of much more enlightening when they are that party, this record cannot be too reproduced to a uniform scale. B.J. highly recommended: Pears is in superb form. His phrasing is sensitive, his breath control impeccable, his extemporized ornamentation ravishing, and his vibrato always points to the best in music well under control. Bream is no mere accompanist but a true partner, executing (u) MONAURAL (s) STERCO miracles of subtle tonal variation and giving full rein to the romanticism of CIRCLE 22 ON READER -SERVICE CARD

1 10 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com VANGUARD Recordings for the Conn( rN what was, after all, an exciting and which was almost completely rebuilt in highly colored epoch. 1960 by Karl Schuke. It's a magnificent I have possessed a mono pressing of instrument of apparent baroque sonic this record since it was first issued in authenticity and it is recorded with quite England about five years ago. That was astonishing clarity considering the long good; but the stereo, which I have now reverberation period of the church it- heard for the first time, is still better. self. But the entire Side 2 is devoted to A word -sheet is enclosed. All told, this that old idol of so many baroque con- is one of my favorite recordings. B.J. noisseurs, the c. 1610 Compenius chamber organ, of all- wooden pipes, which still stands intact in the Frederiksborg SVIATOSLAV RICHTER: Piano Re- The most explosive discovery of cital Castel at Hiller¢d, Denmark. Ever since the Baroque Revival! I first heard it on records (as far back as 1938 in imported 78s), its PETER SCHICKELE Bach: Well- Tempered Clavier, Book 1: ineffably presents the life and works piquant tonal qualities of Preludes and Fugues: No. I, in C; No. have reverberated P. D. Q. BACH (1807 -17421? in my memory more CONCERTO 4, in C sharp minor; No. 5, in D; hauntingly than FOR HORN AND No. those HARDART, S. 27 6, in D of any other individual instrument, CANTATA. minor; No. 8, in E flat minor. "IPHIGENIA IN of any kind, I've ever heard. What a BROOKLYN ". S. 53162 Prokofiev: Visions fugitives, Op. 22: delight it is to have SINFONIA CONCERTANTE Nos. 3, 6, and 9. Rachmaninoff: Prel- it brought back to S. 98.6 (for Bagpipes. Lute, Left - vivid life in this spacious, pure, handed Sewer Flute and Double- ude in G sharp minor, Op. 32, No. 12. un- reed Slide Music exaggeratedly stereoistic Stand) Schubert: Allegretto in C minor; Lünd- recording! and QUODLIBET The second major by PROF. SCHICKELE ler in A. Schumann: Theme and Varia- attraction here is the program's presentation Chamber Orchestra under the tions on the Name "Abegg," Op. I. of an extraor- direction of Jorge Mester dinarily comprehensive and illuminating John Ferrante. countertenor Leonid Hambro. harpsichord cross section of mid- and late (but still Ralph Froelich. French horn pre -Bach) baroque keyboard VRS -9195 & VSD -79195 Sviatoslav Richter, piano. masters. Oddly, though, "The works were given splendid DEUTSCHE GRAMMOPHON LPM 18950. the charismatic figure performances by Mr. Schickele LP. $5.79. of Heinrich Schütz himself is miss- and some of New York's best ing. Either musicians... The risibility of the DEUTSCHE GRAMMOPHON SLPM he wrote no independent audience, however, threatened to 138950. organ works or none has survived, but become a problem.., perhaps a SD. $5.79. foundation can be urged to sub- his influence is evident to a greater or sidize a tour." Howard Klein, lesser extent in the New York Times, on the Town Containing still more material from works of the various Hall Concert now immortalized Richter's 1962 Italian concert tour, the contemporary and next -generation -or-two ,,n 11th di . .Stereo present collection immortalizes some German composers who are represented well -recorded piano playing along with here. In chronological order they are: r sometimes distracting audience noise. On Michael Praetorius (1571 -1621) with CIRCLE 89 ON READER -SERVICE CARD the whole, it is not the most interesting two variations on "Nun lob' mein Seel' of the Soviet pianist's many discs. His den Herren "; Samuel Scheidt (1587- JOSEF FIDELMAN Bach is rather conventional, with im- 1654) with a chorale -tune setting and PLAYS RECITAL NO. 3 proper ornamentation and no embellish- variations on the Netherland folk song ON A NEW PARLIAMENT RELEASE ing to speak of, although the fingerwork "Ach, du feiner Reiter "; Heinrich is wonderfully fleet and Richter's so- Scheidemann (1595 -1663) with two BACH MOZART SCARLATTI nority is beautiful as sheer sound. The chorale -tune settings: Johann Lorentz (c. witty Prokofiev Visions fugitives fare 1610 -89) with a short Dorian Prelude: somewhat better, and it is to be hoped Matthias Weckmann (1619 -74) with a that this artist will one day give his Fantasia in D minor; Dietrich Buxtehude attention to the entire set. The Schubert (1637 -1707) with a Ciacona in E minor and Rachmaninoff morceaux have been and Toccata in G: and Christian Ritter previously available in Richter perform- (c. 1645 -1725) with a Sonatina in D ances, but those here have a beguiling minor. Not all of these works are re- simplicity. Schumann's youthful set of corded for the first time, or for the Variations suits the mercurial style of first time in organ rather than harpsi- the pianist perfectly: this performance is chord versions, but many of them are. the high point of the entire anthology. To the best of my knowledge, Lorentz Now, when will Richter get around to has never been represented on records Carnaval? H.G. before, Ritter and Scheidemann only rarely; and the four little anonymous . a performer of sensitivity and with a good dances (played on the Compenius organ deal of musical perceptiveness." HELMUT TRAMNITZ: "Organ to illustrate its onetime common use for Herbert Kupferberg, N. Y. Herald Tribune Music at the Time of Schütz" home music making and dancing) are " ' Appassionata' ... Emotionalism ... never probably all record firsts. gets the better of his essentially sound sense of Helmut Tramnitz, organ. I never hear music of this particular musical values . Fidelman's .. musical intelli- ARCHIVE ARC 3250. LP. $5.79. period without remembering what Law- gence is no less apparent in Chopin ... He shows ARCHIVE ARC 73250. SD. $5.79. rence Gilman had to say about it long ...that rubato ... need never interfere with before the baroque -era repertory became basic rhythm. Chopin ... stressed this point, and Those who relish the pungently raw as if Fidelman passes it along to his pupils, he is col- widely known or as much in vogue doing music a great service." ors and taut busy patterns so distinctive as it is now. "There are more noteworthy Dean Wallace, San Francisco Chronicle of baroque -era organ music will be things in this seventeenth-century music gratified by the present "... Mr. Fidelman has ... a fine, lyric touch that Archive mis- than prophecies of Bach: one finds here brings the music to life and sends it straight to cellany on at least two counts. The first a freedom and liberality of tonal speech, the heart ... great rhythmic subtlety ..." is its fascinating variety of both true a poignant beauty and expressiveness, McLellan, The Pilot, Boston and imitative baroque timbres com- that seem to connote an order of musical

. manded a remarkable ... pianist, Josef Fidelman .. . by the two instruments on which thinking which we are disposed to ap- a truly remarkable performance which should win Herr Tramnitz plays. The Side 1 selec- propriate for our own mature period - him long delayed recognition as one of our best tions are played on the organ of the far too light -handedly, alas! For, as a pianists -"Gerald Ashford, San Antonio Express St. Marien Kirche in Wolfenbüttel, one caustic philosopher briefly and devas- "... a sensitive and lyrical pianist..." which includes some of the original tatingly observed, `Our new thoughts Rafael Kammerer, American Record Guide 1618 -23 Gottfried Fritzsche stops but have thrilled dead bosoms.' " R.D.D. CIRCLE 32 ON READER -SERVICE CARD 118 HIGH FIDELITY MAGAZINE

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The Exponent 4/40 went right to the top of its class. In style, in performance. It was recog- nized as a standout by everyone who heard it. And now there's a new member of Sylvania's component portable family -the Exponent 4/30. De- signed to be the best in its class. The 4/40 rated bravos. We think the 4/30 stacks up as a great economy -priced encore. For specifications and a look at other Sylvania stereo, send 25C to: Sylvania Entertain- ment Products Division, Dept.HF -2, Box 7, Station C, Buffalo, N. Y. 14209. IA SYLVANSUBSIDIARY Or GENERAL TELEPHONE & ELECTRONICS GT&L CIRCLE 81 ON READER -SERVICE CARD DECEMBER 1965 119

www.americanradiohistory.com nearly twice as much. Nevertheless, it should be noted that English Decca's A VERY SPECIAL OFFER Ace of Clubs series has restored the subtle Curzon /Van Beinum reading to circulation in Britain at bargain rates, TO READERS OF and it is probable that its American counterpart. Richmond. will soon do likewise for the domestic buyer. H.G. HIGH FIDELITY MAGAZINE! kissues HANDEL: Suites for Harpsichord: No. 2, in F; No. 5, in E; No. 7, in Save $1.20 On The G minor; No. 10, in D minor; No. 14, in G Purchase Of This Classic ... Wanda Landowska, harpsichord [from HMV DB 4977 -82, 1935]. ANGEL COLH 310. LP. $5.79. BIZET: Carmen: Suite tGounod: Faust: Ballet Music; Funer- Handel's harpsichord suites are land- al March of a Marionette marks in the history of the instrument and of the form. Written with brilliant Royal Opera House Orchestra. Covent technical resource and intended as Garden. Alexander Gibson, cond. [from teaching pieces, they contain many move- RCA Victor LM /LSC 2449, 1960]. ments of structural interest and several RCA VICTROLA VIC 1108. LP. $2.39. in which the old dance forms can be RCA VICTROLA VICS 1108. SD. seen as developing towards sonata form. $2.89. To my taste -and I say this with trepida- tion -they are also a bit of a bore. Instead of either of the two familiar Handel is fine when he is making stately Carmen suites, based upon the several in- choral effects or, sometimes, when he is terludes and dances that adorn Bizet's writing with unaffected simplicity for the opera (one thinks back to the Beecham solo voice. But in these instrumental THE FABULOUS performances of both suites as models in works the level of his inspiration is elegant and idiomatic approach), we have simply not high enough to maintain PHONOGRAPH here a mélange of instrumental pieces interest. From Edison to Stereo plus transcriptions of such vocal and However. this finely engineered re- choral stand -bys as the Habanera and the issue of five of the best suites makes by Roland Gelatt, Editor -in- Chief, ensemble Andre as convincing a case for them as I can High Fidelity Magazine smugglers' of Act Ill. Kostelanetz has performed this type of imagine. I don't know why Landowska felt it necessary to transpose the Roland Gelatt's fabulous history of the fabulous operation more successfully, with a com- order phonograph is again available in a brand new pensating glow of orchestral tone. The of movements in the G minor Suite, but and revised edition which now includes recent the otherwise her performances can scarcely developments in stereo, recordings and tapes. present record brings only original lapse in taste compounded by dull, be faulted. Her rhythms are as vigorous THE FABULOUS PHONOGRAPH traces prog- straightforward playing and a plethora of and sensitive, her phrasing as grand as ress from the early cylinder recordings to the astounding high fidelity and stereophonic systems bass drum. The ballet music from always. So. since the sound is clean and of today. The turbulent story of the entrepre- Gounod's Faust, delivered sturdily, comes brilliant. those who like the music should neurs, the great musicians and singers who transformed the phonograph into an instrument off somewhat better; but the same com- be delighted with this record. I shall go of tremendous cultural importance is told poser's Funeral March of a Marionette, on trying. B.J. with a vast knowledge and an engaging style, bringing warmly to life a history which an inconsequential pops piece tacked on in other hands could have been a perfunctory as dividend, adds little to the second compilation of dates and facts." (Chicago Tribune) side. R.L. MOZART: Concertos for Horn and Orchestra: No. 1, in D, K. 412; No. "Gelatt has written lucidly and entertainingly 2, E No. 3, in E told the story superbly. His book should in flat, K. 417; become :i standard reference work." (Variety) BRAHMS: Concerto for Piano and flat, K. 447; No. 4, in E flat, K. Orchestra, No. 1, in D minor, Op. 495 NOW YOU CAN OWN THIS 15 VALUABLE WORK AND SAVE. Albert Linden, horn: Vienna State Opera Gary Graffman, piano; Boston Symphony Orchestra, Hans Swarowsky, cond. [from By a special arrangement with the publisher, Orchestra. Charles Munch, cond. [from Vanguard VRS 1068 /VSD 2092, 1961]. Appleton- Century, THE FABULOUS PHONO- GRAPH is offered to readers of High Fidelity RCA Victor LM /LSC 2274, 1958]. VANGUARD EVERYMAN SRV 173. LP. at $5.75. A saving of 51.20 over the regular RCA VicTRout VIC 1109. LP. $2.39. $1.98. bookstore of $6.95. price RCA VICTROLA VICS 1109. SD. VANGUARD EVERYMAN SRV 173SD. MAIL THIS COUPON TODAY $2.89. SD. $1.98.

My views of this performance remain just We are here given very skillful horn - WYETH PRESS PUBLISHING HOUSE about what they were at the time of the playing by a young (born 1937) Danish Great Barrington, Mass. 01230 original release: an extrovert reading artist. With Swarowsky providing an as this is surface value and is alert and polished accompaniment, and Gentlemen: Please send me copies such all this disc remains of 1HE FABULOUS PHONOGRAPH by Roland unlikely to shed any belated surprises. with first -class sound. has to the best of the recordings of these Gelatt. I enclose payment -$5.75. One hears virtually all it offer among the first time through. That observation concertos. It has. to be sure, a lot of Name is not necessarily a disparagement either company there: the new Mason Jones Address of Graffman's technically brilliant, mu- on Columbia. Civil on Angel, Penzel on sically tasteful treatment of the solo part Mercury, Tuckwell on London, and of City or of Munch's forthright, driving leader- course the classic Dennis Brain on Angel. would have felt at home State & Zip ship of the orchestral part. Indeed. the Old Leutgeb Serkin -Ormandy edition presents an al- with any of these experts. and one most identical point of view and costs imagines Mozart would have too. N.B.

120 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com PROKOFIEV: Concerto for Violin but in any case he makes a fine -if some- for the critical ear and Orchestra, No. 1, in D, Op. times just a bit overdramatic- narrator SI-4Vtt= 19 (A) for Peter. Unfortunately, though, the tChausson: Poème (B) current editions perpetrate the early ones' tRavel: Tzigane (C) error of presenting the narration at such a relatively high level and with so much David Oistrakh, violin; U.S.S.R. State presence, vis -à -vis the orchestral playing. HIGH FIDELITY PHONO CARTRIDGES Radio Orchestra, Kiril Kondrashin. cond. that the over -all effect is more one of a [(A) from Westminster 18178, 1956: (B) musically accompanied story than of a and (C) from Westminster XWN 18177, verbally annotated musical work. This BEST SELLER 1956]. side still can be recommended, with ap- MONITOR MC 2073. LP. $1.98. propriate reservations, especially to Kar- MONITOR MCS 2073. SD. $1.98. loff fans, but even at the disc's current bargain price its Lieutenant Kije Suite Oistrakh has recorded the Prokofiev D is not likely to be acceptable to Proko- major Concerto so many times (one fievians. The performance is slapdash version even lists the composer as con- where it is not methodical and the usually ductor) that it is a bit hard to keep perceptive Rossi seems lacking in any track of them all. Presumably, this per- feeling whatever for the film score's formance is, as noted above, the same as humor and fancifulness. R.D.D. MODEL M3D that once carried in the Westminster catalogue. It is well played indeed, with a Where cost is the dominant factor, slightly softer lyric focus SCHUBERT: Music for Violin and the M3D provides extremely musi- and slightly Piano cal and transparent sound at a crisper inflection than the Angel disc which the soloist recorded with Lovro rock -bottom price. The original, Johanna Martzy, violin; Jean Antonietti, von Matacic. There are read- famous Shure Stereo Dynetic other fine piano. Cartridge ... with almost universal ings in the catalogue. some of them with application. Tracks at pressures as better sound, but this one stands up For a review including this reissue, see low as 3 grams, as high as 6 grams. well enough. Schubert Music for Violin and Piano, For any changer. Only $15.75 It is illuminating to have the present page 102. account of the Ravel Tzigane reissued almost simultaneously with another celebrated reading -that by Jascha Heifetz. TCHAIKOVSKY: The Nutcracker, Where the latter made the pyrotechnics Op. 71 crackle with electricity, Oistrakh is far more soft -spoken and urbane about the Maurice Ab- Write for literature: Utah Symphony Orchestra, whole thing. Both approaches work when ravanel, cond. [from Vanguard SRV SHURE BROTHERS, INC. given executant skills such as each of 123/24, SRV l23/24SD, 1962]. 222 HARTREY AVE., EVANSTON, ILLINOIS these artists possessses, but I rather VANGUARD EVERYMAN SRV 168/69. CIRCLE 73 ON READER -SERVICE CARD prefer the Heifetz. Two LP. $3.96. As for Oistrakh's Chausson Poème, VANGUARD EVERYMEN SRV 168/ one must bear in mind that his 1955 69SD. Two SD. $3.96. American recording with the Boston Symphony is currently listed in the low - The major appeal of the Vanguard Nut- 111.1111.*111r priced RCA Victrola catalogue. That cracker, when it first appeared, was its version boasts the advantages of Munch's provision of such aurally attractive son - sensuous, idiomatic accompaniment and ics (delightfully bright and airy even in the fullness of true (as opposed to re- monophony, although of course more at- processed) stereo sound. The disc under mospheric in stereo) at a modest price. scrutiny. though. may be recommended if And since this current Everyman-series one likes the sound How to coupling: and ac- reprint shaves off a couple of dollars companiments are more than passable. from the original cost, it at least is now gift -wrap H.G. a better buy than ever. That is, though, provided one isn't familiar enough with all performances of the complete ballet to PROKOFIEV: Lieutenant Kije: Suite, realize that there are poetic and dramatic LP record Op. 60; Peter and the Wolf, Op. enchantments in the score quite beyond 67 the ken, to say nothing of the abilities, of the Utah Symphony and its conductor. Boris Karloff, narrator (in Peter and the Their performance is by no means a bad Wolf): Vienna State Opera Orchestra, one, but it just isn't in the same class Mario Rossi, cond. [from Vanguard VRS with the superb Nutcrackers by Dorati 1028 /VSD 2010, 1958]. for Mercury, Ansermet for London, and VANGUARD EVERYMAN SRV 174. LP. Rodzinsky for Westminster. In this case, $1.98. For music -loving friends. pack by certainly, a good sonic investment can be VANGUARD EVERYMAN SRV 174SD. Methods 4 or 5 such fine. unusual Cam- a poor musical bargain. R.D.D. SD. $1.98. bridge- Record renditions as: Bartók, Biber, Ives, Monteverdi, Rorem, Schütz, Thompson or Zelenka - Cuenod, Curtin, Even on its third time around (the origi- Correction: Alan Rich's statement in the Farberman, Fuller, Ghitalla, Leonhardt, nal 1958 discs were followed by an early September issue that the American Re- of Piston's Monosoff or Votapek /Vosgerchian. 1960 4 -track this program's cording Society recording taping), Second Symphony (reissued on Desto early stereo recording is Artists and composers, as delectably still spectacularly D410; DST 6410) was taped in New the Orchestra paired as strawberries and kirsch. de- vivid in spite of a somewhat dry acousti- York City by Juilliard is incorrect. Mr. Piston assures us that scribed in new Cambridge cal ambience, which is less noticeable in catalog. For the recording was made in Vienna by the timely, speedy delivery, write direct. more sharply focused, rather more the Vienna Symphony as were the natural- sounding mono version. The fa- majority of the American Recording miliar voice of William Henry Pratt, Society releases. Our apologies to Desto CAMBR R.EDRRES alias Boris Karloff, also seems more Records for this misunderstanding. 477 Washington St., Wellesley, Mass. 02181 authentically captured in monophony, CIRCLE 14 ON READER -SERVICE CARD 122 HIGH FIDELITY MAGAZINE

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CIRCLE 51 ON READER -SERVICE CARD 124 HIGH FIDELITY MAGAZINE

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Edith Piaf. Pathé FSX 154 -163. $33.00 (ten LP). and atmosphere in an instant, as that remarkable voice wells up with incredibly broad, vibrant tones. AT FIRST glance, it would appear that an album The scope and variety of this huge set is impres- containing ten LPs devoted to one popular sive. In your mind's eye you may remember Piaf as singer, even one as distinctively superior as Edith the eternal little sparrow in the inevitable black dress, Piaf, could turn into too much of a good thing. The thin, drawn, pale. Visually, this was the constant only comparable release that comes to mind is the image. But there were two Piafs-the visual and the series of fifteen Bing Crosby LPs issued by Decca- vocal. The vocal Piaf had all the strength and power a series whose nostalgic qualities could not make up and variety that one did not see in the visual Piaf. In for many of the barren stretches. It would be foolish these songs, recorded between 1941 and 1963 (two for anyone who has ever been entranced by Piaf to selections from her last public appearance, not pre- deny the nostalgia that one feels while listening to the viously issued, are included), there is passion, charm, present ten -disc set. But in this case nostalgia is never drama, joy, gentleness, sorrow, grueling intensity, a crutch or a cover -up for a fondly remembered per- vibrant resilience, airy gaiety. And they cover nearly formance which, in cold analysis and in retrospect, every facet of her career: she sings English songs may not prove to be quite so remarkable as one had (with a touch of accent but with a surprising com- remembered. prehension of the rhythm of the English language); No, there is none of that in the course of the 105 she is heard with Les Compagnons de la Chanson songs that Piaf sings. The memorable Piaf songs (her 1946 recording of Les trois cloches is done remain as electrifying as ever, from L'Accordéoniste, with them), with Eddie Constantine, Jacques Pills, recorded in 1941, down through the magnificent and her last husband, Théo Serapo; there are songs years of the Fifties that brought Le Chevalier de recorded both in the studio and in the music hall; she Paris, Hymne à l'amour, Padant Padam, Je hais les sings songs from an operetta, La Petite Lily, to which dimanches, La Goualante du pauvre Jean, Sous le Marguerite Monnot, Charles Aznavour, and Piaf ciel de Paris, and Milord. Not that everything in this herself contributed; and we hear Piaf, the actress (the set is a masterpiece -some of her songs are excellent, actress without music, that is, because in her songs some are only adequate. But she herself is almost she is always the actress) in a monologue -cum- always, in these recordings, a uniquely brilliant inter- sound- effects by Cocteau entitled Le bel indifférent. preter with an immediate authority that sets mood There is, in short, all of Piaf that we have known and possibly considerably more. One of the merits of such a collection is that it brings into focus many details -for instance the extent to which Piaf as performer and Marguerite Monnot as composer comple- mented each other; twenty -five of these songs are the work of Miss Monnot, including many identified as most typically Piaf. On the other hand, the set has one enormous demerit: it does not contain one word of annotation -no appreciation of Piaf, no remembrances, not even the most basic biographical facts. There is no explanation of the songs or of the Cocteau playlet or the circumstances under which some of the recordings were made. What could have been a monumental set is sent into the world limping, simply because one of the essential aspects of such a package The great Piaf: 105 songs -and none too many. has been completely neglected. J.S.W.

DECEMBER 1965 125

www.americanradiohistory.com P. F. Sloan: "Songs of Our Times." Dun- Nina Simone: "Pastel Blues." Philips 200- W -C1p«NO C ÚL O .,Ú hill 50004, $3.98 (LP). 187, $3.79 (LP); 600 -187, $4.79 (SD). LU c .. .a._ Barry McGuire: "Eve of Destruction." One of the essentials in Nina Simone's °arm Dunhill 50003, $3.98 (LP). performances is time -not in the sense Ñ"m Both these discs are products of the mar- of boat or rhythm (although this is also mválCpN S riage between rock 'n' roll and folk -pro- at the heart of her work) but of duration. cov--N -a test, a trend that began with o Bob Dylan. She has a unique skill for setting a mood 'Emcr P. F. Sloan is, like Dylan, both composer and then building layers of mounting m y and singer (he wrote all the songs Q nV ÑC a C L) on his intensity upon this foundation, a tech- . NV E disc and most of those on McGuire's) nique she uses to excellent effect on Ó NN>,O . n10E r N and his Eve of Destruction, included in Sinner -man, one of the high points of Z L N a both collections, has become a popular this disc. The song lasts for more than Vÿ Ó a N U hit. This song is not only the bellwether ten minutes as Miss Simone develops a Q a of what appears to be a new turn in the moving and emotional performance in- J m?, + development of rock 'n' roll, but a song volving not only her own compelling H 61N aLry cc- U U N that may possess considerable sociologi- singing, but guitar and cymbal passages, V W r r N- lC ZFUiiaNO cal significance. During one stage of its handclapping and shouts that evoke (i) W C N Q N the 4= +. development, rock 'n' roll appealed to same fervor O one associates with flamenco 0-C V« iV G c subteen -agers because the lyrics offered dancing. Yet she can also catch and protest value against adult oppression establish a mood quickly, as she does on Q " QoCO W Ú7CNÑ T++ and misunderstanding and the restrictions a short, gentle, lyrical piece called End dE-vOa .C) of school. Now the steady, propulsive of the Line. She can alter the traditional W v+ix d =dw' N rock beat backs up comment on a far work song form -the rhythmic whacks, fY d less juvenile world. E "If the button's even the use of falsetto -for strictly fe- UcUm«~.PwU Evcnm'ßt at pushed, there's no runnin' away," the male purposes on Be My Husband. And W y-ócc .. new breed of rock 'n' roll singer chants, she dares to stir the ashes of memory by NNO-UNÿO Ú 1- uu Qo . and you tell me . . . you don't undertaking Strange Fruit, a searing song °aó believe we're on the eve of destruction." that is inextricably associated with Billie Or, in What's Exactly the Matter with Holiday. Miss Simone's version is more Me ?, he asks, "Why can't I march when deliberately dramatic than Miss Holi- the cause is just ?" and finds that he is day's and, though it may not cut as inhibited from expressing his real feel- sharply, it is a valid and effective ap- ings by a sense of inferiority and inse- proach. Yet with all her versatility, Miss curity. Sloan is so prolific that it is not Simone is surprisingly bland on two clas- surprising to find him involved with sic blues- Nobody Knows You When some trite ideas (a daughter suffering You're Down and Out and Trouble in for the sins of her family) and with Mind-both of which she tosses off with echoes of rock 'n' roll's earlier juvenile seemingly little feeling. Ah, well -you protest. But the success of The Eve of can't have everything. Destruction indicates that something new, musically and politically, may be blow- Juliette Greco: "This Is Juliette Greco." ing in the wind. Sloan is a relatively un- Philips 215, $4.79 (LP); 615, $5.79 impressive, thin -voiced performer of his (SD). own works, but McGuire is a stronger, This practically definitive collection of more emotional singer, whose hoarse latter -day Greco not only presents the and husky voice brings a sense of ur- Parisian favorite in well- recorded inter- gency to the songs. pretations of such French popular song classics as Clopin -clopant, L'Ame des Danny Meehan: "Meehan's In!" Mercury poètes, La Mer, Moulin rouge, and Mon 21043, $3.79 (LP); 61043, $4.79 (SD). homme, but it is intelligently packaged Danny Meehan is a showman -a wiry for the English -speaking listener (this is little man with a leprechaun's grin, a the latest entry in the Philips Connoisseur bit of a lilt in his voice and a lot of Collection. a series notable for its excel- bounce in his feet. There is a touch of lent presentation). The album includes the old music hall about him but mixed highly atmospheric notes on Miss Greco with this is a suave, contemporary ap- and her songs by Vernon Duke, as well proach. He can charm you with such as complete French lyrics and English period pieces as On the Street of Regret, translations. Miss Greco's dark, husky or with his blithe singing of the 1920s' voice is recorded in close and intimate The One I Love Belongs to Somebody fashion. She can essay a lyrical, lilting Else, or with the tenderness he finds in approach to a song, although she often It Was My Father's Fashion. At the trims a melody to an almost spoken same time he explores the less exploited outline with great effect-notably in her works of Cole Porter (So Near and Yet unusual presentation of the all too fa- So Far), Rodgers and Hart (This Funny miliar Mon homme. The songs are excel- World, Ev'rybody Loves You), and Bart lent, Miss Greco is in fine fettle, and she Howard (Beautiful Women) with easy, receives interesting and highly effective intimate warmth. And given a strong accompaniments from a small group of ballad ( Where I Belong) he is very close musicians under François Rauber. to the Tony Bennett technique. There is more to a Meehan performance than George Brassens: "Sings of the Birds comes through on this generally satis- and the Bees." Philips 218, $4.79 (LP); fying disc because he is one who must 618, $5.79 (SD). be seen as well as heard. And there are This is another in Philips' Connoisseur some things here -an overextended She Collection -a well- annotated, illustrated Loves Me and a saccharine The House set of Brassens' ironic songs complete I Live In -that might not have seemed with the original lyrics and their English out of place if they were accompanied translations. Brassens, a poet with a by the charm of the visual Meehan. guitar, views society with a penetrating CIRCLE 30 ON READER- SERVICE CARD 126 HIGH FIDELITY MAGAZINE

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CIRCLE 16 ON READER -SERVICE CARD DECEMBER 1965 127

www.americanradiohistory.com and sarcastic wit, although he couches a feeling of gaiety and abandon, . . has been his songs in relatively gentle terms. But conjured up in remarkable fashion, and Sit in your own he makes his points in a rough, warm projected with appropriate rowdiness by voice as he sings of a gorilla in a zoo the Copacabana Municipal Orchestra and who finds himself free to lose his in- an ensemble of singers and soloists. Super,(9cer Hall! nocence, of a cuckold whose rivals share Everyone involved seems to be com- more than his wife, and of the barren pletely a ,, " r: part of the carnival atmosphere future facing the young couples who ex- -there is no suggestion of self -conscious ,ÿCV+; press their affection so openly on park professionalism. Amid a realistic sem- benches. blance of outdoor merriment, a series

J I of extremely rhythmic songs are played, ')Y John Barry: "The Knack." United Artists sung, or simply shouted. The high spirits 4129, $4.79 (LP); 5128, $5.79 (SD). and the naturalness of the whole presen- John Barry's score for The Knack con- tation result in a completely delightful sists of a single theme -a delightfully and unusual disc. perky little tune -which is the basis r. of a series of variations bearing such The Swingle Singers: "Getting Roman- ,7i titles as Here Conies Nancy Now (muted tic." Philips 200 -191, $3.79 (LP); 600- I fi: trumpets over fiddles), Photo Strip 191, $4.79 (SD). (organ with deep trombone fills), Doors By now the pattern of swingling-vocal- and Bikes and Things (very bright, izing the works of classical composers clipped, rhythmic xylophone, brushes, over the swinging beat of bass and drums organ). It is a tour de force and, thanks -has been sufficiently well established to to Barry's imaginative wit, a completely permit most listeners to decide whether entrancing light musical experience. The or not this is their cup of tea. The com- SHARPE HEADPHONES music is full of bounce, sly accents, and posers given the swingle treatment here swinging merriment and, despite the are Beethoven, Chopin, Schumann, Men - give dynamic new apparent limitations, it is far mor, delssohn, Mussorgsky, Albéniz, and to interesting than most of the more Schubert. Ward Swingle, the group's range stereo listening expansive scores. leader, describes the nineteenth century Only Headphones have the as "not a particularly swinging period," Sharpe Laurindo patented noise- attenu- Almeida: "Sueños." Capitol but he has managed to find material that combination 2345, $3.79 (LP). ation cup and cavity divider with swings along very nicely in the clean, Almeida's renown as a guitarist seems precise execution of his singers. The three harmonic dampers to produce to move in rising and falling waves. The group manages to make their repeated the unequaled flat frequency re- first peak was in the late Forties when "dabba -dabba -dabbas" even more clipped, sponse. Sharpe Headphones `shut he was a member of Stan Kenton's band. crisp, and expressive with each new out" random noise that masks the In the early Fifties, he received renewed recording. very highs, the very lows. Sharpe attention for his experiments in jazz Headphones reproduce the audio samba with Bud Shank on flute -a pre- The Smothers Brothers: "Mom Always frequency ranges smoothly and cursor of bossa nova. His star rose again Liked You Best!" Mercury 21051, distortion -free, outperforming the with the success of bossa nova early in $3.79 (LP); 61051, $4.79 (SD). the Sixties, and more recently Almeida The finest loud -speakers. Professional in Smothers Brothers serve up a gaudy has been collaborating very successfully mixture of slapstick and sentiment, stand- - every detail, from comfortable, dual with the Modern Jazz Quartet. So up comedy, and romantic song. It is slide headband to liquid- filled, noise - Capitol has chosen to re- release this an oddly assorted stew, some of it well attenuating ear seals. collection of guitar solos which may seasoned and smoothly turned out, parts Complete with strain relief cord have escaped general notice the first of it lumpy and rather ordinary. The Dynamic driver Inner and outer time around. It is a happy reappearance routine, based on the premise that Mom frequency dampers Acoustic seal - for Almeida, an unusually skillful gui- always liked Tommy Smothers better ing ring Full spectrum frequency tarist whose background ranges from than Dickie, allows Dickie to indulge in dampers and resonance aUenuator. guitar to his Life time guarantee on performance, classical jazz, although his impressive projection of a small boy's workmanship, material. recent participation in the bossa nova shrill irritation. This in- and -out bit of wave has tended to obscure the breadth humor might have come off better if Frequency response: flat from 20- 20,000 of his talents. He plays a varied program the audience laughter had not been so cps ± 3 db. Impedance: 8 ohms per phone, that includes a interpretation oppressive. used with 4, 8, 16 ohm outputs. Power out. rich, dark In between Dickie's comedy put: 2 watts per phone. Noise attenuation: of Laura (involving, as an interlude, a turns Tommy sings pleasantly enough, 40 db at 1000 cps. run he once played on Stan Kenton's but on the whole these promising ingre- pU Lament) and Tea for Two from the dients would probably have been even MODEL HA- 660 /PRO; M $60.00 ON' popular world; Malagueña and Barrios' more effective with a bit more editorial MODEL HA -10; $43.50 Vals de Concerto from the longer- haired discretion.

MODEL HA- 8; S $24.50,: fields; and several of his own compositions, among them a charming tune Ray Baretto: "Viva Watusi!" United Look for colorful called Mystified, Stauiana (a reflection Artists 3445, $3.79 (LP); 6445, $4,79 Sharpe Headphone demonstration - of his association with Kenton), and a (SD). display at leading Hi Fi premature bossa nova, Braziliance. One Mongo Santamaria: "La Bamba." Colum- stores For specifica- of Almeida's most interesting perform- bia CL 2375, $3.79 (LP); CS 9175, tions and the name of ances in this program is Eili, Eili, to $4.79 (SD). your nearest Sharpe dealer write: which he brings a fresh and provocative Machito: "Mucho Mucho Machito." interpretation. United Artists 3447, $3.79 (LP); 6447, $4.79 (SD). Copacabana Municipal Orchestra: "Car- Xavier Cugat and His Orchestra: "Feel- nival in Rio, 1965." Kapp 1446, $3.79 ing Good!" Decca 4672, $3.79 (LP); rfiSHARPE (LP); S 1446, $4.79 (SD). 74672, $4.79 (SD). Instruments, Inc. This disc of prize -winning songs from the The four Latin bands heard on these DEPT. A 1965 Carnival in Rio does not, fortunate- discs cover more than three decades 955 MARYVALE DRIVE ly, resemble a similar routine presenta- of shifting popularity in Latin dance BUFFALO, NEW YORK 14225 tion of unfamiliar songs from the San styles in this country. Cugat was one Sharpe of Canada, 79 Martin Ross Ave.,Toronto, Ont. Remo Festival. Instead, a carnival spirit, of the early popularizers of the rhumba CIRCLE 71 ON READER -SERVICE CARD 128 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com in the Thirties and the conga in the quartet). She rocks a :ul shouts her way Forties; Machito, a product of the late through Trouble in Mind and Muddy

Forties and early Fifties ; the :,a ..ho Water, demonstrating how well the and cha -cha), was one of the channels preaching, declamatory side of gospel through which jazz and Latin band can underline and expand the lyrics. styles intermingled during that era; Ba- And the lusty, open attack that gospel retto and Santamaria are part of the engenders, along with the insistently roll- new Latin band renaissance presently ing. all- pervasive sense of rhythm, makes active in the United States. fast pop tunes such as This Could Be On these discs the one live, vital. ex- beautifully suited to the haunting boleros the Start of Something Big. If 1 Had a citing band belongs to Baretto. A delight- that makes up the bulk of her contribu- Hammer. More, and even Love for Sale ful flow of fun, rhythm, and frolic tions. As for Cugat. you'd scarcely move with incredible vitality (although. comes from his ensemble of fiddles. flute, recognize him on this new Decca disc. in the process. Lore for Sale loses much trumpets, piano, percussion, and voices. Evidently attempting to combine the best of its musical and lyrical sense). But As the instruments and voices swirl in of everything. he plays current pop hits for a slow ballad -no. In these songs. and out of the basic ensembles. they (Downtown) and show tunes (Fiddler her gospel shout becomes affectation and create a gay sense of abandon. a feeling On the Roof) with instrumentations and the emotionalism turns to pure ham. In of enthusiastic involvement that inevi- styles that mix a contemporary twist - other circumstances, however, Miss tably draws the listener along. Santa- based attack with Latin rhythms. This Franklin has lots of voice, lots of rhythm. maria, on the other hand, working in Cugat orchestra (since he no longer and lots of life. Getting her out of the much the same idiom, misses the joy heads his own band, this is presumably studio and onto a night club floor has and spirit Baretto projects. His heavy - a studio group) features organ and guitar fully released these qualities. handed approach seems geared toward from the twist world along with the wearing the listener down rather than lift- traditionally Latin flute. marimba. Mari - Jerry Herman and His Orchestra: "Hello, ing him up. He also has a fondness for achi trumpets, and percussion. The attrac- Jerry!" United Artists 3432, $3.79 such incredibly corny effects as a ricky- tive Dick Jacobs arrangements, played in (LP): 6432. $4.79 (SD). tick trumpet and a yackety sax. discothèque -style continuity, make up a Herman's reputation is based on his Machitti s powerhouse band is, in con- pleasant dance program, but, unlike scores (music and lyrics) for Hello. trast to Baretto and Santamaria, almost Baretto. Machito, or even the extrava- Dolly and Milk and Honey. not on his stately in its approach. Using typical gant Santamaria, Cugat seems to have abilities as a pianist. So here he is at the American swing -band instrumentation abandoned most of his legitimate Latin piano. accompanied by an orchestra. instead of the fiddles and flutes that associations. playing songs from several recent color the Baretto and Santamaria groups, Broadway shows, including his own Machito still plays the essentially formal Aretha Franklin: "Yeah!!!" Columbia CL Dolly. He plays a modest, capable, com- Cuban music laced with jazz touches 2351, $3.79 (LP): CS 9151. $4.79 (SD). poser -type of piano -conservative. sen- that brought him recognition in the late On the whole, Miss Franklin's gospel sible. with an occasional flourish thrown Forties. In this collection, the high points background serves her well in this colin just to be daring, but so placid that are provided by his vocalist. Graciela, lection (recorded during a club perform- he rarely does real justice even to his whose sinuous and expressive voice is ance with backing from an excellent own tunes. JOHN S. WILSON

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www.americanradiohistory.com George Barnes and Carl Kress: "Guitars. lumbering. heavy- footed group that slogs (trombones) are prominent among his Anyone ?" Carney 202. $3.98 (LP). its way through relatively turgid ar- associates. The death of Carl Kress last spring rangements brightened by Gillespie's ended one of the most perfect collabora- flashing trumpet solos and one of John Duke Ellington and His Orchestra: "Will tions jazz has ever known. The two - Lewis' earliest piano solos. Gillespie's Big Bands Ever Come Back ?" Reprise guitar work of Kress and George Barnes comedy singing helps a bit, too, but the 6168, $3.79 (LP); 9 -6168, $4.79 (SD). was a marvel of light, delicately balanced, effect is limited. Clarke's group was as This is the sort of record that can drive and completely relaxed interplay. Kress close as Victor ever came to recording a an Ellington enthusiast to the depths of was basically the accompanist to Barnes's really first-rate bop small group. All in despair. Here is the most original and single string solos, but every once in a all, however, the disc is not apt to con- creative jazz orchestra in the world while he moved out front to play a vince anyone who was not sold on bop at reduced to the banal assignment of chorded solo -the result, some of the the time, although the collection does playing the signature themes of other happiest sounds imaginable (he does it offer some fine performances by Thomp- bands -the kind of program usually used on this disc on Clap Yo' Hands and son. Buddy De Franco, and Lennie Tris- as an attention -attracting device for bands Undecided). This collection. presumably tano. with nothing of their own to offer. And Kress's last recording. is a fitting memo- they call the result "Will Big Bands Ever rial to him: his performances are im- Phil Bodner: "Living Jazz: Quiet Nights." Come Back ?" Not if record companies peccable. They are unique miniatures, RCA Camden 914, $1.98 (LP); S 914, attempt to kill off the most unique big subtle, beautifully shaded, swinging ever $2.49 (SD). band still functioning with such demean- so airily, and blessed with a quiet charm On this disc Bodner gives us light, airy, ing projects as this. And yet, Ellington that has all but disappeared from jazz. springy performances played by a small being Ellington, all is not completely lost. The talents of Barnes and Kress are group over what is, for the most part, The Ellingtonians may lumber dismally mirrored in their ever tasteful selection a sort of bossa nova shuffle rhythm. through Tuxedo Junction, One O'Clock of fine tunes which range. on this occa- The beat is irresistible; the ensembles Jump, and Woodchopper's Ball (they do sion, from Memories of You to Satin are tightly woven and threaded with not swing comfortably on such blues- Doll, with strong emphasis on the great attractive colors, shadings. timbres; and based pieces) but simply by turning Glen show tunes of the Twenties. arrangements are structured with an ear Gray's Smoke Rings or Benny Good- for strong contrasts (bass trombone man's Goodbye over to the infallible "The Be -Bop Era." RCA Victor LPV against flute or vibes, broad organ against Johnny Hodges, the day can be saved. 519, $4.79 (LP). light guitar), and phrasings are clipped And Ellington s talent for getting to Victor. along with the other major and precise but singing. The selection the heart of a piece does wonders for labels, showed relatively little interest of tunes is interesting -one bossa nova Artistry in Rhythms, a piece with which in be -bop when that revolutionary (Quiet Nights), Neal Hefti's delightful Stan Kenton has been struggling for jazz form was riding high in the Cute (a splendid vehicle for Bodner's twenty years. With Ray Nance's violin, mid -Forties. The company took a few group), Honeysuckle Rose (it takes real both plucked and bowed, as a focal stabs at it. however, and has now put imagination to find a different way to point and Harry Carneÿ s dark -toned together this reissue disc. which includes play this -but Bodner does), A Taste bass clarinet and Cootie Williams' superb most of the major names of the period of Honey. and In the Still of the Night. plunger trumpet wandering in and out, (Charlie Parker, Dizzy Gillespie, Bud Even the pop hit of a few years ago, the Kenton theme is turned into a little Powell, J. J. Johnson. Fats Navarro, Mister Sandman, emerges with inviting gem -so good that one can forgive the Kenny Clarke, and Miles Davis) plus charm. Bodner plays flute, piccolo, and waste represented by much of the disc. one important group. Gillespie's big alto saxophone while Dick Hyman Williams, incidentally, shines through band. Parker's appearances are quite (organ, piano), Mel Davis (trumpet, constantly, no matter how drab the situ- brief (short solos on two 1949 Metro- flugelhorn), Bucky Pizzarelli (guitar), ation may be. The disc is accompanied nome All -Star pieces) and Davis is and Buddy Morrow and Paul Faulise by unctuous, uninformative (even mis- heard even more fleetingly on the same informed) liner notes which provide selections. There are entries by Coleman neither a band personnel nor an identifi- Hawkins' 52nd Street All- Stars. Illinois cation of soloists. Jacquet's combo. Lucky Thompson's Lucky Seven, Charlie Ventura's group, Hall Brothers Jazz Band. GHB 11, $4.98 and Count Basic's sextet -all of them (LP): S I I, $5.98 (SD). actually reflecting transitional styles rath- The Hall Brothers band is a semipro er than full -blooded bop. That leaves group in Minneapolis. It plays the tradi- four pieces by a Kenny Clarke group tional repertory with a bit more enter- that includes Navarro, Kenny Dorham, prise in digging out material than most Powell, and Sonny Stitt, and five by the other groups of this type, and it also Gillespie band. Gillespie's band, re- boasts an attack notable for its ease, recorded between 1947 and 1949, is a laxation, and lack of forcing. This col-

DECEMBER 1965 133

www.americanradiohistory.com lection includes a rmusing Bogalusa Strut he joins his clarinet with Mike Polad's rigorous vocalizing. Hendricks made up (from the Sam Morgan repertory); The soprano saxophone on Kansas City Man, in spirit and zest what he lacked in Entertainer, played in the easy, deliberate their duet pays its respects to Sidney voice. Working on his own as a singer, fashion favored by Bunk Johnson; and Bechet without being buried by Bechet's however, his lack of voice creates diffi- a treatment of Skid- Dat- De -Dat which devices. The sound on most of the disc is culties, particularly on ballads. And flows along so naturally that one is never clean and full, but the first three selec- when one of these ballads is the maudlin conscious of the Louis Armstrong over- tions on Side 1 of my copy are strangely Old Folks, the results are deplorable. tones usually dominating this piece. The muffled. The program also includes his tongue - ensemble playing is rugged and forth- twisting lyrics to jazz solos on Cloud- right. Charles DeVore on cornet and Jon Hendricks: "Recorded in Person at burst and Shiny Silk Stockings, his more Russ Hall on trombone contribute strong- the Trident." Smash 27069, $3.79 (LP); formal lyrics to Quincy Jones's easy ly to the sturdy tones of the front line, 67069, $4.79 (SD). and rhythmic Stockholm Sweetnin', and but the real spark both in ensembles and When he appeared with the Lambert, his tiresome and tasteless but apparently solos is provided by clarinetist Richard Hendricks, and Ross /Bavan trios, Jon very popular novelty, Gimme That Wine. Thompson. His rich tone and free, soar- Hendricks' drawbacks as a singer were In these songs Hendricks' amiability and ing style add color to all the pieces, but of relatively little consequence. Backed good spirits shine through his hoarse, he makes Bogalusa Strut a particularly by a trio and with either Annie Ross voiceless singing but do not offer quite brilliant showcase for his work. And when or Yolande Bavan to carry the more enough compensation for his lack of vocal equipment.

Features never before offered on a stereo headset Woody Herman and His Swinging Herd: "My Kind of Broadway." Co- Comfort Control lumbia CL 2357, $3.79 (LP); CS 9157, $4.79 (SD). Although there are only three big jazz bands of consequence still functioning - Basie, Ellington, and Herman -the record companies seem determined to grind even these into the ground. Basie has been devoting an inordinate amount of time to current pop hits on Verve and Reprise. while Ellington, since joining Reprise. has turned out current pop and are standard on the new Telex professional quality... film songs but almost nothing of his own. And now Woody Herman (who has lately made a fine set of discs ( for Philips) makes his new debut on Columbia with a banal set of show //Walla tunes. Like Basie and Ellington. Herman takes the assignment and gives it more than it deserves. Nat Pierce brings a little straightforward simplicity to some of the arrangements, the Herman band still has its vigor and discipline. and Woody himself is an alert and engaging clarinetist and alto saxophonist. But the hand. in general, is wasted playing I Feel Pretty. Never Will I Marry, Hello Young Lovers. and such things. The fire the sparkle. the humor, the zest that make the Herman band what it is are all missing in this routine assignment. A TELEX FIRST- Comfort Control . . . knob adjusts earcup pressure for best sound and comfort. Listen -test Telex Stereo phones and You'll Accept Earl Hines: "Up to Date." RCA Vic- A TELEX FIRST -Electronic Tone Control ... controls Nothing Less. tor LPM 3380, $3.79 (LP); LSP tone according to preference and program. Ask your dealer to dem 3380. $4.79 (SD). onstrate the Serenata This is the fourth Hines LP to be A TELEX FIRST- Disappearing Headband ... no bulky ($59.95) or write for full released in recent months (the fifth if exposed adjustment parts. Smooth, clean design, com- information. See also the you count RCA Victor's reissue of pletely adjustable. three other great Telex stereo headsets. One Hines's Grand Terrace band). It differs A TELEX FIRST- Detachable Cord . . . New conven- will match your exact from the earlier discs. which were ience. Stores neatly. Add adapter cords for a variety of preference - Adjustatone primarily devoted to Hines's piano, in connections. ($15.95), ST -10 ($24.95), that several instruments are present ST -20 $29.95. (although, aside from Aaron Bell on A TELEX FIRST -Choice of Cushions ... Liquid -filled bass and Jimmie Crawford on drums, are standard, foam cushions optional. only two other musicians are heard). However, Budd Johnson plays three in- A TELEX FIRST-Choice of Impedance . .. Either 8 or 600 ohms. Use for tape editing or monitoring. ST-10 ST20 struments- tenor. baritone. and soprano saxophones-and Ray Nance doubles A TELEX FIRST- Performance . . . New all dynamic on violin and cornet. As a result, the sound reproducers set a new standard for stereo re- ./ programming is more varied than on the sponse. One minute's listening will convince you. Adrystatone first three discs. Sometimes this is an Products of Sound Research advantage, sometimes not. Playing with Johnson or Nance, Hines is inclined to defer to them, to let them build the piece instead of building it in his own fashion. However, Hines's skill as an accompanist is tremendously impressive. notably behind Johnson on Linger DEPARTMENT19- L,3054 EXCELSIOR BLVD., MINNEAPOLIS, MINNESOTA Awhile and in back of Nance's violin CIRCLE 84 ON READER -SERVICE CARD 134 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com on The Hour of Parting. The ideal setup velopment of Latin jazz. Beginning with which, by virtue of Dick Wellstood's in this collection, and one that might Esy Morales' classic Jungle Fantasy romping, stomping piano and Parenti's have been used more than once, is an (which Morales played with a much ripe, woodsy tone and sometimes jaggedly extended performance (seven minutes) more earthy and vital attack than forceful attack on clarinet (slightly rem- of It Had To Be You, in which Hines Mann), he progresses through Bijou. iniscent of Johnny Dodds), falls into has time to develop his solo portion Manteca, Señor Blues, and Watermelon the Jelly Roll Morton school of clarinet - before Johnson comes in on tenor Man to a presentation of the current state piano trios rather than in the Benny saxophone. Bell and Crawford form an of Latin jazz which he describes as Goodman vein. The repertory also favors admirable rhythm section all through "boom chitty boom." It is a varied the Morton view: blues, rags, and stomps, the disc. panorama with strong performances by including Morton's own Shreveport Chick Corea on piano and Carmel Jones Stomp. With Sam Ulano supporting them Paul Horn Quintet: "Cycle." RCA Victor (trumpet), and it includes a particularly ably on drums, Parenti and Wellstood LPM 3386, $3.79 (LP); LSP 3386, lively vocal and instrumental version of are full of lively, bubbling gaiety on $4.79 (SD). a Cuban song, Ave Maria Morena. Railroad Man, Wildcat Blues, and Ec- The quintet that Paul Horn leads on this centric, while the broad, warm timbre disc shows itself capable of tremendously Tony Parenti and His Downtown Boys. of Parenti's low register is particularly broad and powerful playing, both in en- Jazzology 11. $4.98 (LP). effective on Atlanta Blues and Chantez semble and in solos. The group's use of Tony Parenti's Downtown Boys is a trio les bas. Although seven of the ten selec- dynamics is at times overwhelming. not only in the roaring percussion work of Bill Goodwin, the striking chordal piano playing of Mike Lang, and the spreading. stretching effects achieved by Bill Plum- mer on bass, but even in Horn's work on REVERSE PLAY automatically flute. He is one of the very few jazz flutists who can project a sense of depth and body with this normally shrill instrument, and he gives us a striking SELECT PLAY automatically display of his ability on this disc. On two pieces Horn has added a pair of bagpipes, both as atmosphere (for the open- REPEAT PLAY ing of Greensleeves) and as a back- automatically ground to support some very strong fluting on his part. This is an unusual disc and one that shows the rapidly developing Horn playing with great authority.

Stan Kenton: "Wagner." Capitol 2217. $3.79 (LP); S 2217, $4.79 (SD). A meeting between Stan Kenton's bluster- ing brass and the music of Wagner was probably bound to happen. Well, they have met but nothing happens- absolute- ly nothing. Instead of pulling out all die stops Kenton sidles up to Wagner rather shyly and tries to play him straight. Oh, there's a little bongo rapping here and there and some tentative riffing in the brass. But the approach is straight- faced, humorless, and respectfully timorous. Dull, too. NEW! SOLID STATE 400X STEREO TAPE RECORDER 22,000 CPS Cross Field Response echo chamber effect Herbie Mann: "Standing Ovation at New- port." Atlantic 1445, $4.79 (LP); 4 heads, 3 motors remote control plug S 1445, $5.79 (SD). "Latin Mann." timed or signal reverse 101/2" reel adaptable Columbia CL 2388, $3.79 (LP); CS sound -on- sound, 9188, $4.79 (SD). sound- with -sound using channel 3 speeds (15 ips optional) Herbie Mann's efforts to find a suitable jazz outlet for his flute led him, quite transfer, sound- over -sound 4 digit index counter, 2 VU a few years ago, to Latin rhythms, and push button controls, 2 speakers meters he has been working fairly consistently in this field ever since. His present octet The new 400X from Roberts performs every tape recording technique includes two trombones, vibraphone, a within the unit itself. No need to set up 2 or 3 tape recorders in tandem to regular drummer, and a conga drummer. re- these The trombones are presumably present do complicated sound mixing and recording effects. Added to to give the group solidity and body, but recording techniques are the new automatic play features built into the they still do not offer quite enough relief 400X. includes an automatic reverse triggered either by timer or sensing tape. from the busy, piping quality of Mann's flute in the longer pieces (eight to ten In addition to versatility, the amazing 22,000 cycle Cross Field Head brings minutes) on the Newport album. Mann's to stereo recording a clarity, brilliance, and response not best moments on this disc occur during possible with conventional tape heads. $79995 a fascinating flute improvisation -unaccompanied except for a repeated bass figure on Comin' Home Baby. Oliver Nelson's big -band arrangements on Latin ROBERTS Mann offer the flutist a more varied LOS ANGELES, CALIFORNIA 90016 accompaniment. With the big band, DIVISION OF RMEEM MANUFACTURING CO. WITH 75 PLANTS AROUND THE WORLD Mann touches the highlights in the de- HF12 RT20 CIRCLE 66 ON READER -SERVICE CARD DECEMBER 1965 135

www.americanradiohistory.com tions were recorded in 1961 and the re- Rollins works ,'a :: i,; iral development ONLY THE NAME maining three in 1965. the trio is rein the Impulse performances. and he markably consistent all through the disc. takes the time to explore his ideas, HAS CHANGED Its release most appropriately marks the whereas the Victor efforts are apt to A NAME IS fifteenth anniversary of Jazzology Rec- seem stunted. The addition of Jim Hall's ords, for it was Parenti who made the guitar on four Victor pieces helps open EASY TO CHANGE; label's first LP in 1950. them up. providing contrast to the dark, A REPUTATION ISN'T. ropelike texture of Rollins' playing. David Izenzon's bass is Django Rein'tsrdt: "Django, Volume 10." heard on one WE'VE BEEN KNOWN Victor selection and his bowed playing Pathé 2 =7. S5.98 (LP). adds a sweetly singing quality to the AS ARGO RECORDS Although this is listed as Volume IO in generally rough, abrupt sound that TEN AND the valuable series of Reinhardt's work FOR YEARS Rollins produces. On the Impulse, Ray that Pathé has compiled, it is actually Bryant's smooth, flowing piano solos DURING THAT TIME the twelfth disc in the set. All the are the primary contrasting element. recordings on this disc are from Rein - WE'VE BUILT AND Rollins' authority is made immediately hardt's postwar period, mostly with the evident on both discs. but, despite the ENJOYED A reconstituted Quintet of the Hot Club power of his playing. the performances REPUTATION FOR of France featuring Stephane Grappelly almost always tend to fall into a dis- on violin once again. There is also one jointed series of stabs and flares. PRODUCING piece with Hubert Rostaing (playing alto saxophone) PHONOGRAPH in place of Grappelly. one Artie Shaw and His Orchestra: "Septem- Reinhardt solo accompanied by Grap- ber Song." RCA Camden 908, $1.98 RECORDS OF pelly on piano, and an unaccompanied (LP); S -908 (e), $2.49 (SD). Reinhardt solo. This last solo -an ex- UNSURPASSED None of the ten selections in this seven - series improvisations on tended of year cross section of Shaw's groups EXCELLENCE. Nuages, Reinhardt's most one of famil- (1938 -1945) is among his more cele- BUT NAMES ARE NOT iar compositions. which he performed brated efforts, yet the mere fact that for a film in 1951 three years before UNIQUE, AND IF run -of- the -mill Shaw remains bright and his death a superb performance which -is attractive after a quarter of a century highlights Reinhardt's brilliance in a AN ORGANIZATION is a remarkable tribute to the fine. jazz- works has FINDS THAT THEY way that none of his shorter tinged dance bands that Shaw led. Shaw's ever done. The quintet selections are of three big bands are here -the original varying both in performance and ALONE NO LONGER quality. group of the late Thirties, the post - ANSWER TO AND FOR recording (several have a ringing. echo- Mexican- hiatus studio band with strings, ing sound). Here Reinhardt is often and the postwar band. The original band, THE RECORD OF rather perfunctory (for Reinhardt), so heard on five selections, remains the that one's interest tends to be carried best of the lot -a band that played THEIR NAME, AND swinging violin. by Grappelly's gracefully beautifully tight, swinging ensembles, a when the THAT THEIR But there are other moments band that had a group sound of its own suave ease of the INDIVIDUALITY IS group recaptures the and phrased impeccably. The sound re- prewar performances. particularly on mained with the second band (heard once AT STAKE, A NEW the languorous Diminishing and the on this disc), although the strings diluted IDENTITY MUST BE sprightly Eveline. The Reinhardt solo its effect; the third band. with three selec- is with Grappelly on piano an oddity: tions here, was a harder. heavier group ESTABLISHED. listed as To Each is Own Symphony than the earlier ones. with only Shaw's OUR NAME WAS ARGO (sic). it is a medley of To Each His Own mellow, bubbling clarinet lines to remind and Symphony, through which Reinhardt us of his earlier ensembles. The 1940 -OUR NEW NAME IS builds from an ad -lib opening to a driv- Gramercy Five is also here (My Blue CADET. THE NAME ing finale. Heaven), swinging brightly through Johnny Guarnieri's hot harpsichord and AND ONLY THE NAME Sonny Rollins: "The Standard." RCA a muted trumpet solo punched out by HAS CHANGED. Victor LPM 3355, $3.79 (LP): LSP Billy Butterfield in the best Muggsy 3355, $4.79 (SD). "On Impulse!" Im- Spanier plunger style. SOME ARTISTS pulse 91, $4.79 (LP); S 91, $5.79 (SD). The positive, highly affirmative attack Archie Shepp: "Fire Music." Impulse 86, WHO RECORD of Sonny Rollins on tenor saxophone $4.79 (LP): S 86. $5.79 (SD). EXCLUSIVELY (Nat Hentoff aptly refers to it as "in- There is quite a bit of Charlie Mingus stant authority" in his notes for the in Archie Shepp's music -the shifting, FOR CADET; Impulse disc) is applied to familiar popu- sliding tempos, the sense of tension and RAMSEY LEWIS, lar tunes on both of these collections. violence that lurks in much of Mingus' Despite the fact that Rollins uses more work. Shepp, who plays tenor saxophone, AHMAD JAMAL, or less identical devices in developing goes a bit farther than Mingus. however, ETTA JAMES, his treatments on both records, the two in establishing and maintaining a grating sets are quite dissimilar. Rollins' per- sense of frustration in the almost unre- GEORGE KIRBY, formances on the Victor disc are short, mitting harshness of his tone as a soloist JEAN DUSHON, mostly around three minutes, while the and in the discordant ensemble sound Impulse pieces average about six or that he favors. On this disc Shepp leads LOU DONALDSON, seven minutes (one piece is even eleven a sextet on all but one selection, abandon- ETC., ETC. minutes). Three Little Words. which is ing his abrasive approach only for an on both discs, serves as both a connecting odd and affecting treatment of The Girl link and a point of departure between from 1panema, which he plays with a There's A World the two sets. The Victor, lasting two min- soft. lost sound, a sort of moaning that of Excitement on utes and fourteen seconds, is taken at a builds to a frantic climax. A single Cadet medium tempo and, after some darts and trio selection (with David Izenzon on bass and J. C. Moses on drums) is a Ave. stabs and a bit of strained wriggling by 2120 So. Michigan Rollins, just peters out. The Impulse fascinating conjunction of keening bowed Chicago, Ill. 60616 (six minutes, fifty -five seconds) is a fast, bass lines, strong splashes of saxophone, Send for rhythmic, running performance. full of and provocative drumming. free catalog dazzling virtuosity and headlong flights. JOHN S. WILSON CIRCLE 13 ON READER -SERVICE CARD 136 HIGH FIDELITY MAGAZINE

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138 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by R. D. DARRELL

Unless specifically noted otherwise, the BEETHOVEN: Concerto for Piano Op. 57 ("Appassionata"); No. 26, in E following reviews are of standard open - and Orchestra, No. 4, in G, op. 58 flat, Op. 81a ( "Les Adieux"). reel 4 -track 7.5 -ips stereo tapes. Rudolf Serkin, piano; Philadelphia Or- Artur Rubinstein, piano. BACH: Concertos for Harpsichord chestra, Eugene Ormandy, cond. RCA VICTOR FTC 2206. 75 min. and Strings: No. 1, in D minor, S. COLUMBIA MQ 737. 35 min. $7.95. $7.95. 1052; No. 5, in F minor, S. 1056; In connection with this RCA Victor tape No. 7, in G minor, S. 1058 view the excessively mannered In of transfer of Rubinstein's 1963 disc collec- readings provided in the most recent Baroque tion of the Sonatas Nos. 8, 14, and 26 Sylvia Marlowe, harpsichord; tapings of this most poetic of Beethoven plus the No. 23 from a more recent Chamber Orchestra, Sylvia Marlowe, piano concertos (Katchen's of March Rubinstein disc, some people will cond. 1965 for London and Gould's of July 47 min. $7.95. promptly recall Columbia's much ac- DECCA ST74 10104. 1963 for the present reel Columbia). claimed 1964 taping of Serkin's per- of the latest Serkin /Ormandy perform- here makes her far too formance of Nos. 8, 14, and 23 (MQ Miss Marlowe ance is unrivaled among sonically up -to- with a flourish, 582). But for true music lovers there is long delayed tape debut date editions. Beautifully broadspread in the never any either /or choice between Ser- conducting from the keyboard yet unexaggerated stereoism and flawless us the first kin and Rubinstein, whose performances old tradition, and bringing tape processing capture in well -nigh S. 1056 and of even the same works are as different tape editions of the sturdy ideal balance and transparency the au- as the two pianists' distinctive personali- S. 1058 concertos. (The latter is much thentic tonal qualities of both Serkin's ties. Insofar as comparisons are illumi- better known in its original scoring as piano and Ormandy's orchestra. The the Concerto No. 1, in A minor, nating rather than odious, I'd venture to Violin is a fine one too, especially reading itself say that in general Serkin's readings are S. 1041 -available in a 1961 Epic tap- lyricism and the attractive for its (in somewhat more romantic. slightly more ing by Michelucci and I Musici). finale) for its vivacity. This is not to will want the present reel for dramatized. and at times a bit tenser; Bachians say, however, that it will satisfy Bee - these new works alone, even at the cost whereas Rubinstein's are for the most thovenians who seek a greater eloquence -scaled part more straightforward, more relaxed, of duplicating the grander and and profundity in the work. Admirers and a bit more grand- mannered. It would more dramatic Malcolm /Münchinger of the Fleisher /Szell taping for Epic or be hard to decide also which recording is Vanguard tape of the D minor Concerto, that by Backhaus and Schmidt- Isserstedt technically preferable: both are excel- S. 1052. That performance remains pref- for London (both dating from 1960) its grace verve. lent. with Rubinstein's perhaps just a erable for and While are not likely to feel that their favorites shade more robustly solid- toned. Miss Marlowe's playing is consistently have been superseded; and those ver- notable for its energy and steadiness, it is sions also have the considerable advan- also oppressively heavy-handed; and this tage of having been processed complete excessive weight is enhanced feeling of on a single reel side instead of being BEETHOVEN: Symphonies: No. 1, by recording that endows the lower split, like Serkin's, between the first and in C, Op. 21; No. 7, in A, Op. 92 strings of the Baroque Chamber Ensem- second movements. For others, however, ble with seemingly far more sheer tonal the new edition has the powerful at- Berlin Philharmonic Orchestra, Herbert mass than ever could be accounted for traction of technological superiority - von Karajan, cond. by the actual number and playing plus, of course. many endearing. charac- DEUTSCHE GRAMMOPHON DGA strength of instruments involved. On the teristically Serkinian, interpretative de- 8806. 59 min. $8.95. other hand, the recording handles these tails. powerful lows with ease and without The fourth and penultimate installment darkening the gleaming- bright timbres of the Von Karajan Beethoven Nine of the solo harpsichord. Sound specialists BEETHOVEN: Sonatas for Piano brings us the same kind of unexpected well may find this reel a fascinating one delicacy that distinguished the conduc- for its technology alone, and at their No. 8, in C minor, Op. 13 ( "Pathé- tor's Pastoral (reviewed here in No- best the hard -driven performances are tique): No. 14, in C sharp minor, Op. 27, exciting renditions. No. 2 ( "Moonlight "); No. 23, in F minor, Continued on next page

DECEMBER 1965 139

www.americanradiohistory.com THE TAPE DECK they hard in quality. (I hasten to add, that so little exploitation was made of however, that this taping never matches the stereo -antiphonal potentials in works Continued from preceding page sonically the luminous transparency of like the 8 -part Canzon Septimi Toni by the Karajan /London Tod und Verklärung Giovanni Gabrieli and 8 -part Canzon vember). Of course, it is scarcely sur- of June 1962.) Perhaps it's just because "La Padovana" by Viadana, which prising that his Seventh should be Maazel's performances "sound" better to emphatically call for spaced -out double - taken quite fast and with exuberant vi- me that I can't be as harsh on his in- choir performance. terpretations strike me as evoking tality. ( It is the fastest of. any taped -which Seventh I know, although that results a more youthful Don, a less grim partly from the omission of most of the "Death." and less pretentious "Transfig- repeats outside the last movement.) But uration" than most. But subjective fac- one hardly could have expected either tors figure strongly in everyone's evalua- this reading's freedom from any sense of tions of these tone poems. I've spent hurry (except, naturally, in the hard - many hours comparing various examples Marginalia: New Format. A special driving finale) or its exceptional lyrical on tape alone and yet still can't find any warning may be needed by Leontyne expressiveness. While the First Symphony that I consider ideal, although the Szell/ Price fans before they rush out to buy runs truer to Karajan form in its use of Epic taping of March 1961 (which I her recital program of arias by Puccini a rather large -sized orchestra and an wasn't very enthusiastic about at the (Madama Butterfly, Rondine, Tosca, and often overvehement interpretative ap- time) now seems to offer the most satis- Turandot) and Verdi (Aida and I! proach, it also has some delectably light factory performances of the present two Trovatore) sung to accompaniments by and fleet moments as well, and in this works (plus Till). That reel is much the Rome Opera House Orchestra, shorter work the repeats indicated in less impressive technically, however, than Oliviero de Fabritiis and Arturo Basile, the first and last movements are ob- either the present one or those of Von conductors (RCA Victor FTC 2205, 46 served. In both symphonies the stereo Karajan's Tod (one a "single" which also min., $7.95). It's a first -rate release in recording is again admirably clear and includes Till and Salomes Tanz: the other every respect, but these same recorded open, if perhaps less spectacularly lumi- a double -play release which adds to these performances (except for the Butterfly nous than in some of the earlier reels; Also sprach Zarathustra). "Un bel dì" and "Tu, tu, piccolo iddio") and the tape processing is immaculate, were taped earlier as the Side -4 filler although the modulation level in my for the complete Madama Butterfly reels review copy seems to be a bit lower than of August 1963 (FTC 8006). elsewhere in the series. NOAH GREENBERG: "Renaissance "Anyone for Mozart ?" The Swingle Festival Music" Singers. Philips PTC 600149, 29 min., BOYCE: Symphonies (8) $7.95. New York Pro Musica Instrumental Granted that a little scat- singing -the- I Solisti di Zagreb, Antonio Janigro, Players, Noah Greenberg, cond. classics goes a long way . granted cond. DECCA ST74 9419. 35 min. $7.95. that Eine kleine Nachtmusik may not VANGUARD VTC 1704, 50 min. lend itself to such treatment quite as $7.95. A special reason for rejoicing in Decca's well as do the K. 545 Piano Sonata resumption of serious musical tape activi- (also known in another incarnation as In What a pity that Max Goberman, who ties is the prospect of again having reel an Eighteenth -Century Drawing -Room) first brought these "symphonies" to editions of the unique Greenberg /Pro and the Variations on "Ah! vous dirai -je records back in 1937, did not live to Musica programs. These are not only Maman" . . . Nevertheless, only the record his corrected edition of these de- extraordinary in themselves, but they sourest of sour -puss listeners could fail lectable scores! Happily, however, Jani- are just the sort of historically significant. to respond gleefully to these zestful gró s readings- together with the Zagreb off -the -beaten -path music often neglected divertissements. And under all the jaunti- players' and harpsichordist Herbert Ta- in the tape repertoire. The present pro- ness there is exceptional executant skill, chezi's invigorating performances and gram offers a wealth of such attractions while every detail of the expertly con- Vanguard's most gleamingly vivid, yet featuring works by Andrea and Giovanni trolled and nuanced performances is cap- never too close stereoism -do full justice Gabrieli as well as those of less familiar tured in the purest of stereo recording. to the music. If Boyce's pieces are as new late- Renaissance composers of the Vene- to you as they are to tape, I can only tian school: Florentio Maschera (d. c. "Black Satin " / "Latin Lace." George hint that his music is so concisely con- 1584), Giovanni Battista Grillo (d. c. Shearing Quintet with Strings and Lat- centrated, so inexhaustibly inventive, and 1622). and Lodovico Viadana (c. 1564- in Percussion. Capitol Y2T 2263, 33A- so bubbling over with vitality that it 1645). Even better still. it presents these ips double -play, 64 min., $9.98. might well rank as a kind of apotheosis works in performances that make use "Latin Rendezvous " / "Out of the Woods." of baroque -era creativity. There have of authentic contemporary instruments, George Shearing Quintet with (respec- been bigger and grander masterpieces usually known only from history tively) Latin Percussion and Wood- brought to tape, but not one that -min- books: here we can actually hear those wind Quartet. Capitol Y2T 2336, 334 - ute for minute of playing time -can strange wooden-and -leather "brasses," ups double -play, 63 min., $9.98. provide more rapturous listening satis- the cornetts (zinken), Krummhorns A mixed bag of Shearingiana. It hits faction! (cromornes), shawms and schryari bottom in the almost unvaried juicy (ancestors of the oboe), sackbuts (trom- schmaltz of the "Black Satin" program, bones), recorders, viols. portative organ, and although it takes on more animation STRAUSS, RICHARD: Don Juan, and percussion. And what a resplendent- in the coupled "Latin Lace" (which also Op. 20; Tod und Verklärung, Op. ly Renaissance -magnificent variety of dates from 1958), it often sounds mighty 24 timbres they produce! Perhaps the Pro clattery there. But the 1965 "Latin Ren- Musica performances vary the instru- dezvous" program of romantic, mildly Vienna Philharmonic Orchestra, Lorin mentation more often within the course Latin -flavored mood -music selections is Maazel, cond. of a single piece than might have been generally very attractively played and LONDON LCL 80158. 39 min. $7.95. the custom originally -the number and recorded (particularly so in Yours Is My pungency of contrast changes is particu- Heart Alone. Quiet Night, and The Don- Either the present tape processing is far larly marked in the delectable opening key). And the other current recording, superior to that of the disc edition (re- Suite of Dances (basse danses. branles, devoted entirely to pieces by vibraphon- viewed last June by Robert Charles pavans, etc.) -but so much the better ist- composer Gary Burton, is often no- Marsh) or my colleague must have had for present-day sound fanciers. Every tably fascinating. although it is perhaps a poorly processed review copy, for the tonal detail is beautifully preserved in less distinctively original for its Bachian recorded sonics I hear are by no means strong. pure recording and flawless tape contrapuntalisms ( in the J. S. Bop, Cho- lacking in low frequency solidity nor are processing, though it's a bit disconcerting rale, Great Fugue, etc.) than for the

140 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com imaginative scorings which feature not only spicy woodwinds but also the versatile Burton's executant talents on vibes (throughout), piano (in the Dialogue for Two Pianos), and a nobly expressive Nordic lyre (in Lyric Ballad). "Broadway Bouquet." Percy Faith Strings. Columbia CQ 754, 38 min., $7.95. The players are hailed as "The Mag- nificent Strings of Percy Faith" -and not without some justification, for the large ensemble not only plays with exceptionally rich sonic warmth and color- ing but is recorded so opulently, with plenty of reverberation, that it often sounds even bigger and better than life. The performances are unfailingly expansive and well controlled and the scorings seldom too elaborate, with the result that almost everything comes off well and the best of these mostly recent show -hit tunes (Once Upon a Time, Sunrise Sunset, Long Ago, and Make Someone Happy) are quite enchanting. The impressively big, broadspread. and vivid stereoism is particularly magical in the many passages starring an elo- quently expressive cello section.

"One Night of Love." Anna Moffo. soprano; RCA Victor Orchestra, Skitch Henderson, cond. RCA Victor FTC 2199, 38 min. $7.95. Although my recollection of Grace Mooré s old recordings is now pretty dim, my impression in listening to the present program of mostly favorite Moore songs is that Miss Moffo has a much prettier and truer voice but practically nothing of the late star's distinctive powers of personality projection. The almost painful self- consciousness of the young soprano seems likely to work against her otherwise richly performed and recorded pro- EV-_YTI'UINO: gram's achieving wide popular success.

"Songs America Loves." Eileen Farrell, FOR THE TAPEWORM soprano; London Festival Orchestra and Chorus, Robert Sharpies, cond. . . . The gift! The exciting new American London LOL 90096, 37 min., $7.95. SANTA'S CHOICE perfect Though the sound here is impressively Tape Kit contains everything the tape recorder owner needs to fully spacious, the performances on this tear- enjoy his hobby in one beautiful package. No more odds and ends. jerker reel -of You'll Never Walk Alone, Only the TAK100 includes: Bless This House, Trees, the late Ma- lotte's Lord's Prayer, etc. -are for the (1) A 1500 ft. reel of American's Professional Length Recording Tape. most part so earnestly expressive that (2) A Stereotape Showcase featuring Frank Sinatra, Dean Martin, Trini Lopez, they stop just short of travestying the and many others. genre. It seems to me the ideally apt comment was provided by Samuel Pepys: (3) A handy Mail -A -Tape. writing in May 1668 of a Nonconformist (4) A complete head cleaner kit minister's talk to which he had been subjected, he described it as "a great (5) A professional tape splicer with splicing strips. deal of noise and a kind of religious tone, but very dull." (6) A 250 ft. reel of leader tape. (7) A heavy duty take -up reel. "American Airlines Astrovision Pop Pro- gram No. 8." Various artists. At- (8) A 16 page booklet of Tape Tips. lantic /Atco W 8, 33/a -ips, 179 min., $23.95. See your dealer or write to: Hear now; fly later. And it's the same price for the whole family. Here are sixty -two selections representing twenty - two artists -presenting nearly as many vocalists as instrumental ensembles or soloists, offering a wide range of pops GREENTREE ELECTRONICS Continued on page 143 213 e Costo M CIRCLE 38 ON READER -SERVICE CARD DECEMBER 1965 141

www.americanradiohistory.com General Index, 1965

Feature Articles Listed by Author Radant, Else. The Strange Demise of W. A. Mozart. Mar.. p. 62. Reid, Charles. Patti at Craig -y -Nos. July, p. 43. Berger, Ivan B. New Trends in Stereo Kits. Feb., p. 57. Rich, Leslie. Music for Non -Listening. Nov., p. 34. Botsford, Ward. Sir Thomas and the Gramophone - Rogoff, "That True Phoenix " da 1910 -1960. June, p. 45. Gordon. -Lorenzo Ponte. Nov., p. 58. Buckwalter, Len. Extension Speakers. Mar., p. 70. Buckwalter, Len. Tape for Turnpikes. June, p. 42. Smith, Patrick J. A Question of Function: music critics and musicologists. Mar., p. 67. 64. Cantor, Lon. The Indispensable Antenna. Oct.. p. Sterling, Albert. Basics for the Tape Recordist. Aug., Oct., Chasins, Abram. Conversations with Horowitz. p. 43. p. 50. Sterling, Albert. Stereo Cartridges-a Status Report. Jan., p. 52. Davis, Peter G. Signor Bettini's Cylinders. Aug., p. 24. Trotter, William R. Sibelius and the Tide of Taste. Dec., Eisenberg, Norman. The British Audio Establishment. p. 48. Apr., p. 56. Eisenberg, Norman. The Magnificent Monsters: a report Vaughan, Denis. The Schubert Symphonies -A Revision- on large speakers. Sept., p. 55. ist View. Oct., p. 60. Eisenberg, Norman. New Products: 1965. Oct., p. 55. Eisenberg, Norman. Stereo Question Box. Dec., p. 61. Weaver, William. Die Nilsson and La Nilsson: Birgit Eisenberg, Norman. Tape in Transition. Aug., p. 36. Nilsson. Feb., p. 48. Eisenberg, Norman. Turntables and Changers. lune, p. 34. Weaver, William. The Unknown Smetana. May. p. 44.

Feldman, Leonard. An Inquiry Into Spatial Stereo. May, Feature Articles Listed by Title p. 38. Fleming, Shirley. Masters, Matrices, and Mass Produc- Antidotes for Noise. July, p. 39. tion. Jan., p. 46. Archives of Recorded Sound. June, p. 38.

Gelatt, Esther. An Interview with Maria Callas. Feb., Basics for the Tape Recordist. Aug.. p. 43. p. 42. Boadicea in Walthamstow: Joan Sutherland. Feb., p. 52. Gelatt, Roland. When Records Reached the Supermarket. The British Audio Establishment. Apr., p. 56. Dec., p. 56. Greenberg, Noah. A Soft Sound in the U.S.S.R.: the The Cheerful Ghost of Eisenstadt: recording Haydn in New York Pro Musica in the Soviet. May, p. 41. Austria. Jan., p. 56. Greenfield, Edward. The City of Five Orchestras: Lon- The City of Five Orchestras: London. Apr., p. 51. don. Apr.. p. 51. Conversations with Horowitz. Oct., p. 50. Grozny, I. L. Tapes To Choose From. Aug., p. 40. Extension Speakers. Mar., p. 70. Helm, Everett. The Miraculous Inventions of Heinrich Schütz. Aug., p. 51. The Honorable Tradition of Englishmen. Apr., p. 44. Heyworth, Peter. A Thorn Grows in Warsaw: Poland's musical avant -garde. Sept., p. 60. The Indispensable Antenna. Oct., p. 64. An Inquiry Into Spatial Stereo. May, p. 38. Kotlowitz, Robert. Boadicea in Walthamstow: Joan An Interview with Maria Callas. Feb., p. 42. Sutherland. Feb., p. 52. A Kit Can Be a Harpsichord. July, p. 34. The Tradition of Landon, H. C. Robbins. Honorable The Magnificent Monsters: a report on large speakers. p. 44. Englishmen. Apr., Sept., p. 55. Mozart on the Eighteenth - Landon, H. C. Robbins. Masters, Matrices, and Mass Production. Jan., p. 46. Century Stage. Nov., p. 62. The Miraculous Inventions of Heinrich Schütz. Aug., Paul "A Mixture of Instinct and Intellect ": Lang, Henry. p. 51. with Szell. Jan., p. 42. conversations George "A Mixture of Instinct and Intellect ": conversations be- A Kit Be a July, Lindstrom, Roy. Can Harpsichord. tween George Szell and Paul Henry Lang. Jan.. p. 42. p. 34. Mozart on the Eighteenth- Century Stage. Nov., p. 62. Music for Non -Listening. Nov.. p. 34. Mayer, Martin. Who's Afraid of the Furtwiingler Ring? The Music of Schütz on Records. Aug., p. 55. Oct., p. 32. McClure, John T. The Cheerful Ghost of Eisenstadt: The New Met. Sept., p. 50. recording Haydn in Austria. Jan., p. 56. New Products: 1965. Oct., p. 55. McIntyre, Edward F. Antidotes for Noise. July, p. 39. New Trends in Stereo Kits. Feb., p. 57. McMullen, Roy. The Ubiquitous Flutist: Jean-Pierre Die Nilsson and La Nilsson: Birgit Nilsson. Feb., p. 48. Rampal. May, p. 34. Miller, Philip L. Archives of Recorded Sound. June, The Operas of Mozart on Microgroove: a discography - p. 38. in-depth. Nov., p. 65.

Osborne, Conrad L. The New Met. Sept., p. 50. Patti at Craig -y -Nos. July, p. 43. Osborne, Conrad L. The Operas of Mozart on Micro- A Portfolio of Stereo Décor -1965 (picture spread with groove: a discography -in- depth. Nov., p. 65. text). Mar., p. 54.

142 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A Question of Function: music critics and musicologists. Mar., p. 67. New from Acoustech The Schubert Symphonies-A Revisionist View. Oct., p. 60. Sibelius and the Tide of Taste. Dec., p. 48. Signor Bettini's Cylinders. Aug., p. 24. The Add -A -Kit Sir Thomas and the Gramophone -- 1910 -1960. June, p. 45. A Soft Sound in the U.S.S.R.: the New York Pro Musica Amplifier in the Soviet. May, p. 41. Stereo Accessories for Under $50 (picture spread with text). Dec., p. 54. Stereo Cartridges -a Status Report. Jan., p. 52. Stereo Question Box. Dec., p. 61 The Strange Demise of W. A. Mozart. Mar., p. 62. e e

Tape for Turnpikes. June, p. 42. ACOUBTEC.. Tape in Transition. Aug., p. 36. Tapes To Choose From. Aug., p. 40. "That True Phoenix " -Lorenzo da Ponte. Nov., p. 58. An excitingly different way A Thorn Grows in Warsaw: Poland's musical avant - to build a garde. Sept., p. 60. solid state Turntables and Changers. June, p. 34 amplifying system The Ubiquitous Flutist: Jean -Pierre Rampal. May, p. 34. The Unknown Smetana. May, p. 44. First Build the Acoustech XI - r When Records Reached the Supermarket. Dec., p. 56. Who's Afraid of the Furtwängler Ring? Oct., p. 32. Equipment Report Index will appear in January

THE TAPE DECK formed. often in markedly antiphonal In less than four hours, a stereo power am- style, by a double chorus with light (and plifier kit with 35 watts, equivalent RMS Continued from page 141 sometimes no) instrumental accompani- power per channel at less than Ms% IM - ment. PC boards, pre -wired and tested - all parts music. The recordings themselves are in bags mounted on KitKloth in order of generally clean, bright, and light, and "Jug Band Music." Jim Kweskin and the use - works well with any good preamplifier, the tape processing is first -rate. But, Jug Band. Vanguard VTC 1702, 43 tube or transistor, only $129.50. over -all, the effect is numbing-a con- min., $7.95. Second - Add the preamp module sequence possibly desirable in jet air It's been a good many years since I've travel but scarcely so in home listening. heard any authentic documentations of (Apparently there are other Astrovision old -time jug bands from the back coun- pop programs coming along: the slow - try, and in any case I don't pretend to speed reels W 9 and W 10 representing any expertise on the subject. Moreover, Mercury /Philips /Smash and Twentieth I hesitate to quarrel with the Newport rr Century -Fox respectively. Festival and other audiences which have acclaimed the Kweskin Band in live per- "Heritage." Robert De Cormier Folk formances. Just the same, my ears tell anytime you want, the preamplifier fits right Singers. Command C 884, 34 min., me that what I hear here is a pale and into the same chassis - inaudible hum and $7.95. thin imitation of the distinctive conics of noise - amazing transient response - all the Although this features you need - only $89.50, complete program of "American which a true jug band is capable. with gold anodized panel. Ballads and Songs, 1750- 1840" is considerably more ambitious than that of "Flora, the Red Menace" Original World-famous, "State of the Art" Acoustech the De Cormier group's first tape release Broadway Cast Recording, Hal Hast- amplifying system can now be yours at mod- (June 1964), it confirms my favorable ings. cond. RCA Victor FTO 5036, erate cost. See your dealer, or mail coupon earlier impressions of the ensemble's 47 min., $8.95. below for full details. rhythmic precision and clarity of enunci- "Half a Sixpence." Original Broadway ation -even if, in the present case, the Cast Recording. Stanley Lebowsky, latter doesn't entirely justify the lack cond. RCA Victor FTO 5035, 38 of a text leaflet, especially for the three min., $8.95. William Billings classics: the relatively The prime attractions of these reels are ACOUSTECH, INC. familiar Chester. poignant David's Lam- their brand -new stars, Liza Minnelli, Div. of Koss /Rek -O -Kut Dept. 1112. 139 Main Street entation Assurance, and amusing Modern daughter of Judy Garland but with a Cambridge Mass. 02142 Music. The date limitations haven't pre- personality all her own, and Tommy FREE Newly revised, edition vented the inclusion of Oscar Brand's Steele, British onetime rock 'n' roller fine When I First Caine to This Land reformed into a highly versatile and en- Please send free booklet "why Solid State Ampli. and perhaps some other ringers (I'm fiers Can Sound Better" and full information on gaging song-and-dance man. Flora is Acoustech solid state kits to inclined to doubt the historical authen- rather lightweight, but if you're in the ticity of Betty Saro). But besides the mood for a disarming combination of Name Billings items and the inevitable Yankee mild nostalgia and mild comedy you'll Address - - - Doodle, there are such appropriate others probably relish, in addition to Miss as Mad Anthony Wayne, The White Minnelli's contributions, the amusing evo- ;City lone State Horses, Johnny Has Gone for a Soldier. cations of the Thirties by Mary Louise In the Good Old Colony Days, etc. -all Wilson (in The Flame and Knock, of which are simply yet imaginatively arranged as well as excellently per- on Continued page 144 CIRCLE 1 ON READER -SERVICE CARD

143

www.americanradiohistory.com THE TAPE DECK Joseph!, and robust Israeli national anthem Hatikvaii; and even the much Continued from page 141 more sentimental Eili Eili, Letter to My Mother, and Achron Hebrew Melody are THE Knock), Bob Dishy (in Sign Here and by no means lacking in haunting appeal. Express Yourself ), and James Cresson The stereo recording itself is quite monu- (in Palomino Pal). The brashness of mental in its strength, breadth, and al- the vividly bright recording is accentu- most palpable solidity. ated by oppressively close miking of the In the Stephen Foster program the soloists. This fault is happily absent in same engineers revert to the exaggerated the more moderately modulated and left- and right -channel differentiations, more natural recording of Half a Six- antiphonies, and "persuasive- percussion" pence, David Heneker's musical -comedy switching jumps of a more juvenile stereo version of H. G. Wells's delectable novel age. Worse than the sonic trickery, how- Kipps. The music here is also light- ever, which at least is handled with pro- weight perhaps. but it is less synthetically fessional skill, are Rogers' cynically con- contrived and at its best boasts a quite trived arrangements and performances. irresistible British music -hall verve. Steele The distinction between sentiment and is given effective support by a skilled sentimentality is one entirely lost here: supporting cast, topped by the charm- there is no "feel" at all for the authentic ing Polly James, who does as well with idioms and spirit of these materials. the more sentimental airs as Steele does There are some occasionally striking with such lively ones as Flash Bang effects, of course, as in the theatrical Wallop!, The Party's on the House, treatment of Ring de Banjo, but long Money To Burn, etc. before most listeners get through the seemingly endless Stephen Foster Rhap- "Guys and Dolls." Original Cast Re- sody which winds up this thoroughly cording, Irving Actman, cond. Decca tasteless program they are likely to be ST 74 9023. 42 min., $7.95. quite nauseated. All right, so I'm a sucker for nostalgia! But hearing the Frank Loesser Meister - "Spectaculars!" Philadelphia Orchestra, n'erk freed of the distortions and ticks of Eugene Ormandy. cond. Columbia MQ my well -worn disc copy, I'm convinced 730, 37 min., $7.95. all over again that this is one of, if not For once a come -on title is no misnomer: the, most rewarding musical shows of the thirteen selections are all long suc- all time. From the delectable Fugue for cessful show -off music, the performances Greenhorns to the last reprise of Guys are the Philadelphians' most high -pow- and Dolls, a listener is equally delighted ered, and the stereo sonics are stupendous and awed as he is presented with one -just about as brilliantly sharp in the Enjoy playing the superior quality of incomparable hit after another. And just extreme highs as in the disc edition and tapes with the convenience of phono- when one is convinced that nothing can even more substantial in the midrange top Stubby Kaye's Sit Down, You're and low frequencies. Included are ex- graph records. Rocking the Boat, or Vivian Blaine's A cerpts from Ormandy programs devoted Connect a Viking 807 to your music Bushel and a Peck, Adelaide's Lament, to such ballets as Gaîté Parisienne, The Swan Lake, Coppélia, and system and play stereo or monaural Take Back Your Mink. and (with Sam Nutcracker, Levene) Sue Me, along comes Pat Sylvia, plus Prokofiev's Lt. Kije, the tapes, half or quarter track at 3 -3/4 Rooney, Sr., to break one's heart with Strauss family Tritsch -tratsch and Feuer - or 7 -1/2 ips. Automatic shut -off, More 1 Cannot Wish You. If the "en- fest Polkas, and a Galop from the Gio- Cueing, Counter and Pause features hancing for stereotape" hasn't achieved conda "Dance of the Hours" -all but the included for your pleasure. any feeling of true stereoism, it has last of which have been available in spaced out the sonics a bit without doing earlier (1962 -64) tape releases. Here, any real harm to the fine, strong, if may- however, they seem to be processed with be a bit hollow. original recording. There somewhat heavier modulation levels: at have been a good many original -cast per- any rate, the sonics are mighty loud at 807 formances made available on tape by this their loudest, and even in the relatively time, but them, new or old, few quieter moments they are impres- complete with walnut base not one of has given me more consistently lively sively big. pleasure than this one! "Tenderly." Boston Pops Orchestra, "Music of a People." London Festival Arthur Fiedler, cond. RCA Victor Chorus and Orchestra, Stanley Black, FTC 2201, 40 min., $7.95. cond. London LPL 74060, 39 min., There's very little to surprise one any $7.95. more in hearing favorite torch songs =595 "The Beloved Melodies of Stephen elaborately arranged by Jack Mason and Foster." Eric Rogers Chorale and Or- Dick Hayman for richly multicolored chestra. London LPL 74050, 41 min., symphonic presentation. Just the same, $7.95. few previous programs of this kind have MADE BY SKILLED Of this latest pair of Phase -4 recordings been more effectively devoted to un- schmaltz than this one, AMERICAN CRAFTSMEN AT in tape transfers, Stanley Black's "Music abashed melodic of a People" is a surprisingly serious and which ranges from current hits (San sensitive attempt to make the most of Francisco, etc.) through pop standards typical old and new Jewish melodies. At (September Song, Through the Years, their best both his scorings and perform- etc.) to the European Yours Is My Heart ances are a delight -the dramatic in- Alone, Vienna City of My Dreams, and ing OF MINNEAPOLIS troductory Sheina and exciting Hava even the Brahms Cradle Song. Tough - Nagula, the tender Almonds and Raisins eared sophisticates will poke fun at these 9600 Aldrich Ave. So. Minneapolis, Minn. 55420 lullaby, and the amusing Yes, My Darling lush inflations, but a mass audience Daughter. But also highly effective are yearning to be tranquilized will no doubt his whirling Tzena, Tzena, catchy Joseph! be enraptured. CIRCLE 91 ON READER -SERVICE CARD 144 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SIBELIUS DISCOGRAPHY Pohjola's Daughter, Op. 49 gets an overdeliberate treatment from Gould, a Continued front page 53 lilting, just -right one from Barbirolli (coupled with the Fifth Symphony). more or less complete set (Vanguard The Oceanides, Op. 73 is one of Si- 489/90), which includes the only re- belius' most beautiful works, and both THE (on Angel set including corded example of The Bard and Night Beecham the HI -FI Ride and Sunrise. To my mind, this Symphony No. 7) and Ormandy (on the collection is out of the running. Dated deleted Columbia disc, ML 5249) make TUNE sound, Boult's pedantic, four -square con - the most out of its impressionistic quali- OF ducting. and the rather characterless play- ties. Predictably. Beecham is more care- SAVINGS ing of the Proms orchestra all combine ful in his attention to details, but the AT to make boringly routine performances. tonal splendor of the Philadelphia is a En Saga, Op. 9 was considered a his- joy to the ear. toric piece of music, once. At the time The last and greatest tone poem, Tapi- DIXIE it was written, no one had ever written ola, Op. 112 is acceptably done by Han - anything like it: no one has since. Or- nikainen (Everest 6045), and a bit less mandy did well with it on a now hard - acceptably by Ansermet (coupled with Largest discount High Fidelity to -find Sibelius collection (Columbia ML the Fourth); both conductors mince de- component distributors in the 5249). Sir Malcolm Sargent in his Odeon tails and both use that dratted overfast, South. Wr.olesale prices on collection (ALP 1990 or ASD 541) does BAM- BAM- BAM- BAM -BAM! treatment package or individual components. Latest models in factory even better. The Vienna Philharmonic for the storm passages, which I insist sealed imme- unto death is wrong. This music is too cartons shipped plays the piece with lots of swagger and diately from our warehouse. gorgeous tone. mystical, too boundless, to allow for Special attention given to The youthful Karelia Suite, Op. 11 is anything but an expansive, atmospheric Audio CILbs. Churches and one of those unpretentious pieces of mu- reading. A "straight" performance just Schoolls. sic that are simply good fun to listen to misses the mark entirely. Oddly. no one For Special Price Quote -Write occasionally. Sargent on the Odeon disc has ever caught that gloom- and -sunlight and Maazel, as a bonus on his First vastness of the Northern forests on rec- Symphony recording, offer the best avail- ords the way Von Karajan has. His able readings. Maazel excels with the Deutsche Grammophon performance with zippy outer movements, but Sargent has the Berlin Philharmonic, coupled with the a way of making the orchestra sing more Fifth Symphony, is fine in its way, but beautifully in the soulful "ballade" sec- I cannot place it ahead of the old Phil - HI FIDELITY WHOLESALERS tion. Each version, in its own way, is harmonia performance (Angel 35002), excellent. which was pervaded by a chilling sense 703 HORTON DRIVE The Four Legends, Op. 22, also known of majestic awe quite unlike anything I SILVER SPRING, MD. as the Lenlminkiiinen Suite, are done have ever heard. Beecham's (Odeon ALP with authority by the Finnish conductor 1968 or ASD 518) has some exquisite CIRCLE 24 ON READER -SERVICE CARD Tauno Hannikainen and the U.S.S.R. Ra- moments and superb playing, but once dio Orchestra on a Soviet imoprt (MK again Sir Thomas fusses with the phras- 1558). although this Swan of Tuonela ing too often for my taste. is oddly dim and reticent. The Swan of Brief mention should be made of the Tuonela, though technically part of the only real representations of Sibelius' the- Four Legends, is nearly always recorded atre music. The now deleted Westminster as a separate item. There are several 18529 featured the music to The Tem- good performances -Ormandy's (with pest and King Christian II Suites warmly the Violin Concerto), Morton Gould's played by the Stockholm Radio Orches- (with Finlandia, etc., on RCA Victor LM tra under Stig Westerberg. The disc is 2666 or LSC 2666), Sargent's (on the a splendid one, well worth the trouble COMPONENTS RECORDERS Odeon set) -but there is, to my mind, of locating in collectors' stores. Beecham KITS SPEAKER SYSTEMS TAPE only one great one: Leopold Stokowski's gives a moving, tender performance of (Capitol P 8399 or SP 8399). Here the the Suite from Pellas et Mélisande on LOWEST PRICES Maestro conjures up a sense of the mys- the Angel record including the Seventh SAME DAY REPLY which is terious and otherworldly almost Symphony. 10 YOUR INQUIRY terrifyingly evocative. Lemminkiiinen's But so much is missing! Luonotar, Return gets a lusty, virile rendering from Night Ride and Sunrise, Rakasta'a, The MFRS. SEALED CARTONS Gould. Origin of Fire, up -to -date versions of the DOUBLE BOXED The much maligned Finlandia, Op. Third and Sixth Symphonies. Leonard NNE POSSIBLE 26 suffers from a plethora of stodgy, Bernstein-a man temperamentally suited bloated readings, epitomized by the to the heroic vein of Sibelius if not to FAST, INSURED SHIPMENTS abortion committed by Ormandy and the the mystic -has expressed interest in Mormon Tabernacle Choir (Columbia some of the lesser-known pieces, and ACLAGE DEALS ML 5596 or MS 6196). There are two there are plans for him to record a num- SAVE YOU MORE at the head of works season. These really superb Finlandias ber of Sibelius this FRANCHISED DISTRIBUTORS the list. Gould (on the RCA Victor disc could be exciting recordings. But there :OR OVER 50 MFRS. cited above) gives a reading of fiery are still a number of fascinating Sibelius militancy and fervor: Von Karajan on scores which no one outside of Finland 'ARCING METERS the reverse side of his second recording seems interested in performing. What one IT PREMISES of the Fifth Symphony (Angel 35922 or would not give to hear the huge, early S 35922) gives a tonally stunning, darkly Kullervo Symphony in its entirety or the SPECIAL S- EREODYNE II DIAMOND massive, almost Teutonic account. Some full music to The Tempest? Perhaps STEREO CARTRIDGE - $7 25 ppd. may think this reading takes the music some day these gaps will be filled. Until Send for FREE "MONTHLY SPECIALS" on too seriously, but I personally find it then, we must be grateful for the fine re- cfher Corridgas, Tapes, and Components. very thrilling. Sir Malcolm Sargent and cordings which can introduce this music NR1TE FOR MONTHLY SPECIALS the Vienna Philharmonic on the Odeon to the uninitiated listener, and give con- set give a richly musical performance, tinued delight to the listener who already /''tCAi4STON but without the stylistic excellences of responds to Sibelius' special kind of 1686 -F Seconc Ave. (Nr. 87), N.Y. 10028 either Gould or Von Karajan. magic. CIRCLE 15 ON READER -SERVICE CARD DECEMBER 1965 145

www.americanradiohistory.com SAVE MONEY on NATIONALLY WHEN RECORDS REACHED THE SUPERMARKET ADVERTISED BRANDS Continued from page 60 HI-FI different from anything he had encoun- disappeared altogether (like Concert Hall tered before. Thus, instead of the broad and the Haydn Society) or gone into COMPONENTS "curtain of sound" which had been the receivership (like Urania and Westmin- early stereo ideal, Light favored two dis- ster), victims of circumstances (price TAPE tinctly separate sound sources, and for cuts, clubs, the whole realignment of them devised some delightful arrange- buying habits) and of their own too ments in which the musical line shuttled ambitious expansion. The majors them- RECORDERS back and forth from one speaker to the selves had also undergone considerable other, like the ball in a ping -pong game. metamorphosis. In January 1955 the The record was wildly successful. For British -controlled Electric and Musical more than two years, Persuasive Percus- Industries combine had purchased Capi- sion and its sequel Provocative Percus- tol Records for something over four TAPES, sion dominated the popular record busi- million dollars, a transaction which ACCESSORIES ness; between them they sold a total of tolled the death knell for the fifty -five- SLEEP LEARN KITS 800,000 copies. Naturally, other compa- year-old reciprocal exchange agreement nies followed Command's lead, and in between RCA's Victor label and EMI's MERITAPE the glutted Top Quality Recording Tape due course market became His Master's Voice label. Soon Capitol with every conceivable kind of stereo became sole distributor in the Western Franchised Distributors gimmickry. By the time the public had Hemisphere for EMI recordings, while Factory Sealed Cartons had its fill, however, stereo was estab- RCA concomitantly set up its own sub- Lowest Prices lished as the preferred choice for home sidiaries in Europe to record and sell Integrity- Service listening. Victor productions. EMI's entry into In changing over to twin -channel the American market was symptomatic Write for our was chang- VERY LOW QUOTATIONS sound, the record buyer also of a general reawakening and expansion ing over to new and greatly improved of European record firms. Deutsche listening gear. Few people bothered to Grammophon again became a formi- FREE CATALOG make the requisite conversions of their dable power, bidding high for celebrated old mono sets; it was easier and sight - artists in both classics and pops, and lier to start from scratch. For stereo's achieving world renown for its scholar- DRESSNER acceptance in the home had been facili- ly Archive Series of pre- nineteenth -cen- 32, 1523 Jericho Tpke. New Hyde Park N.Y tated by a progressive miniaturization tury repertoire; while in Holland the Visit Our Showroom of high -fidelity apparatus. Small "book- huge Philips electrical empire launched CIRCLE 25 ON READER -SERVICE CARD shelf" speakers were now capable of its own record company, ultimately es- reproducing the full gamut of sound, tablishing a strong foothold in Europe from the lowest organ -pedal throb to and later, with the acquisition of Mer- upper frequencies beyond audibility; cury Records, entering the American compact automatic turntables were com- market as well. bining the convenience of the old changer mechanisms with the performance WRITE FOR capabilities of studio transcription equip- BUT PERHAPS the greatest metamorpho- ment; miniature tubes and, later, transis of all lay in the record entrepreneurs sistors were enabling manufacturers to themselves. A new kind of executive had QUOTATION offer superior electronics in minimal emerged from the ranks -men of cul- space. High- fidelity componentry was ture and taste and responsibility. typi- FACTORY SEALED CARTONS also reaching out for a mass market; and fied by Columbia's Goddard Lieberson, FRANCHISED DISTRIBUTOR as it proliferated. more and more listen- a composer- critic- novelist. and by RCA ers were growing impatient with the QUICK SHIPMENT Victor's George R. Marek. a biographer tubby "console" sound of yore. and authority on opera. These new lead- The advent of stereo allowed record ers of the industry had as sharp an eye companies to raise the list price of for profits as their predecessors, but they WE GIVE classical discs to $5.98 -back, that is, to were nevertheless men of an entirely the level prevailing before the price different stamp from the musically ob- slash of January 1955. But in the interim fuscated Thomas Edisons and Edward DISCOUNTS the industry's complexion had altered Eastons of the early days. and the crea- almost beyond recognition. Most of the tivity which they and their associates ON HI -FI independents spawned by LP had either brought to the industry augured well for its future well -being. In a business as fertile and burgeon- COMPONENTS ing as this one, creativity was in high demand. Record companies no longer existed in splendid isolation but had become increasingly intertwined with the SOUND whole entertainment industry, and with the gestation of Broadway musicals in REPRODUCTION particular. Columbia had led the way with My Fair Lady, the Frederick Loewe - INC. Alan Jay Lerner adaptation of Shaw's Pygmalion. Long before the show's open- 34 New Street, Newark, N. J. (01102) ing night in March 1956, Goddard Lie - (201) Mitchell 2 -6816 berson had examined the score and per- suaded Columbia's parent corporation, CBS, to finance the entire production. It turned out to be a bonanza without CIRCLE 75 ON READER -SERVICE CARD 4() HIGH FIDELITY MAGAZINE

www.americanradiohistory.com precedent. Columbia Records automati- laboratory standard cally enjoyed rights to the original -cast f. recording, which sold in excess of copies, more than any other al- Why? 5,000,000 in the history of the industry. Later, bum DO THOUSANDS OF HI -FI Columbia brought out the movie sound- track recording as well. and all the ENTHUSIASTS BUY FROM while the parent corporation was profit- ing handsomely from its initial investment in the show. After 1956. very few AUDIO UNLIMITED Broadway musicals went before the public without large -scale participation, both financial and creative, from one It's Obvious! of the major record companies. And though nothing ever duplicated My Fair LOWEST PRICES Lady and much money was lost on out- FAST SERVICE right failures. the potential for great VEGA profits remained high. and it seemed as FACTORY SEALED UNITS Capacitor Microphone record companies and Broadway pro- if FULLY INSURED SHIPMENTS You capture the complete sound every would remain partners for a good ducers time. Whether it's a big symphony or- MANUFACTURERS' while to come. chestra, a mighty pipe organ or a combo. There were advantageous partnerships. WARRANTIES Ultra low distortion. Exciting fidelity, too. with the movies. television. and the transparency and clarity. 10- 20,000 hz MORE legitimate theatre. For in the decade fol- PACKAGE DEALS-SAVE linear response guaranteed. Switchable Switch - lowing RCA's price reductions and Co- FRANCHISED DISTRIBUTORS low or high impedance output. lumbia's formation of a mail -order club, able low frequency filter. Superior sta- the record industry had indeed found Write for FREE Listing today bility. Why accept less? a mass audience. You could follow the Single microphone, power supply $185 story in its annual sales figures, jump- SEND US YOUR LIST Two microphones and dual ing from $199,000,000 in 1954 to FOR OUR AIR MAIL power supply for econom- years but in truth ical stereo arrangement $315 $693,000,000 ten later, TODAY the evidence was apparent wherever you QUOTE Write for free brochure. Vega Electronics looked. Records had become a standard Corp. (creator of the world -famous American commodity, almost like soap visit Our Showroom and Warehouse Vega-Mike® wireless microphone), flakes or candy bars. and everyone 1161 Richard Ave., Santa Clara, franchised seemed to be buying. Even the kids in unlimited, inc. Calif. 95050. (Ask any AUDIO Vega dealer for a demonstration.) elementary school were now cash cus- 715 F Second Ave. (Nr. 38) N. Y. 16, N. Y. tomers, for the phenomenon of rock - 3 blocks from the U.N. and -roll music had made fervent record CIRCLE 90 ON READER -SERVICE CARD listeners out of the subteen and teenage population, an affluent society that paid out $175,000,000 in 1964 for its beloved 45s. As the teenagers married and settled down, their purchases of singles would taper off in favor of stereo COMPONENTS & TAPE RECORDERS albums. But they had been bitten by the record bug early and were likely to Easy- Pay-Plan -Up to 24 mos. to pay remain addicted. The "stereo hi -fi" occu- 15 day moneback guarantee. Franchised all lines, assuring you up to 5 pied a favored position in the newly- yr. Mfr. Warranty. weds' list of essential furniture. Most items shipped promptly from our And though they might begin with $250,000 inventory. The Beatles, a few of them were going Trade -Ins- Highest allow. -Send your list. to end up with Bach and Varèse. The Shipments double packed & fully insured. base of the pyramid was huge, but there Our Specialty- Export & APO inquiries. remained plenty of room at the top, 21st yr. dependable service -World Wide. for complete recordings of Schoenberg's Write for price, and receive FREE-$1.00 collected works and Wagner's Ring, for List-Clipon- Record Brush or Record Cloth the Britten War Requiem and the Mah- (please specify) ler Resurrection Symphony, for Horo- We own the sharpest pencils witz's Scarlatti and Fischer -Dieskau's In the U.S.A. Schubert. Higher profits had not been purchased with lowered standards, and PREMIUM RECORDING TAPE as the phonograph approached its nine- GUARANTEED TOP DUALITY tieth birthday the instrument appeared Typ. Band 7-1112+ Fill in coupon for a FREE One Year Sub- 166 7M 7" 1200' Acetate Ea. 1.19 1.09 scription to OLSON ELECTRONICS' Fantas- to be in fabulously radiant health. 167 3M 7" 10' Acetate Eo. 1.39 1.29 tic Value Packed Catalog - Unheard of 941-15 Ampex 7" 1000' Mrior Ea. 2.69 2.59 LOW, LOW PRICES on Brand Name A724M Allegro 7" 2400' Mvlor Ea. 2.49 2.29 Speakers, Changers, Tubes, Tools, Stereo Amps, Tuners, CB, Hi -Fi's, and thousands Á724T Allegro 7" 2400' Tn.Mylor Ea. 3.49 2.29 of other Electronic Values. Credit plan available. Minimum Order $10.00. All prices include shipping USA, APO. Any assortment permitted NAME for best price. 100, reels deduct additional 10%. Please write for types not listed. ADDRESS CITY ZONE STATE HI- FIDELITY If you have a friend interested in electronics send his name and address for a FREE sub- CENTER scription also. The House of Low Low Prices" OLSON ELECTRONICS, INC. 1797 -H 1st Ave. N. Y. 10028 New York, 434 S. Forge Street Akron, Ohio 44308

CIRCLE 42 ON READER -SERVICE CARD CIRCLE 58 ON READER -SERVICE CARD

DECEMBER 1965 I 47

www.americanradiohistory.com This Christmas Shopping Guide is designed to make your Holiday gift buying easy ... use it to make your gift selections. You will find something for each and every music listener on your Christmas list. Your favorite high fidelity or record shop is the best place for filling every Christmas stocking.

CHRISTMAS SHOPPING GUIDE

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Component-quality stereo goes port- E -V 1178 sensitive solid -state AM/ Compact E -V SEVEN fits any bookshelf. able with E-V Entertainer 1. Response Stereo FM tuner & 50-watt stereo am- 8" acoustic -suspension woofer, 31/2" from 70 to 15,000 cps from 8" dual - plifier, all in one compact unit. Tuning tweeter. Smooth response from 50 to cone speakers. Diamond needle, Gar- meter, full time stereo indicator, 15,000 cps. Handles 50 watt peaks. rard am- changer, 30 -watt solid -state handsome walnut-paneled case. Fits Hand - rubbed walnut cabinet finished plifier. Handsome, scuff-proof, luggage any shelf. Ideal mate to E-V 7 all 4 sides. $65. Electro-Voice Inc., style cases. $199. Electro -Voice Inc., speakers. $315. Electro-Voice Inc., Buchanan, Mich. (3) Buchanan, Mich. (1) Buchanan, Mich. (2)

Fisher 440 -T Transistorized 70 -Watt" Fisher 50 Portable. 30-Watt Transis- Fisher 500-C 75-Watt Stereo Mult plex FM-Stereo-Multiplex Receiver. All solid torized Stereo Master Control Ampli- Receiver with Stereo Beacon, Nuvistor- IF state 4 -gang front end, Stereo Beacon, fier. Front-panel headphone jack, Golden Synchrode front -end. 4 d'Arsonval tuning meter. 4 IF stages, speaker -silencing switch. Detachable stages, 3 limiters. 1.8 microvolt sensi- 3 limiters. 2.0 microvolt sensitivity speaker systems. Garrard 4 -speed auto- tivity (IHF). d'Arsonval tuning meter. (IHF). Fisher Radio Corp., 11 -35 45th matic turntable. 3 piece unit snaps Heavy -duty transformers with grain-ori- Road, L.I.C., N.Y. into RoyaliteíI case. Fisher Radio ented laminated steel cores. Fisher At 4 ohms; 50 watts at 8 ohms. (4) Corp., 11 -35 45th Rd., L.I.C., N.Y. (5) Radio, 11-35 45th Rd., L.I.C., N.Y. (6)

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Seven Steps To Better Listening. This ME -99 Magnetic Bulk Tape Eraser. TK -9 Complete Tape Editing Workshop. record and your own ears are all you Clears entire reel in seconds without Hand operated tape winders teamed need to get the most from your sys- rewinding; removes unwanted signals; with famous "Gibson Girl" Stereo 4 tem. Simple instructions show how to reduces background noise from 3-6 db Deluxe Tape Splicer for fast Tape balance channels, speaker phasing, etc. below normal erase head level. Takes editing, repairs. Calibrated Tepe Tim- Only $5 pp- Delivery by Christmas up to 101/2" reel, 1/2" tape. $43.50. ing and Editing Scale. 7x14x51/2 " guaranteed. CBS Laboratories, Stam- Robins Industries Corp., 15 -58 127th $24. Robins Industries Corp , 15 -58 ford, Conn. (16) St., Flushing, New York. (17) 127th St., Flushing, New Yorr. (18)

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Garrard's Lab 80 Automatic Transcrip- New Garrard AT60 Automatic Turntable. Garrard Model 50 Automatic Turntable. tion Turntable is unequalled by any Dynamically balanced counterweight - Counterweighted cast aluminum tone unit on the market. Dynamically bal- adjusted tubular tone arm; stylus arm; lightweight cut away shell; tone anced; counterweight adjusted tone pressure gauge; automatic anti - skating arm safety catch; automatic intermix arm; calibrated Click -set stylus pres- compensator; automatic intermix oper- operation; simple stylus pressure ad- sure; anti -skating; built -in cuing; many ation when desired; plus many other justment; optional decorator styled other features. $99.50. Garrard, Div. of features. $59.50. Garrard, Div. of Brit- base; many other features. $44.50. British Industries, Westbury, NY (25) ish Industries, Westbury, N.Y. (26) Garrard, Westbury, N.Y. (27)

Wharfedale W30 speaker with entire- Wharfedale W60 Full Range 2- Speaker Wharfedale W90 6- Speaker System- ly new technique for complete acous- System in exclusive Sand -Filled En- the ultimate Achromatic system. 2 tical correction: the Acoustic Compen- closure. 121/2" low freq. driver; 5" 121/2" low freq. drivers; 2 5%" mid- sation Circuit. Bookshelf dimensions: high freq. driver. Power: 5 watts or range; 2 3" high freq. speakers. Pow- 19 x 10 x 914". Oiled /Polished Wal- more; Dimensions: 14% x 13 x 24 ". er: 12 watts or more; Dimensions: nut $69.95; Sanded Birch $63.95. Oiled /Polished Walnut $122.50; Sand- 321% x 303/4 x 14% ". Oiled /Polished Wharfedale, Div. British Industries, ed Birch $106.50. Wharfedale, Div. Walnut $272.50. Wharfedale, Div. Westbury, N.Y. (28) British Industries, Westbury, N.Y. (29) British Industries, Westbury, N.Y. (30)

Mozart's The Magic Flute " -18 981/3; Alban Berg's "Wozzeck " -18 991/2; DGG presents the first Stereo Recording 138 981/3 (Stereo). New DGG version 138 991/2 (Stereo). Only new record- of Arnold Schoenberg's "Gurre Lieder" with Evelyn Lear, Lisa Otto, Robert ing in many years. The definitive per- -18 984/5; 138 984/5 (Stereo). Peters, Franz Crass, Dietrich Fischer- formance by a spectacular cast: Evelyn Brilliantly conducted by Rafael Kubelik

Dieskau, Hans Hotter, James King, Fritz Lear, Dietrich Fischer - Dieskau, Fritz and recorded live in Munich this year. Wunderlich & others; Berlin Philhar- Wunderlich, and others, with Orchestra With the Bavarian Radio Symphony are monic conducted by Karl Boehm. and Chorus of the German Opera, three separate male choirs, a huge Boxed 3 -Disc Set, with libretto. (31) Berlin; Karl Boehm, conductor. (32) mixed chorus. (33)

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McIntosh C24 Solid State Preampli McIntosh MC275 Stereo Power House. McIntosh MA230 Compact Pre -Amp/ fier. Freq. Response +0-0.5 db 20/ Two 75 watt amplifiers on one com- Amplifier with 30 watts Power Output 20,000 cps. Distortion less than .1% pact chassis. 75 watts per channel. per channel. Distortion less than at 2.5 volts; less than .3% at 10 Freq. Range output. Typical perform- 0.5% at 30 watts. Frequency Range volts. Features 3 high and 3 low ance distortion less than .3% 20/ +0 -0.5 db 20 through 20,000 cps. level inputs. Many other features. 20,000 cps at full power. $440. Mc- $349. McIntosh Laboratory, Bingham- $249. McIntosh Laboratory, Bingham- Intosh Laboratory, Binghamton, New ton, New York. (36) ton, New York. (34) York. (35)

111,a111 w

McIntosh C22 Preamplifier. Frequency McIntosh MR67 Stereophonic FM McIntosh MX110 Stereo Tuner /Pre- Response: ±0.5 db from 20 to 20,000 Tuner. Built -in multipath indicator, amplifier. Tuner: Sensitivity 2.5 micro- cps; Distortion: less than 0.2% at Nuvistor front end, self peaking multi volts IHF; Capture Ratio 1.7db Pre - 10 volts output 20/20,000 cps, less plex decoder and many other features. amp: Distortion less than 0.2% at than .1% at 3 volt output. 4 high Sensitivity: 2:5 microvolts IHF; Freq. rated output; Freq. Response within level, 4 low level inputs. $279. Mc- Response: within 1/2db 20/20,000 cps. 1/2db 20/20,000 cps. $399. McIntosh Intosh Laboratory, Binghamton, New $299. McIntosh Laboratory, Bingham- Laboratory, Binghamton, New York. York (37) ton, New York. (38) (39)

II 110 -fi

McIntosh MC240 Power Amplifier. The McIntosh MR71 Stereo FM Tuner with McIntosh M13 Maximum Performance most popular McIntosh amplifier. 40 Nuvistor front end, built in multipath Indicator. A professional oscilloscope, watts per channel; Harmonic distortion indicator, self -peaking multiplex de- signal strength indicator, FM devia- less than 0.5% at rated output or coder and many other features. Usable tion meter, calibrated balance meter less, 20/20.000 cps. Freq. Range sensitivity 2.5 microvolts IHF; Freq. and phase indicator. The M13 lets you +0 -0.5 db 18/60,000 cycles. $288. response within 1/2db 20/20,000 cps. attain quality professional FM listen- McIntosh Laboratory, Binghamton, New $399. McIntosh Laboratory, Bingham- ing. $249. McIntosh Laboratory, Bing- York. (40) ton, New York. (41) hamton, N.Y. (42)

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Scarlatti Model $2,150.00 Clark /100 Headset. Superb bass re- Clark /200 Headset. Clark quality sponse obtained with small transducers within reach of more modest budget. Six additional harpsichords, two clavi- and acoustical coupling. Freq. Raige: Frequency Range: 20/17,000 cps; Sen- chords and tracker action organs also 10/20,000 cps; Distortion less :han sitivity: 1 milliwatt input @ 1000 available. 0.2% @ 100 phon level over useful cps produces 105 db reference 0.0002 Harpsichords and Baroque Instru- range. High compliant earseal of microbar per earpiece. Nominal Im- ments, 4556 Hazeltine Avenue, Sher- polyvinyl chloride. $39.50. David Clark pedance: 8 ohms. $26.95. David man Oaks, California. (43) Co., Worcester, Mass. (44) Clark Co., Worcester, Mass. (45)

New Eico Solid State Tuner /Ampli- Norelco FM -AM World Receiver Deluxe. Twen:y -Six great new albums special-

fier. No tubes, not even nuvistors. The ultimate in quality radios . . . ly selected by Ampex Stereo Tapes for Delivers 112 watts IHF total to 4 ohms, extended frequency coverage on short your Christmas music enjoyment in- 74 watts to 8 ohms. Kit $219.95. wave, marine and aircraft; electrical cluding: The brand new "Joy of $325.00 wired including walnut cabi- band spread fine tuning on short Christmas" album by Joan Sutherland. net. Eico Electronic Instrument Co., wave; Azimuth rotating pecestal. Write for complete Christmas list to 131 -01 39th Ave., Fushing, N.Y. (46) North American Philips Co., 100 E. Ampex, 2201 Landmier Rd., Elk Grove 42nd Street, New York, N.Y. (47) Village, Ill. (4E)

I WIWT-lb.01'1 it) 66 66 B

Sherwood S -8800 All- Silicon Solid - Unique Lifetime Guarantee! The A Perfect Gift for anyone with a tape State FM Receiver-100 watts music "Plainsman" AM -FM Receiver incor- recorder ... the Artronics professional power /1.6 µv FM sensitivity. Harmonic porates Two 25 watt amplifiers. Auto- tape accessory kit. Complete with distortion: 0.3% @ rated output; matic switching from FM mono to bulk tape eraser, tape splicing /editing 0.1% @ 10 watts or less. $368.50 stereo, high and low cut filters, plus kit, and spray -on non -flammable, non- leatherette metal case; $387.50 wal- many more exciting features. Artronics toxic head cleaner. Artronics Co., Inc., nut cabinet. Sherwood -12SG, 4300 Co., Inc., 630 Cleveland Ave., River 630 Cleveland Ave., River Vale, N.J. N. California Ave., Chicago, Ill. (49) Vale, N.J. (50) (51)

www.americanradiohistory.com Hartley Concertmaster Junior full - Just the thing for your Christmas Viking Auto -tape 500 solid -state stereo range speaker system. Contains new Stocking ... His and Hers Klipschorns. tape cartridge player with "Sound Hartley -Luth 210 woofer and new 207 Output 3 acoustic watts with max. Center" controls to adjust volume/

mid - range /high -freq. speakers which 0.1% FM distortion at 10 electric tone. Operates on 12 volts anywhere. have patented all- polymer cones and watts input. Response range 30/20,000 Charcoal: $149.95; Stainless steel magnetic suspension. Cabinet 32 x 24 cps. Full spec available on request. satin: $159.95. Speakers and cartridge x 14 ". $345. Hartley Products Corp., The pair: $1588. Klipsch & Assoc., incl. Viking, 9600 Aldrich Ave. S., Barnert Place, Ho- Ho -Kus, N.J. (52) Hope, Ark. (53) Minneapolis, Minn. 55420. (54)

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Shure Solo -Phone Stereo Headphone Rye Tape Storage Cabinets. Plastic PML EK -61A Condenser Microphone Amplifier enables two to listen to containers hold 5 tape reels in indi- with matching Model 4317 battery - records, tape, or tuner. Output jacks vidual compartments. Available in operated power supply (for Hi -Z only). accept standard stereo headphones. three sizes for 31/2 ", 5" or 7" reels Gift packed, $99.50. Freq. Response Solid -state circuit optimizes response for $3.00, $4.50 and $5.10 respective- below 30 c/s to above 18 kc /s -'- 3 characteristics at low level for distor- ly. Available with reels at additional db. Complete with 10' each of signal tion -free listening. $45. Shure, 222 cost. Rye Sound Corp., 122 Spencer and power supply cable. Ercona Corp., Hartrey Ave., Evanston, III. (55) Place, Mamaroneck, N.Y. (56) 432 Park Ave. S., NYC 10016, N.Y. (57)

Mail this coupon now for 1 11 21 31 41 51 additional information on 2 12 22 32 42 52 any items featured in HIGH 3 13 23 33 43 53 FIDELITY's Christmas Shop- 44 54 ping Guide. Just circle the 4 14 24 34 numbers corresponding to 5 15 25 35 45 55 each item and mail to: 6 16 26 36 46 56 HIGH FIDELITY Magazine 7 17 27 37 47 57 Dept. CSG 8 18 28 38 48 58 Publishing House Great Barrington, 9 19 29 39 49 59 Mass. 01230 10 20 30 40 50 60 American Artist. Most widely circulated art magazine in the world. Enriches understanding of the visual arts. Name Focuses on ideas, techniques and methods in drawing, painting, design, Address sculpture, the drafts. Free announce- ment card, 1 yr. $7. American Artist, 2160 Patterson St., Cincinnati, Ohio City State . Zip

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STEREO QUESTION BOX tions, of course, are very approximate. For accurate playback of 78 rpms, Continued from page 65 you will have to experiment a little more, inasmuch as tone control adjustments and "level" have come to describe settings are least satisfactory in simulating the or adjustments that are preset and not 78 curve. A final thought: you could normally used very much during play- keep your mono preamp- patched into back. "Volume" has come to designate the auxiliary input of your new stereo the familiar control knob that is used amplifier -for playing pre -1954 mono relatively often and which -when other records. All mono records made since similar controls are present in the system then, and of course all stereo records, or in any device -is the final adjust- require only the RIAA equalization. ment and so may be thought of as the "master level" or "master gain" control. 19. What is meant by "damping factor," "Loudness" describes a gain, level, or so frequently used in equipment test re- volume control tied into a compensating ports and advertising? circuit or network, often termed a "con- Damping factor (or DF) is a ratio of JZ -800 Economy Dynamic System with the nominal output impedance of an am- special 31/2" cone -type tweeter matched tour" network, that adds some bass boost at low listening levels and perhaps some plifier (or, of the load it is driving) to to dynamic woofer in sealed enclosure treble boost too. On most amplifiers, the the actual circuit or internal impedance for reproduction to 30 cps without user has the option of using the same of the amplifier. For instance, if the doubling. $129.95 in shelf -type oiled control as a "loudness" control or as an amplifier output taps are rated for an walnut cabinet 131/2 x 231/2 x 11'/8". uncompensated "volume" control. 8 -ohm load, and if the actual imped- Made in USA by Neshaminy Electronic ance of the amplifier measured at that is 2 is Corp., Furlong, Pa. (58) tap ohms, then the amplifier said 17. My FM set, which is one highly to have a damping factor of 4:1, or praised in your test reports, continues simply, 4. The higher the amplifier's to pick up ignition noise from passing damping factor, the more precisely its cars. I have been told that this can signals can control loudspeaker dia- be traced to the lead -in wire from my phragm movement and thus, the more antenna. What do you say? accurate the reproduction. Many transis- Chances are, the lead -in from the an- tor amplifiers, because of their lack of tenna is the culprit. Make sure of this, an output transformer, and their very however, by checking for a defective low internal impedance, have very high tuner. The simplest way to do so would damping factors. Experts, however, dis- be to substitute another tuner, using it agree as to the effect of damping factors with the same antenna. If it sounds very much above 10 -and, in fact, a change much cleaner. your own tuner is at fault. in DF from, say, 30 to 60 is far less If the second tuner also picks up noise important in terms of speaker perform- and interference, you would do well to ance than a change of 2 to 4. A DF of change to either shielded twin -lead IO to 20 is generally considered excellent (which may eliminate interference) or to for driving most conventional dynamic 75 -ohm coaxial cable (which will). The speakers. Electrostatics, it is agreed, do "mismatch" between your 300 -ohm an- benefit from higher damping factors; Z -600 compact, wide -range console tenna and the lead -in can be overcome low- efficiency air- suspension cone speak- system featuring 2 JansZen Electro- by using a small, inexpensive balun ers also seem to respond gratefully to static treble radiators and a special, transformer at the antenna. If your set high damping in an amplifier. high -compliance woofer for clean, has 75 -ohm antenna terminals, simply natural reproduction. $195. Lacquered connect the cable to them. If not, use 20. Are there any major changes or another balun or oiled walnut. 265/8 x 20 x 13 ". transformer at this end. developments in stereo equipment coming In some cases, despite the mismatch be- Made in USA by Neshaminy Electronic up in the next six months that ought to tween 75 -ohm cable and a 300 -ohm input, Corp., Furlong, Pa. (59) keep me from buying what is now on the good reception may result even without market? I am interested in a high- quality, the balun transformer. long -lasting system mainly for playing records, but I will want FM (and maybe 18. I own a large collection of early AM) later and probably tape a year from LPs and 78 -rpm discs. Recently, I de- now. What do you advise? cided to convert to stereo, but none of The major change in audio gear, which is the amplifiers I've seen provides equali- still in process, is the swing to solid - zation for these records. Will I have to state circuitry. A major trend in equip- sacrifice accurate playback of my older ment format is the integrated chassis discs in order to be able to play the that combines tuner and control amplifier new stereo records? into a "receiver." During the next year To begin with, some of the costlier there will be, of course, refinements and separate -preamp- control units do provide the kind of cumulative improvement that variable equalization for records made always have been the hallmark of audio. prior to the industry -wide adaptation of but nothing that ought to keep you from the RIAA characteristic in mid -1954. If. buying what is now offered as new and however, you buy a new stereo model current equipment. Depending on your that provides only the RIAA equaliza- budget and personal inclination, you tion (as most of them do), you can could buy an amplifier -only now, and Second HIGH FIDELITY Treasury. use the set's tone controls to approach add an FM stereo tuner to it later. Or, Tells what you need to know for the required settings for at least two of you could buy a receiver and have your achieving good sound reproduction at the more widely used pre -1954 recording FM right now. Both kinds of units will home. ABC's of stereo, servicing, an- curves. A small degree of bass boost be available indefinitely. As for tape, the tennas, speakers, FM, etc.... 28 top and an equally small degree of treble cut coming year may see the introduction of audio articles. Illustrated soft cover can approximate the LP curve. Leaving video recorders at lower prices and on a wider scale than hitherto, book. 132 pages. Only $2.50. Wyeth the bass "flat" and boosting the treble a but this de- little can come fairly close to simulating velopment will be in addition to, and Press, Great Barrington, Mass. the old AES curve. These recommenda- not in place of, audio tape equipment.

Advertisement 155

www.americanradiohistory.com PURCHASING ADVERTISING INDEX

A HI -FI Key No. Page No. Key No. Page No. SYSTEM? 1 ... Acoustech, Inc. 143 45 .... Kenwood Electronics, Inc. 8 TRADE -INS OK -TIME PAYMENTS 2 ... Acoustic Research, Inc. 41 48 . Koss /Rek -O -Kut 24 Up to 2 years to pay I 3 Acoustic Research, Inc. 115 Altec Lansing London Records 102 Electrovoice Acoustical Mfg. Co., Jensen Halltratte, Us . Send USL Citizen Band Ltd., The 12 50.. Mace Records 112 Texas Crystals . Magnecord Internat'I Crystals 4. Airex Radio Corp. 156 51.. Sales Dept. 124 University 5 Altec Lansing Corp. .43, 45 52 .... Marantz 35 Your List of Acoustic Research 33, Janszen Viking 6 Ampex Corp. .. .100, 137 53 .... McIntosh Laboratory, Wharfedale Components Marantz 7 Archive Production 85 Inc. 123 Bell G.E. Mercury Records 102 Weathers 8 Audio Devices, Inc. 117 54... Harman -Kardon 9 Audio Dynamics Minnesota Mining & A Eico Ampex* For Sherwood' Corp. 14, 15 Mfg. Co. 138 Crown Recorders Mosley Superscope 10 Audio Dynamics Corp. 25 55... Electronics, Inc. 42 Dual Changer Package 11 Bogen RCA Audio Originals 30 57 .. OKI- Chancellor Dynakit Fisher H. H. Scott Leak Audio Unlimited, Inc. 147 Electronics, Inc. 44 ECI Roberts Quotation . Olson 147 De Wald National 12 Benjamin Electronic 58 Electronics, Inc. FREE TIME Sony Challenger Osaka International Browning Sound Corp. 10, 95 59. STEREO RECORDS G d Festival Society 114 WITH ORDER Miracord 16 Bogen Communications General Radio Division 127 60 .... Pickering & Co., Inc. 2 All me!chandise Rek -OKut is brand new, Polytronics Bozak, R. T., Mfg. 61.... Pilot Radio 105 factory fresh. Norelco Fines Co. 97, 99 Fairchild 63 Rabsons -57 St., Inc. 156 Pickering Sonar 103 ... British Industries Corp. 46 .... Visit our N. Y. ADC Cartridges Showroom. 64 .. . RCA Tape 83 FREE Hi Fi Catalog. Audio Tape Magnecord 13 Cadet Records 136 93 RCA Victrola 79 Rockford Cabinets .... AIREX ADC Speakers 14... Cambridge Records 122 29....Revox 113 KSC Speaker 15 .. Studios 145 RADIO Systems* Carston 66 .... Rheem- Roberts 135 Fatr Traded Christmas Shopping CORPORATION 68.... Sansui Electric Co., Ltd. 22 85-HF Cortlandt St., N.Y. 7, WO 4-1820 Guide 148 -155 69 .... Sarkes Tarzian, Inc. 4 17 .. Citadel Record Club ... 7 CIRCLE 4 ON READER -SERVICE CARD 31.... Scope Electronics Corp. 31 18 .. Columbia Records . . 80, 81 100.... Scott, H. H., Inc. .... 37 -39 19 .. Command Records ... 5 71.... Sharpe, E. J., 21 Concord Electronics Corp. 23 Instruments 128 22... Decca Records 107, 116 70.... Sherwood Electronic 23... Deutsche Grammophon Laboratories, Inc. Cover IV NOTICE Gesellschaft 74 72 . .. Shure Brothers, Inc. 66 TO STEREO 24... Dixie Hi -Fi 145 73 .. Shure Brothers, Inc. 122 25 .... Dressner 146 74....Sonotone Corp. 26 & HI -FI BUYERS 27 .... Dynaco Inc. 103 75 .... Sound Reproduction, Inc. 146 BEFORE YOU BUY GET A RABSONS 28 .... Electro- Voice, Inc. Cover III Magnetics, Inc. 21 QUOTE... YOU'LL BE GLAD YOU DID! 76.... Stanton 26 .... Electro- Voice, Inc. ... 87 -90 Stereo 1966 Edition 91 At Rabsons Competitive Prices, a la- 29 . Elpa Marketing k.11ly and Personal ServicTFave been 77 . Superex Electronics 16 bywords for over 60 years Industries, Inc. 113 78 . Superscope, Inc. 9 Elpa Marketing It's so Uly and SAFE to deal with Rabsons 30.... Industries, Inc. 126 79 .... Superscope, Inc. 11 Up to 36 months to pay on Easy Pay Plan 80.... Superscope, Inc. 13 Centrally located -as close ac your telephone 31.. . EMI, see Scope Electronics -as near as your mail box Free Mail Order - 108.. Empire Scientific 81.... Sylvania Electric Hi Fi Clinic Service Fast Air Mail Response Products 119 on Quotation Requests Franchised Distribu- Corp. 17 -19 tor for Hi Fi Lines 60 Years of business "Know How" to serve you better Ship- 82 .... Tandberg of America, ments DOUBLE PACKED and FULLY INSURED 32... Fidelman, Josef 118 Inc. 129 "Attractive" Prices Warehouse on premises Fast Delivery-Large inventory permits 34 . Finney Company, The 101 84 ... Telex Acoustic Products 134 processing and shipment promptly All 35 . Fisher Radio Corp. merchandise brand new in Factory sealed 88 .... Toujay Designs 40 cartons Save even more on complete sys- Cover II, 1, 27, 29 tem quotes Export Packing -220 Volts 50 85 .. Turner Company 34 Cycle merchandise a specialty Free list 36.. .Frazier Incorporated . 111 of monthly specials. 86 .... United Artists Records 16 103.... Garrard 46 BALL POINT PEN with every quote 87 .... University Sound 106 33 Golden Records 108 89 Vanguard Records 94, 118 fIVFR [Ill YFARC 38 .... Greentree Electronics 141 .... 90.... Vega Electronics 147 40.. Harman- Kardon, Inc. 93 91.... Viking of Minneapolis, 41.... Heath Company .. 130, 131 Inc. 6, 110, 144 42 .... Hi- Fidelity Center 147 Watts Division 126 RABSONS 57 ST. 30.... 119 West 57th Street, New N. York, Y. 10019 43 .... Inter -Mark Corp. 40 94 . Wollensak 121 Tel. Area Code 212. 247.0070 44.... Jensen Mfg. Co. 132 Wyeth Press 20, 120 CIRCLE 63 ON READER- SERVICE CARD 156 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com At last amplifier manufacturers are breaking the 20 to 20,000 cps response barrier.

IT'S ABOUT TIME. After all, we've been making speakers that go well beyond those limits for years!

Let's start at the bottom (as much as . an octave below most other woofers). Our thirty -inch diameter woofer repro- duces 15 cps fundamental bass at full volume without doubling. Nothing less than a live performance can compete with the sound you hear -and feel -from this giant speaker. Model 30W $250.00 Over a decade of engineering refinement has made this E -V twelve -inch cone speaker unexcelled in mid -bass performance (and it's also an uncommon value as a full -range speaker from 30 to 15,000 cps). Model SP12 $65.00 It takes this sophisticated team of compression driver and patented diffraction horn to fully satisfy the rigorous demands of the treble range. There's no smoother combination than E -V T250 and 8HD. Model T250 $88.00 Model 8HD $21.00 Ruler flat from 3,500 to 23,000 cps! But extended range is just one of the benefits of the T350 VHF driver. Its exclusive throat and horn design spreads undistorted highs to every corner of your listening area. Delightful! Model T350 $66.00 These unusual component speakers have been combined in the Patrician 800 -often acclaimed the world's finest loudspeaker system. $995.00 in Traditional or Contem- porary cabinetry. It's waiting to be chal- lenged by the most powerful, widest -range amplifier you can buy. Listen. The difference you hear is what high fidelity is all about! Other E -V component speakers for every requirement- indoors or out -range in price from $14.00 to $250.00. Hear them at your nearby Electro-Voice high fidelity showroom. Write for free catalog. ELECTRO- VOICE, INC., Dept. 1254H 619 Cecil Street, Buchanan, Michigan 49107 CIRCLE 28 ON READER -SERVICE CARD gkeZSYL'C. SETTING NEW STANDARDS IN SOUND

www.americanradiohistory.com Compare these Sherwood features and specs! ALL -SILICON reliabi.ity. Noise -threshold -gated automatic FM Stereo /mono switching, FM stereo light, zero -center tuning meter, FM interchannel hush adjustment, front -panel stereo headphone jack, rocker -action switches for tape monitor, mono /stereo, noise filter, speaker disconnect and loudness contour. 100 watts music power (8 ohms) @ 0.3% harm distortion. IM distortion 0.1% @ 10 watts or less. Power bandwidth 12- 35,000 cps. Phono sens. 1.8 mv. Hum and noise Iphonol -70 db. FM sens. IIHF) 1.6 1uv for 30 db quieting. FM signal -to- noise: 70 db. Capture ratio: 2.4 db. Drift ±.01 %p. 40 silicon transistors plus 14 silicon diodes and rectifiers. Size: 1635 x 435 x 14 in. dp.

Ill Mil E ss 1 . 100 1.6 E- 2.2 E m 100 I 11 I A:11101 (4n) 2.5 E CI 1 70 1 a Val --3, & S 70 1 90 4.0 ` MI . ' a '= E 1 El 120 ' 3 ."7"1,1 _SR 900 1 E g

- - - . V EV r"-", V& T : i tl p, / Reference T- ahoy., may nclude some silicon transistors Figures above a nu facture, , published specifications except () which erea published test findings.

SHERWOOD SPECS SPEAK FOR THEMSELVES

I 1

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5-8800 100 -watt FM ALL- SILICON Receiver $359.50 for custom mounting $368.50 in walnut leatherette case $387.50 in hand -rubbed walnut cabinet

Sherwood Electronic Laboratories, Inc.. 43IX1 North California Avenue. Chicago, Winos,. 60618 Write Dept. l2H

CIRCLE 70 ON READER -SERVICE CARD