What's New in Tone Arms 60 Ceni s x

171 1 I APRIL THE MAGAZINE FOR MUSIC LISTENERS' z

THE TRIUMPHS

AND TROUBLES

OF THE MET By Martin Mayer

www.americanradiohistory.com Only these FM Stereo Receivers have Pilot's unique signal -sampling multiplex circuit* You get the best possible FM Stereo reception because PILOT'S unique signal -sampling multiplex circuit gives you maximum separation (30 db or better) across the entire audio spectrum. It is the simplest, most effective, most trouble -free circuit presently being manufactured for stereo demodu- lation. There are no troublesome frequency separation filters and matrices or extra controls as are required by other multiplex circuits. This is just one of the many features that make PILOT Stereo Receivers the perfect electronic "heart" for your high -fidelity system. Patent Pending

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STEREO FM MULTIPLEX ¡10l 654M TUNER AMPLIFIER

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x 145/8° wide x 123/4° deep. Black and brass styling . With cover...

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to get to his... L

stereo fluxvalve pickup

PICKERING & COMPANY INC. offers the stereo fluxvalve pickup in the following models: the Calibration Standard 381, the Collector's Series 380, the Pro -Standard Mark II and the Stereo 90. Priced from $16.50 to $60.00, available at audio specialists everywhere.

E . " F O R T H O S E W H O C A N H E A R T H E D I F F E R E N C "

'ickering and Company -Plainview, Long Island, CIRCLE: 66 ON RE: %DF:R- SERVICE CARD HIGH FIDELITYi ITY MAGAZINE

www.americanradiohistory.com Page 42

Page 49 41111. high fidelity

Page 38 Music and Musicians 37 The Met-Present, Future, and Past: an editorial 38 The Triumphs and Troubles of the Met Martin Mayer 46 No Funeral Taps for Delius Peter J. Pirie 49 When the Big Bands Played Martin Williams 20 Notes from Abroad -London. Munich 28 Teresa Stich -Randall: an interview Martin Bernheimer 59 Music Makers Roland Gelait

Sound Reproduction 42 Improvements in Arms Joseph Marshall 52 Equipment Reports Grado Laboratory Series Stereo Cartridge EICO ST -96 FM -AM Tuner and MX -99 Multiplex Adapter H. H. Scott LK -72 Stereo Amplifier Kit Audax CA -70 "Sonoteer" Speaker System 105 High Fidelity Newsfronts

Reviews of Recordings 61 Feature Record Reviews Strauss: Salome (Birgit Nilsson et al., ) Ives: Sonata for Piano, No. 2 (Concord) (George Pappa.stavrou) 63 Other Classical Reviews 75 The Imports Gene Bruck -, 85 The Lighter Side 93 Jazz 97 The Tape Deck

APRIL 1962 VOLUME 12 NUMBER 4

Published monthly of Great Barrington, Mass. by The Billboard Publishing Co. Copyright O 1962 by The Billboard Publishing Co. The deslen and contents el Huh fidelity Magazine are luny protected by copyright and must not be reproduced in one manner. Second -alois postale paid at Great Barrington and at additional mailing offices. One veer subscription in U. S.. Possessions, and Canada 56.00. Fi e..here S7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of Address notices and undelivered copias (Form 35791 should be addressed to High Fidelity, Subscription Dept., 2160 Paterson St., Cincinnati 14, O.

www.americanradiohistory.com .....,...... RADIO lii fi1clli LAFAYETTEpresents It Matif Po-palm S eo- Pkono Sptent kativtim THE TRIUMPHS

The FAMOUS LA -250A 50 -WATT STEREO AMPLIFIER AND TROUBLES CHOICE OF GARRARD AT-6 DIAMOND STEREO CARTRIDGE OF 1111 MET

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Lafayette LA -250A 50 -Watt Stereo Amplifier 99.50 (OPTIONAL) Garrard AT -6 4 -Speed Record Changer 54.50 Roland Gelatt Pickering 380C Diamond Stereo Cartridge 29.85 LAFAYETTE Editor in Chief ELIPTOFLEX Lafayette Wood Base 3.95 BOOKSHELF 2 Lafayette SK -58 12" ENCLOSURES Coaxial Speakers Joan Griffiths @ 29.50 each 59.00 Executive Editor Total Price if Purchased Separately 246.80 Norman Eisenberg HI -FI STEREO SYSTEM, as above, with choice of Pickering 380C or Shure M7D Cartridge and Walnut, Audio Editor LAFAYETTE Mahogany or Blonde Changer Base (specify finish) 199.50 LS -252WX Only 199.50 Sue Severn SPECIAL PRICE Managing Editor Same as LS -252WX but includes 2 Lafayette Elip- toflex Series Bookshelf Enclosures in Walnut, Oiled YOU SAVE Walnut, Mahogany or Blonde (specify finish) Shirley Fleming 47.30 LS -254WX Only 265.50 Assistant Editor

H. C. Robbins Landon Pacesetter of the High -Fidelity in- European Editor . . . renowned for its perfor- LAFAYETTE'S dustry Roy Lindstrom LINE mance. The ultimate for those who Art Director CRITERION demand the finest. Nathan Broder John M. Conly NEW! KT -550 100 -WATT KT -600A PROFESSIONAL R. D. Darrell Alfred Frankenstein BASIC STEREO AMPLIFIER KIT STEREO CONTROL CENTER John F. Indcox Robert C. Marsh KT -550 In Kit Form 134.50 KT -600A In Kit Form 79.50 Contributing Editors LA -550 LA -600A Completely Wired 1 34.50 Completely Wired Claire N. Eddings Advertising Sales Manager 184.50 , Walter F. Grueninger NO Director MONEY Circulation DOWN Warren B. Syer Publisher Rated at 50 -Watts per Channel Made in NO MONEY Response from 2. 100,000 cps, 0, DOWN -1db at 1 -Watt U.S.A. Made in Response 5-40,000 cps 1 db. Grain Oriented, Silicon Steel Transformers r U.S.A. Precise Balancing System Multiple Feedback Loop Design "Null" Unique Stereo and Monaural Control Features Assemble Kit Form A D V E R T I S I N G Easy -To- Concentric Input Level Controls A new "Laboratory Standard" dual 50 -watt ampli- Easy -To- Assemble Kit Form. Main Office basic stereo fier guaranteed to outperform any Sensitivity 2.2 my for 1 volt out. Dual low im- N. Eddings, The Publishing House market. Advanced engineering Less Claire amplifier on the pedance "plate follower" outputs 1500 ohms. Great Barrington, Mass. Telephone 1300 techniques plus the finest components ensure than .03% IM distortion; less than .1% harmonic Distortion levels so low below 2 volts. flawless performance. distortion. Hum and noise 80 db New York they are unmeasurable. Hum and noise better than 140103'ex41/2". Shpg. wt., 16 lbs. 90 db below 50- watts. Complete with metal en- 1564 Broadway, New York 36 closure. 9'''%x121/z "D. Shpg. wt., 60 lbs. Telephone' Plaza 7 -2800 Seymour Resnick, Andrew Spanberger

Lafayette Radio, Dept. WD2 -1, P. 0. Box 10, Syosset, L. I., New York NEW 740 N. Rush St., Chicago 11 Name Telephone: 2 -4245 1962 P. H. Cempers, Thomas Berry, Address - CATALOG Allen Campbell City Zone - State 340 PAGES Los Angeles Hollywood 28 4kTAFAYETTEico NEW YORK I3,N.Y. BRONX 58, N.Y.- -NEWARK - --2, N.J. 1520 North Gower, , ------.IL. R A Ii = Telephone: Hollywood 9 -6239 I N.J. BOSTON 10, MASS LOCATIONS P. JAMAICA 33, NEW YORK PLAINFIELD, N.J. PARAMUS, George Kelley

CIRCLE 58 ON READER -SERVICE CARD

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Remember when the most delicious part of an ice Remember, if it's worth recording, it's worth Audio - cream soda was that last resounding sip? The magic tape There are eight types, one exactly suited to the years of youth are sprinkled with a thousand and one next recording you make. From Audio Devices, for 25 such noisy delights- accepted simply, appreciated years a leader in the manufacture of sound record- instinctively and forgotten quickly. ing media- Audiodiscs *, Audiofilm *, and These transient pleasures and simple sounds soon give way to more enduring enthusiasms, to richer TRADE MARKS and more meaningful sounds. Such as recordings on Audiotape. This tape gives you superb clarity and range, minimum distortion and background noise. Because of its remarkable quality, Audiotape has !peafofse/f" fI` timeless gift of offering pleasure to everyone the AUDIO DEVICES INC.. 444 Madison Ave., New York 22, N.Y. from juvenile soda slurpers to mature twisters. Try it. Offices in Los Angeles Chicago Washington, D.C.

CIRCLE l'. ON READER -SI 1% ICF C.%RI)

www.americanradiohistory.com From Scott ... the 1st RELIABLE Stereo Multiplex Indicator New Scott Tuner/Amplifier with Revolutionary Sonic- Monitor` Push the Switch ... Tune to the Tone! New Scott Invention Audibly Signals when Stereo is on the Air

Once again Scott engineering leads the way ... brings you a new 60 watt FM tuner /amplifier equipped with unique Sonic -Monitor *, a completely reliable audible tone that signals you quickly, simply and definitely when a stereo program is actually on the air.

The 340 60 -watt Tuner /Amplifier Combination is a new kind of compo- nent. Even though tuner, preamplifier and power stages are all on one compact chassis, Scott's outstanding engineering group has been able to incorporate all the features and superb performance of sepa- rate Scott units. No compromises have been made. No corners have been cut. No specifications have been inflated. For example, the Time Switching multiplex section, like all Scott FM Stereo tuners, contains 4 tubes and 9 diodes. It is not stripped to 2 or 3 tubes like many compromise tuner /amplifiers, The power stages pro- vide 60 watts at low frequencies where it really counts and where con- ventional tuner /amplifiers rated at 1000 cps fall down badly. Feature after feature, the 340 fulfills the Scott promise of superb performance. Obvious features and innovations tell only part of the story. All Scott components include refinements and intangibles which you will find pay off in years of trouble -free performance. As leaders in technical innovation, implacable quality control and remarkable value, Scott stands alone. 1. Unique Sonic -Monitor tunes to the tone to tell you when stereo FM programs are on the air. Completely eliminates guesswork and mis- leading indications. 2. Precision meter insures accurate tuning -a must for low distortion stereo reception.

CIRCLE 75 ON READER- SERVICE CARD

www.americanradiohistory.com SONIC MONITOR

HOW UNIQUE SONICMONITOR* WORKS 3. Separate and treble controls. To find FM stations broadcasting stereo multiplex simply push the Sonic -Monitor Switch to and tune across the 4. Sub -Channel Noise Filter for reduced noise "Monitor" dial. When you hear the monitor tone from your speakers, you know 5. AGC switch for best reception of weak multiplex signals. positively that you have tuned to a stereo broadcast. Then simply push the monitor switch back to "listen ", lean back and enjoy 6. Scott silver - plated front end to assure sensitivity better than 2.5 Av FM stereo. The a relia- by IHFM standards. Scott Sonic-Monitor' provides positive, ble indication of FM stereo broadcasting. It is never activated by 7. Special filters insure flawless off- the -air stereo tape recording. spurious signals as are most visual systems. 'Patent Pending 8. Inputs for tape recorder, TV, phono cartridge and tape deck. 9. Compact) Size in handsome accessory case only 17%" W x 6%" H x16'/, "D. 10. Plus, of course, all the hidden design and construction refinements S C OTT that make Scott components your wisest long -term investment. H. H. Scott, Inc., III Powdermill Rd., Maynard. Mass. Dept. 226 -04 sport: Morhan Exporting Corp, 458 Broadway, N. Y. C. The new 340 is in the proud tradition of the famous Scott 355 tuner/ Canada: Allas Radio Corp., 50 Wmgold Ave., amplifier so widely acclaimed by audio authorities. The 340 offers you suoerb performance and amazing flexibility at modest cost. If your Rush me complete details on your new 60 watt 340 Multi. plex Tuner /Amplifier Combination. power requirements are more demanding, however, and you wish to hear receive AM as well as FM, we suggest that you see and the 355 Name 80 watt Tuner /Amplifier at your dealer. Price of the 355 with separate 208 80 watt stereo power amplifier is $449.90. The new 60 watt 340 is Address ...... only $379.95, and will be available in late April. Prices do not in- clude case, and are slightly higher west of the Rockies. City .State . . Patent Pending CIRCLE 75 ON READER -SERVICE CARD

www.americanradiohistory.com AUTHORitatively Speaking

The general public probably knows Martin Mayer best as author of carefully documented and somewhat controversial explorations of such American phenom- ena as Wall Street and Madison Avenue, and of last year's formidably researched volume on education entitled The Schools. The more select company of music listeners know him too as long- time record reviewer for Esquire, author of A Voice That Fills the House (a novel -some people say a roman ù clef- about opera- behind -the -scenes in Italy and New York), and occasional contribu- tor to HIGH FIDELITY. Mr. Mayer's first article for us was a profile of , way back in 1954, when he, she, and we were all somewhat younger. His latest has a larger canvas: see "The Triumphs and Troubles of the Met," p. 38. Two decades ago, Joseph Marshall -who this month gives us "Improvements in Arms," p. 42 -was among the adven- turers in the then unexplored realms of high -fidelity sound at home. Unlike some other kinds of early settlers, how- FM STEREO MULTIPLEX ever, he looks to the future, not to the past. In fact, Mr. Marshall not only has FORM done a good deal to help chart audio All on One Chassis and in KIT territory for later- comers (he's author of Maintaining High Fidelity and Stereo That's Right - No external Multiplex Hi Fi Handbook, in addition to many Adapter required... PACO introduces the by C rol magazine pieces); he welcomes having new model ST-35MX FM Stereo Multiplex new worlds to conquer. If stereo has tuner, featuring the finest multiplex cir- brought problems to designers of com- cuitry, ALL ON ONE CHASSIS ... ALL IN ponents, Mr. Marshall sees their solu- ONE CABINET AND IN KIT FORM (with tion as simply adding to sound fanciers' factory pre -aligned multiplex section). delights. The ST -35MX FM Stereo -multiplex Peter J. Pirie emerged from London's tuner is designed for the discriminating Guildhall School of Music and Drama, Audiophile who demands the ultimate in where he studied piano, conducting, and FM Stereo reception. Its distortionless Model SA -40 composition, hoping that he could avoid high incomparable features include ultra STEREO PREAMP -AMPLIFIER KIT the contemporary mania for specializa- sensitivity, rock -stable AFC, pin point Kit Net Price: $79.95 tion ( "see music whole," in his own selectivity combined with broad band Factory Wired Net Price: $129.95 phrase). He discovered that specializa- response. tion was unavoidable, he says, but he has been engineered to has at least managed to keep his profes- The ST -35MX sional activities ranging over the period meet the most critical standards. Highly from Haydn to Webern. Mr. Pirie has styled in a handsome black and gold case devoted much time to English music, it is the perfect companion to Paco's but here the labor is more of love than popular SA -40 Stereo preamp -amplifier or of duty: witness "No Funeral Taps for any other fine quality stereo system. -e IND Delius," p. 46. Model ST -25 MX In the era "When the Big Bands Played AVAILABLE THREE WAYS IN HANDSOME FM STEREO TUNER KIT Swing" (see p. 49), Martin Williams was GOLD AND BLACK ENCLOSURE Kit Net Price: $69.95 by jazz. The spell has lasted. Factory Wired Net Price: $99.95 seduced MODEL ST-35MX (Kit) with full pre -aligned Onetime coeditor of the Jazz Review multiplex circuitry and PACO detailed and editor of an anthology called The assembly- operating manual. Art of Jazz, Mr. Williams is a regular NET PRICE $99.95 contributor of articles on jazz matters to Down Beat, Metronome, the Ever- MODEL ST- 35PAMX (Semi -Kit) with both green Review, and The American Record tuner and multiplex sections factory- Guide. In a former life (as a college in- wired and completely prealigned for structor in English) he followed aca- hairline sensitivity. Complete with demic protocol by writing for the learned PACO detailed assembly - operating journals (subjects: Joyce and Marlowe); manual NET PRICE $119.95 latterly, he writes TV criticism for Man- hattan's Village Voice. MODEL ST -35WMX (ready to operate). Model MX -100 Factory -Wired, aligned, calibrated and STEREO MULTIPLEX ADAPTER assembled complete with operating Kit Net Price: $49.95 Factory Wired Net Price: $69.95 manual NET PRICE $139.95

Electronics Co., Inc. See the full line of PACO UUUU Hi -Fi Stereo components on display at all leading a division of PRJICISIONApparatusCo.,Inc. throughout the of Paeotronies, Ins. distributors Subsidiaries world. 70 -31 84th Street. Glendale 27, Long Island, New York fllanrí/acá --eè4 o/gine lecleonic c`r`gaihneenl/at ores SO yea24. CIRCLE 65 ON READER- SERVICE CARD HIGÜ FIDELITY MAGAZINE S

www.americanradiohistory.com small speakers for small rooms? /

These two AR -3 speakers provided Christmas music last year for Grand Central Terminal's main concourse, whose capacity is several million cubic feet. Carols and organ music were played in stereo at natural concert volume. Passers -by were often seen looking around for a live chorus or pipe organ. Relative size does not determine the suitability of small, medium, or large speakers to small, medium, or large rooms. The only criterion by which performance may be judged is the ability of the speaker to reproduce music naturally, without coloration. The price of AR speakers ranges from $89 for an unfinished AR -2 to $225 for an AR -3 in walnut, cherry, or teak. A five -year guarantee covers parts, labor, and reimbursement of any freight charges to and from the factory. Catalog and a list of AR dealers in your area are available on request.

ACOUSTIC RESEARCH, INC., 24 Thorndik Street, Cambridge 41. Massachusetts

CIRCLE 1 ON READER -SERVICE CARD

www.americanradiohistory.com ARE YOU BEING CHEATED?

We at GRADO are constantly asked "How does a consumer know which ads are truthful ?" "How can the consumer be sure that what he buys is really good ?" "What protection does the consumer have after he spends his money ?" He couldn't be sure until now! 100°a CONSUMER PROTECTION. Proof of GRADO integrity and superb product quality is what we offer you with absolutely no risk on your part!! GRADO SENATOR CARTRIDGE A Genuine Moving Coil Stereo Cartricge $24.95

CERTIFIED SPECIFICATIONS. After carefully controlled Labora- tory tests the New York Testing Laboratories certifies the The Imports following specifications to be completely accurate. (Note: These specifications will be recertified at various irtervals to assure SIR: you, the consumer, of consistent quality). Your new column "The Imports" is the best thing that's happened to HIGH FI- DELITY since you expanded the "Equip- SPECIFICATIONS - FREQUENCY CHANNEL ment Reports" section. Short of subscrib- CERTIFIED (New York RESPONSE: SEPARATION: ing to a plethora of foreign record -review Testing Laboratories) 20CPS -I KC- Vertical- Laterol magazines, there has been no way in the 1DB 30DB -1KC past to get informed opinion on imported 1KC -1OKC- 18DB -15KC 1.5DB releases. 450-45° 10KC -22KC- 1KC I don't know about Odeon labels, but 30DB 2DB 115KC in the case of imports from Pathé -Mar- 14DB J coni the Pathé labels on the records can APPLICATION: Output - be soaked off with water, revealing the Tone Arm or 8MV C IOCMV original "La Voix de Son Maître" label Record Changer Tracking Force - with the familiar gramophone and dog. Excellent for 3 grams Bernard A. Engliolnt Monaural Records Diamond Stylus Del Mar, Calif.

SIR: ONE YEAR UNCONDITIONAL GUARANTEE ,Fron date of purchase). If the cartridge becomes defective for any reason (including children) It was with great pleasure that I noted you will receive a brand new cartridge FREE!! the introduction of a section on imported recordings. A feature of this sort has 5 YEAR DIAMOND STYLUS GUARANTEE. If the diamond wears from long been overdue, and I am happy to playing within 5 years of the purchase (even in a reccrd changer) GRADO see that you are now providing this serv- will replace it FREE!! ice for your readers. Edmond Mignon ADDITIONAL PROTECTION. You may return th? cartridge to your Los Angeles, Calif. dealer for a full refund if you are not completely satisfied after ten days of close listening in your own home. A Pox on High Fidelity THE EXPERTS SAY: SIR: "Provided a tape like stereo effect with no instrument wander." Larry Zide ... American Record Guide I have just received a renewal notice "Superb sound at any price." from you and I think that you ought to Chester Santon ... AdventLres in Sound, WQXR know the reason for my decision not to renew. It is the direct result of an ob- If the cartridge becomes defective after the warrantee period expires, for noxious piece called "A Pox on Manfre-

a flat fee of $15 00, you will receive a brand new cartridge. dini" I HIGH FIDELITY, June 19611. There ONLY GRADO CAN BE PURCHASED WITH COMPLETE SECURITY!! is no excuse for this kind of article. The above guarantee also cover. Thomas W. Parsons Brooklyn, N. Y. laboratory Stereo Cartridge 549.50 Classic Sterro Cartridge $37.50 TOP RATED Way Out West For Ultimate Results Use The laboratory Series Tone Arm $39.50 SIR: Thanks sincerely for your accurate cov- ASK YOUR DEALER ABOUT THE GRADO DUSTAT $6.95 erage in the issue devoted to "Music in VELVET TOUCH RECORD CLEANER NO MESSY FLUIDS California" (HIGH FIDELITY, January 196211 We have needed this for some time. Those who don't live here in Cali- FOR FURTHER fornia would have no way of knowing INFORMATION WRITE GRADO LABORATORIES, INC. that we sometimes have music worth 4614 Seventh Ave., Brooklyn 20, N. Y. Export- Simontrite, 25 Warren St., N.Y listening to. It is gratifying that finally

Continued on page 14 CIRCLE 47 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com What do today's great musicians have that Paganini and Paderewski didn't?

This!

Isaac Stern, Eugene Ormandy, Victoria tronic components of a 'no- compromise' have an integrated stereo installation de Los Angeles, Claudio Arrau and stereo system, but its operation is that ranks with the world's finest. Price, scores of other world- famous musical child's (and wife's) play. The elegant less cabinet, $359.50.* The Fisher artists today have Fisher high fidelity chassis takes up no more shelf space 800 -B (virtually identical but with high - equipment in their homes. What's more than a dozen books, yet it incorporates sensitivity AM tuner), $429.50.* -whether or not any of them transcend an ultra- sensitive FM Stereo Multiplex the legendary Paganini or wide -band a the spell- tuner, 65 -watt stereo power r FREE! Write for the 1962 Fisher CISSNF'1f binding Paderewski -they all have an amplifier, and a stereo control pre- Handbook, a 40 -page illustrated I. \I ib advantage that is strictly of our time: amplifier of grand -organ reference guide and component flexibility. catalogue for custom stereo totally lifelike reproduction of their art- installations. istry in thousands and thousands of pri- The Multiplex section is a built -in part Fisher Radio Corporation vate living rooms through Fisher stereo. of the 500 -B -you need no adapter to 21-25 44th Drive Long Island City, N. Y. receive the new FM thrilling Stereo Please send free 40 -page Handbook. with Now the same kind of engineering that broadcasts. And the exclusive Fisher complete specifications on the Fisher 500 B makes Fisher rank supreme among the Stereo Beam shows you instantly and 800 -B. most advanced stereo perfectionists is whether or not an FM station is broad- Name available music lovers to all regardless casting in stereo. Address of technical inclination. The Fisher City lone -State 500 -B Stereo Receiver shown here com- Simply connect a pair of fine loud- bines in a single unit all of the elec- speakers to the Fisher 500 -B and you

Prices nigher Fisher I slightly in the Far Weht EDOrl Radio nlernatronal, Inc , Long Island City I. N Y. CIRCLE 43 ON READER -SERV ICF. C %HO

APRIL 1962 11

www.americanradiohistory.com There are only three There are only two finer Stereo Control finer Stereo Control Amplifiers than this Amplifiers than this $159.50 Fisher X- 100. $189.50 Fisher X- 10I -B. (the three on the right) (the two on the right)

Single- chassis, integrated Stereo Control Amplifiers are one Each of these remarkable stereo amplifiers has virtually of the great Fisher specialties. The special design problems nonmeasurable distortion right up to the limit of its power of combining the power amplifier section with the preampli- rating. The superb listening quality of each is instantly long hours fier and audio control system in one space saving unit have apparent but will be even more appreciated after been solved by Fisher engineers to an unprecedented degree of completely fatigue -free listening. of technical sophistication. The top three models incorporate the exclusive Fisher in- which permits the full use of As a result, even the moderately priced, 36 -watt X -100 ternal tape switching system, during tape playback imme- offers a performance standard that is uniquely Fisher -and, all audio controls and switches in cable con- at the other end of the scale, the 110 -watt X -1000 is by far diately after monitoring -without any changes a center -channel the most powerful and advanced Control Amplifier in exist- nections. The same models also provide the need for an extra ence. Between the two, the 56 -watt X -101 -B and the 80 -watt speaker , which eliminates when an optional third loudspeaker system X202 -B are the world's finest for their size and cost. power amplifier

CIRCLE 43 ON READER- SERVICE CARD MAGAZINE 12 HIGH FIDELITY

www.americanradiohistory.com There is only one There is no finer finer Stereo Control Stereo Control Amplifier Amplifier than this than this $339.50' $249.50 Fisher X- 202 -B. Fisher X -1000. (the one on the right) (that's right!)

is installed. These three amplifiers also have suitable jacks r FREE: Write for 1962 Fisher Handbook Fisher K -10 'Spacexpander' reverber- -a to accommodate the 40 -page illustrated guide and component llINh:lt!\\IOItlllfis ation unit or a pair of earphones for private listening. The catalogue for custom stereo installations. X -202 -B and the X -1000 offer, in addition, built -in facilities Please include complete specifications on to accept the Fisher RK -1 remote control system. the X -100X -101 -BX- 202 -BDX -1000 No one who is at all serious about stereo should miss Fisher Radio Corporation the opportunity to hear these Control Amplifiers demon- 21 -25 44th Drive, Long Island City, N. Y. strated by an authorized Fisher dealer. Even a brief listening session will prove conclusively that no high fidelity compo- Name nent can surpass a Fisher Address - except another (and Th City Zone State HF405 J more elaborate) Fisher. e Fisher L *Less cabinet: prices slightly higher in the Far West. EXPORT: Telesco International Corp, 171 Madison Ave., New York 16, N.Y. Canada: Tri -Tel Associates, Ltd. CIRCLE 43 ON READER- SERVICE CARD

APRIL 1962 13

www.americanradiohistory.com LETTERS

Continued from page 10

one of our leading music magazines has BOBBY HACKETT SAYS... reported so well on the state of music in California. Congratulations. Dick Claus Program Director. KHIQ PP I USE KOSS STEREOPHONES Sacramento, Calif. AND THEY MAKE MY Sm: I read with great relish your articles dealing with the music scene in Califor- TAPE RECORDER SOUND GREAT nia, and I am in complete agreement with the appraisal of your authors. My only complaint is that you failed to men- As a traveling man, I tion specifically the persons who are do- ing most to block musical advancement couldn't carry two stereo in California. M. Cani Miller speakers around with me. SS Daily Blade -Tribune Oceanside, Calif.

The First- Balcony Ideal

SIR: Even given a fine performance, a fine hall. and a "first- balcony seat." the high fidelity enthusiast mentioned I "Letters," HIGH FIDELITY, January 19621 by Mr. Slome (i.e. the man who found a concert by the great Philadelphia Orchestra "lack- ing bass and highs ") might not have been so wrong after all. The Philadelphia Orchestra most probably did play the "bass and highs," but the acoustics of the hall or the seat of the listener. though one of the best, may yet not have al- lowed him to hear them. Here is where the advanced -not the overdone -tech- nique of recording and reproducing may indeed offer artistic advantages beyond what you can hear in the concert. The acoustical conditions of hall or seat all too often detract so much from tone and tone balance even of a superior perform- ance in one of our famous halls that only a greatly attenuated image reaches the ear(s!) of the concertgoer. The ultimate goal of music reproduc- tion is no longer "to approach the values of the concert hall," but to render to the truest and fullest the production of the performers, so as to bring out the best of the music. Of course. there is no abso- lute standard for what is "best." There are concert halls -like London's new Festival Hall -that some listeners con- sider too "clear" and "cold," and there ADD PERSONALIZED LISTENING AND are recordings and reproducing equip- ment too "pointed" to please. However, STEREO PERFECTION TO YOUR EQUIPMENT. high- fidelity reproduction has advanced to a stage where it may not only equal With Koss Stereophones, you can hear stereo records and tapes as the perception available in the concert hall but, at its best, excel it. I, for one, perfectly as they can be recorded. The secret lies in large 31/2" though mindful of some shortcomings sound reproducers and complete separation of stereo channels of even the best radio or phono trans- listen to missions, have not only once but many regardless of your position in the room. Now you can times enjoyed music more when listen- your equipment at full volume without disturbing anyone else in ing to a fine FM station than to "the the house, because Koss Stereophones provide you with person- real thing" in Chicago's Orchestra Hall. Otto R. Wormser alized listening. Koss Stereophones connect easily to any phono Oak Park, Ill. or tape system, either stereo or mono. *24.95

Ti KM SINC., 2227 N. 31st Street Milwaukee, Wisconsin CIRCLE 57 ON READER. SERVICE CARD

1-1 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com If you can't afford a Fisher tuner...

build one! Introducing the newest Fisher StrataKit: the KM -60 FM- Stereo -Multiplex Wide -Band Tuner

Fisher FM tuners have always been reasonably priced consider- 2.5 db; signal -to -noise ratio 70 db. The famous Fisher 'Golden ing their unsurpassed sensitivity and matchless overall design - Cascade' RF stage, plus four IF stages and two limiters, must take but, even so, not everyone can afford them. If economics have most of the credit for this spectacular performance and for the thus far deterred you from buying the very finest, the new superb rejection of all spurious signals. Distortion in the audio Fisher KM -60 StrataKit solves all your problems in exchange for circuits is virtually non -measurable. a few evenings of entertaining and instructive work. It incorpo- An outstanding feature of the Multiplex section is the exclusive rates Fisher FM engineering at its most advanced, including Stereo Beam, the Fisher invention that shows at a glance whether built -in Multiplex and sophisticated wide -band circuitry -yet it or not an FM station is broadcasting in stereo. It is in operation costs almost one -third less than the nearest equivalent Fisher - at all times and is completely independent of the tuning meter. built tuner, which it also matches in physical appearance. Stereo reception can be improved under unfavorable conditions This spectacular saving involves absolutely no risk, even if you by means of the special, switchable sub -carrier noise filter, are 'all thumbs.' The StrataKit method of kit construction has which does not affect the audible frequency range. eliminated the difference between the expert technician and a Everything considered, the Fisher KM -60 StrataKit is very close totally unskilled person as far as the end result is concerned. to the finest FM stereo tuner that money can buy and by far the You assemble your StrataKit by easy, -proof error stages (strata), finest you can build. Price $169.50.' each stage corresponding to a particular page in the Instruc- tion Manual and to a separate transparent packet of parts. The ideal companion unit is the Fisher KX -200 80 -watt stereo Major components come already mounted on the chassis, and control amplifier StrataKit, $169.50.` wires are pre -cut for every stage -which means every page! 'Walnut or Mahogany cabinet, $24.95. Metal cabin.t $15.93. Prices slightly higher in 1M For Walt. You can check your work stage -by -stage and page -by -page, r before you proceed to the next stage. There can be no last - USE THIS COUPON FOR FURTHER INFORMATION minute 'surprises' -success is automatic. Fisher Radio Corporation FISHER In the KM -60 StrataKit, the front -end and Multiplex circuits 21 -25 44th Drive, Long Island City 1, N. Y. come pre -aligned. The other circuits are aligned by you after Please send me without charge the complete Fisher assembly. This is accomplished by means of the tuner's labora- StratoKit catalogue. tory -type d'Arsonval signal- strength meter, which can be Nome switched into each circuit without soldering. The KM -60 is the world's most sensitive FM tuner kit, Address requiring only 0.6 microvolts for 20 db quieting! (IHFM- standard City lone State sensitivity is 1.8 microvolts.) Capture ratio is an unprecedented iL HF413 J CIRCLE 43 ON READER- SERVICE CARD

APRIL 1962 1 5

www.americanradiohistory.com THE NEW

Records show no discernible wear, keep their fidelity through hundreds of MP- playings on this unique less than 3 grams the 4 -speed Electro- Acoustic 7000 Tracks at ... layer series stereophonic record player with diamond stylus is certified P to apply less than 3 grams tracking pressure. Your fine recordings show no discernible wear or tonal deterioration even after years of playing. Its laboratory- tested pickup maintains perfect fidelity and incomparable realism throughout the entire recorded range. The dynamically -balanced 4 -pole, 4-coil motor and turntable, the micro -honed motor spindle, precisely machined bearings, and the custom -fitted turntable drive limit rumble to -40 db, wow to less than 0.15% RMS and flutter to 0.06% RMS (better than NARTB standards). Turntable speed is certified to be within ± 1% of absolute. $69.50 Audiophile Net. Write today for free illustrated literature and the name of your nearest dealer.

CERTIFIED QUALITY Each record player is laboratory tested and is sold with a ELECTRO -ACOUSTIC PRODUCTS COMPANY n written lest report coded to the serial number of that particular record player, certifying that performance is within 2135 South Bueter Road, Fort Wayne, Indiana specification limits. 01.1

CIRCLE 38 ON READER- SERVICE CARD 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com I knew your mother. She was bulky and boxy... Your father was clumsy and awkward.

... a misfit, she didn't belong anywhere. Your father was an eyesore, the ladies despised him.

Yet I love you. I never saw a stereo speaker so graceful, so slim. Tell me, We can make what do you think of me? beautiful music together!

The ugly duckling has turned into a graceful swan -the SONOTEER. This is the first speaker system your wife will be proud to make a part of her home decor. The SONOTEER has five true high fidelity speakers that project a full circle of sound...both front and back. The effect is overwhelming! Hang SONOTEERS on walls, place them in room dividers... anywhere in your home. See them now at your high fidelity dealer's. Write for decorator booklet and technical specifications. Models Shown: Left: CA -70 Contemporary, genuine walnut -$79.95 (CA -70E Mandarin, same style as Contemporary, satin ebony finish -$89.95) . Right: CA -70P Provincial, fruitwood finish -$89.95. SSONc E ER Dept. H -S Rek -O -Kut / Audax, 38 -15 108th St., Corona 68, N.Y. Export: Morhan Exporting Corp., 458 Broadway, N.Y.C. Canada: Atlas Radio, 50 Wingold Ave., Toronto 19. CIRCLE 9 ON READER -SERVICE CARD APRIL 1962 17

www.americanradiohistory.com Professionals- Specialists- Publications- Users

PROFESSIONALS SPECIALISTS

IiVR G M FRIED RICHARD L. KAYE DAVID C. BOYNTON ERWIN W. GRAHAM L ODLL A.tur of Lectrorres Il ws- S -ation nznager NCLtB rrjl- Presi:ent of tte Audio Lab, Piesidert of Aucio Craft < .11110 :0.55 tant o Haney Ir b and rcvocative 3rti- tialex pime3 r Ney E -g- Inc., noted H: Fi Shcp in - rrpany, Clev land, Ch o's r3di3, or e if the n3ticn's ckt: laid Camta-idge, Mass. o_tstandñg music center. !Ealing Hugh Fidel ty stores.

"The ADC -1 is one cf "Ii summery, tfeAD -1 " -his is just E note -o "I)ur c.istomers have 'We have found :te best car- reprrsentei, aid rep- let vol knew hcw the sounding used the AC2, with per - A['C -1 anc ACC 2 cEr-

I have ever resents, E new stand - pleased ne ¿re with tridges fect sa-isfaction. The lridges to be cu :stani- a-c for stereo disc the per'oman:e of the listened tc and its Pr, tracks the most ii ierformers. Ir fa:t, p 3d)2Ck; Jre wh ch we ADC -2 cartridlges ycu extremely h gh corrpli dif-icul: re :ords with it has oecorre iabit a mud -o associate b-ou ght us. Trey work ance and lout tip mass eK :ellent fide ity here at -la-vey Radio -o w It our rete-erce beautifully -as a mat- cause less record wear through ife lull dy re:omnenb these units sxdard equ p-nent. ter of fact, the low frs- thar any other picup. namic range. The 4DC it our finest systems 0:ter m£nJfaclurerS giency response s The new Prity hard Tone am in :ar1orEtes all because they repro- are beginrirg t) ce -ch stch am improvemeit Arms are a perfect he desirable features; duce music ra:urEIly. up, t ut the ADC is still, oser what we were pre- match for -ie ADD -:. ability :o track at low We congratulate Audio it cur ooinicn, the vious y us ig that new Using this ccmbination, pressu-e, short back Dynanics in cen- same kinc of procuct we have -3 replace a we have traded heavi over -hang. low arm lriution to tte incus- ttat our amp ifies, turntatle -hat tlrned ly modulated records resonance, aft -active, try and fine standards tcie Erms and spe3k- oit to nave e

High Fidelity -r' - Magazine, November, 1961 "U-ited States Testieg Company, Inc. chara:ierizes the ACC -2 as superb sounding cErtri ige, which woLid complement the finest soundiig high f del ty systems." Hi /Fi Stereo Review, November, 1961 ton the ADC-1) This cartridge desertes- almost requires the finest loud- speaker systems for it qualities -c be -till/ appreciated." Hi Fi Magazine, June, 1961 (on the P.) -1) "Listening quali -y PUBLICATIONS proved to Je superb ... a cartridge that neits being used with the finest reFroducing . Equipment." Audio Magazine, Nay, 1961 'It does . reveal shacings and nuances we hac not known were in the reccrdïng." American Record Guile, Larry Zide. Jute, 13E1 "Insofar as my ears bll me what is good r and bad, tte ADC -_ cartridge is the one to have."

Circ e 10 en Rotader Saulos Caed

www.americanradiohistory.com OF PEOPLE have been saying nice at this point, exceeded themselves. They had gs about Audio Dynamics compo- produced a cartridge of such excellence, no ts. To find out why, we recom- tone arm could do it full justice. True, it you take a few additional minutes to would play with unparalleled quality in fine a the following paragraphs. tone arms, but its full potential could not be Guality stereo cartridges are designed to realized. -,ur: re s undesirable peaks and distortion in With this "happy" problem in mind, Peter t -te high frequency range. These occur when Pritchard, of Audio Dynamics, designed a tie stylus mass resonates with the vinyl disc. tone arm that would enable the ADC -1 to To suppress resonance, since mass cannot track at the low forces for which it was con- he readily reduced, most cartridges are structed. diunped. Here are the features which, when corn - Eut this solution creates problems of its bined with the ADC -1, make up the Pritchard )wn. High tracking forces are required to Pickup System revent mistracking and breakup. The 1. A heavy adjustable counterweight which, suspension becomes non -linear, re- unlike other systems, occupies minimal sulting in distortion. space behind the pivot. Then, in one remarkable 2. A side thrust compensator permits the stroke, Audio Dynamics stylus to maintain even pressure on the engineers broke the groove walls by stabilizing the force cre- vicious circle. They ated between the disc and arm. lowered the 3. An accurately machined and treated stylus mass wooden tone arm that suppresses extrane- to just 1/2-mil- ous resonances. ligram, lowest 4. Precision ball bearings on gimbals which stylus mass avail- minimize friction. able in a cartridge today. 5. Low inertia which insures perfect track- Now the low mass made it ing. possible to have a highly com- 6. Entire unit comes completely assembled pliant stylus. In the ADC -1 car- and wired with cable ready to plug in. t ridge compliance is at least 20 x 10-8 (Should you be happy with your present cartridge, ,vim . is restored, USERS dyne. Linear suspension the plug -in head in the tone arm will accommodate it.) tracking force reduced to less than 1 gram! WASHINGTON, D. C. "I could not The combination of the ADC -1 in the Whatever resonances remain are either too Pritchard tone arm achieves results that ind a record in my callCticn that could ear to per- high or too low for the human amazes even experts. A few minutes spent k_ this pickup distort. As turd as I listened ceive. at your dealers listening to this truly re- Mlle not recollect EVER hnari-ig such per - With tracking force lowered to less than markable system will convince you that re- 1 grans, problem of record wear and dis- reprodúction from a pressed record." the wards that you never thought possible can . tortion disappeared once and for all! WPORT, R. I. "I hope you ccntinue to offer be yours. Listen to them. Hear for yourself Now with resonances removed from the why the response to Audio Dynamics com- Ect- fine products in the future." BALTI- to audible range, there was nothing prevent ponents won so much acclaim, and why it R_, MC. "The performance of this pickup the stylus from following the groove walls was merited! s :lestroyed my faith in my 'ack of faith in direction of motion. Audio Dynamics also manufactures the results wE-t`sing claims. So far the ADC -1 has per- Finally, the absence of resonances ADC -2 cartridge, a cartridge with the same in greatly reduced surface noise. Absence of et as well as I had been led to expect. characteristics as the ADC -1, designed for surface noise is considerably implemented use quality tone arms and record my experience, this is highly unusual. I with by the nse of a super polished diamond sty- changers. og'atula :e you." SAN MA1E0, CALIF. "The lus with sides oriented so that only the For more information on the ADC -1 stereo -tless grace of the ADC -1 is amazing. It hardest surfaces touch the grooves. cartridge for quality tone arms, the Pritchard _ me glean sound from many problem NOW THE PRITCHARD TONE ARM THAT Pickup System, and the ADC -2 stereo car- s;iogs, and has revealed groove damage TRACKS AT LESS THAN 3/4 GRAM tridge for quality tone arms and record a: least one pressing." In a sense, Audio Dynamics engineers had, changers, return the coupon today.

ADC -1 cartridge for high quality tone arms AUDIO DYNAMICS $49.50 AUDIO DYNAMICS CORPORATION 1677 Cody Avenue, Ridgewood 27, N. T. ADC-2 cartridge for high quality tone anus airi record changers $37.50 Please send me descriptive literature on ADC cartridges and the Pritchard Pickup System. Pritchard Pickup System Mode( ADC-NS $85.00 Pritchard Tone Arm Model ADC -40 $39.50 Name Address City Name of My Dealer

www.americanradiohistory.com Only General Electric gives you this: New Orthonetic Stereo Cartridge P1O1!I FROM ABROAD

After Decca- London's self, I find the effect a bit theatrical. annual conference in But there is no mistaking the Britten LONDON Paris to decide upon touch in scoring the harmony. forthcoming repertory, Trouble was not long delayed. An the company's execu- anonymous spokesman of Britten's pub- tives went around with lishers was reported as saying that the padlocked lips like new version looked on paper as if Papageno in Act. T. As one whose sole composed by a beginner who couldn't aim in life is to applaud all prospective pass a Royal College composition ex- recording ventures, I find this iron reti- amination to save his life-but that in cence sardonically amusing. The only in- performance it was marvelous and mov- formation I pried from Decca's chair- ing. Next day the head of the firm man, Sir Edward Lewis, was the fact that went around wringing his hands at the United States counts rather more what he considered an unhappily worded heavily in his considerations than ever compliment. before. The explanation, in Sir Edward's Sir Arthur Bliss, Master of the Queen's own words: Musick (official spelling), praised Brit - "Ever since the LP revolution the ten's setting. He went on to say that so Purest musical response... American market has been increasingly long as there was no tampering with even beyond 20,000 cycles! significant for us. Americans have a words and tune -"which are as unalter- bigger appetite for culture and strive able as the Union Jack: a green and yel- after it more earnestly than we do. They low Union Jack is unthinkable "-he was Breakthrough in musical reproduction! are more prepared to take classical mu- very much in favor of new versions sic by I General Electric's new VR -1000 ORTHO- the yard. expect I shall get into which in harmony, dynamics, and tone NETIC Cartridge gives precise, undistorted trouble for saying this, but that's the color express the spirit of new ages. Be- reproduction of every note on your high - picture as I see it. Taking into account cause of these and other sentiments of fidelity records -even at frequencies above that British record prices I retail j are a an equally exceptionable sort, Sir Arthur the normal range of human hearing! little higher than in America and that received, I understand, a number of Even the most subtle overtones we pay Purchase Tax on top, it takes "mildly abusive" letters. come through ... the average man here two or three Ordinary cartridges shave off the higher times longer to earn the price of a record Berganza and Babies. Also at Kingsway harmonic frequencies that give orchestral than it takes the average American. Hall, the Spanish mezzo Teresa Berganza instruments their characteristic color. I would say that America buys thirty perched on a chair, looked a degree more Thanks to a revolutionary new suspen- per cent of our LP output." charming than ever, and -at four sessions sion and damping system, the VR -1000 accompanied by her husband, Felix La- ORTHONETIC Cartridge fully reproduces The Queen's Musick. Stirring in its villa- completed a recital disc for Decca- these harmonic frequencies, with barely sleep, the old guard is beginning to London: Italian arias (Scarlatti, Pergolesi, measurable loss or distortion. murmur "Hands off God Save the Cesti, Cherubini) for one for This means that every instrument has side; the Queen!" Why? Mainly because at Kings - other, a string of Spanish songs -Gra- its true coloration; even the most sensi- way Hall tive ear can listen without the fatigue the London Symphony Orches- nados, Turina, Guridi, and four of her caused by musical distortion. tra and their associated choir recorded husband's folk -song settings. The Lavillas 's arrangement of the had left their Tracks at pressures as low as one little ones (two -year -old gram -prolongs record life... National Anthem (first publicly heard boy, five- months -old girl) in charge of at big London and provincial concerts nanny and nurse in Spain. Everybody The low -moving mass of the ORTHONETIC last autumn). a priced here is assures highest fidelity even on the fast- Coupled on low- awed by the calm resolution with est passages, minimizes record wear. 45 -rpm disc with the Trumpet Volun- which Señora Lavilla combines the duties Provides up to 30 decibels per channel tary ascribed to Purcell, it is being dis- of art and motherhood. A few months stereo separation. Ask your General tributed all over the world. before the birth of her second child, she Electric cartridge dealer for full specifica- In conformity with what is tacitly un- was playing Cherubino as piquantly and tions or write VR -1000, General Electric derstood to be Buckingham Palace convincingly as ever. Three years ago Co., Audio Products Dept., Decatur, Ill. policy, Mr. Britten's version omits the she told a member of Decca's staff that verse which calls upon God to confound her ambition was to have six children. the politics and frustrate the knavish Thinking of the recording schedules that Ropers is Our Most fmporlant Rodad tricks of the Queen's enemies. The two were being penciled, he shrugged despair- verses that remain are set as a long ingly. The schedules have worked just GENERAL ELECTRIC crescendo, starting with unaccompanied the same. voice ppp and ending in a fortissimo CIRCLE 44 ON READER- SERVICE CARI) blaze of voices, drums, and brass. My- Continued on page 22 20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Now it's BELL STEREO Professional performance, priced for everyone

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BELL Model T -337 4 -Track Stereo Tape Transport with 3 -motor professional tape drive and lighted indicators assure DRIVE, acknowledged by professionals as the Positive record interlocks - 3 -MOTOR inexperienced users. best way to build a tape -handling mechanism, is a key correct operation by even feature of Bell's T -337. There are no belts, pulleys, Integrated RP -320 stereo record /playback preamplifier, friction clutches. Each motor has only one job to do, with carefully engineered circuit, assures professional - does it better. Result: Extremely low wow and flutter quality recordings. Complete facilities provided for pre- (0.2% @ 7% ips), fewer moving parts, extremely long cise adjustment of meter calibration, bias, record equal- and trouble -free life. Other T -337 features: ization. Mike inputs are conveniently located in front; with high -level inputs, outputs, stereo headphone monitor -speed tape handling- speeds up to 30 feet per second High jack on rear panel. in Rewind and Fast -Forward. Professional 4 -track recording characteristics are assured swift but Electrodynamic braking- brings tape to a with two -speed equalization -bias switching. 4 -track stereo or strain gentle stop from high speeds, without stretch and monophonic, 18- 15,000 cps ± 3 db 7'/z ips; -acting Memory to even the thinnest mylar tapes. Precision 18- 15,000 cps ± 3 db @ 3'n ips. 50 db signal to noise eliminate any Switch provides differential braking to ratio. (Also records 2 -track stereo and monophonic with possibility of looping. blank or bulk -erased tapes.) Piano -key controls -all in a row -by far the most func- Mounts in horizontal or vertical plane to fit every type of tional, easiest to operate. installation. Matches the Bell Amplifiers in styling and color, for a perfect decorator -approved custom instal- Separate 2- and 4 -track heads of optimum gap width - your Bell Dealer NOW! Bell Sound Division, precision- adjusted at the factory, switched electrically for lation. See Ramo Wooldridge Inc., 6325 Huntley Road, perfect azimuth and track alignment. Thompson Columbus 7, Ohio. Automatic stop turns off take -up motor to safeguard your tapes completely when they finish playing. STEREO meters -provide positive visual indica- BELL Two record -level TRW Inc. tion of record level on each channel. Thompson Ramo Wooldridge CIRCLE 17 ON READER-SE 10 1('E ( .RI) APRIL 1962 /

www.americanradiohistory.com NOTES FROM ABROAD a live perfnrmance. This self- confidence Now is the time -together with the conductor's economy Continued from page 20 of gestures and his often unusually slow to come to the aid tempo-can create difficulties for both From 's Musikverein. Victor Olof singers and instrumentalists. Fortunate- (EMI -Angel) recently came home with ly, the scene of operations was Munich. of yourparty! a promising clutch of Vienna Philhar- monic tapes. Under Paul Kletzki the or- Sostenuto Assai. The men of the chestra Ba- had recorded Mahler's Symphony varian Opera Orchestra and the mem- No. 1. The principal double bass was bers of the Munich Opera Choir have given an ovation by his fellow musicians long been familiar with the intricacies of and everybody else in the hall after his Kna's style. "I got my job here thirty playing of the hair- raising Frère Jacques years ago, when Kna engaged me," one solo in the third movement, an episode of the bassoon players said, and mem- which, in the hands of an unnerved bers of the choir assured me that over player, can be a squeaky calamity. Under many years they had had plenty of op- Sir Malcolm Sargent the men turned to portunity to practice the unbelievably Sibelius, a composer who for most of "long breath" which Kna demands for them has been a closed or, at any rate, the sostenuto assai passage in the second rarely opened book. En Saga, a Karelia finale. suite. Finlandia, and the St,'an of Tuonela Sostenuto assai is the hallmark of will appear on one disc. Kna's reading. His art of retain- Under Carl Schuricht, now in his ing the energy of the music by imposing eighty- second year, they recorded Bruck - a sostenuto that will make the ensuing ner's Symphony No. 9. Although Schu- allegro appear like the bursting of a dike richt's arthritis makes him shuffle pain- is unique. The singers had no doubt fully, he is still lively of beat. cue, and about the problems this would pose. "I glance when he reaches the podium. At had been warned beforehand." Jan the last session he kissed Victor Olof Peerce confided to me. "I knew that and, with tears in his eyes, said the per- Kna's tempos would tend to be the very formance had been among the high - opposite of those I had followed in my water marks of a conducting career, first recording of the Florestan part more mainly on German platforms, that goes than a decade ago, under Toscanini." back to a time when Bruckner's music Peerce insists, however, that the very les- High -Fidelity Speaker System was still hotly controversial. son he learned with Toscanini ("to fit in CHARLES REID with the artistic concept of the conduc- ...it's Weather-Proofed! tor, to surrender unconditionally and con- vincingly") made it possible for him not Now you can easily add the luxury of On the last day of 1961 a Westminster only to follow Kna's baton, but to ap- high-fidelity music to your outdoor fun! preciate his MUNICH recording team safely manner of interpretation. After the recording of Florestan's Whether you're dancing under the stars, stored away a couple great of aria, Peerce said triumphantly: "You see, swimming in the pool or relaxing around tapes which con- tain musical it is all a one -take affair. No splicing. the barbecue the new Electro -Voice docu- ... ments unique in their It was the same with Toscanini." Musicaster provides high -fidelity music way. When the canon quartet from from your present hi-fi system, radio, Beethoven's Fidelio ( "Mir ist so tvun- Sopranos Jurinac and Stader. Kna's style phonograph or TV set. derbar "), left for the very last take, had seems to impart to the music a kind of been completed, all those who had taken religious fervor, and this could be felt Specially designed for indoor -outdoor use, part in the recording felt properly grati- throughout the sessions. Sena Jurinac's the E -V Musicaster features a heavy -duty fied at the harvest brought in before the voluptuous, dramatic soprano, for ex- weather -proofed speaker mounted in a chiming of the New Year bells. "Wunder - ample. at times had the ring of an ardent rugged aluminum die -cast enclosure. It's bar," said (Kna prayer. I still cherish the memory of easy to connect for permanent use out- for short), when he put down his baton. Miss Jurinac's appearances in lighter and less dramatic mezzo side. And you simply move it into the !What HIGH FIDELITY'S reviewer has to roles such as say about Octavian (notably in the old Kleiber re- recreation room for year-'round pleasure. the finished album appears on p. 64.] cording of ), but after Send now for full information plus the Fidelio was the first large -scale record- listening to her Munich Leonore I fully ... understand her statement name of your nearest E -V sound specialist! ing the seventy- four -year -old conductor that "she was had embarked on since recovering from always meant to be a soprano." The E-V Musicaster ®Is a prolonged illness. but the sessions found The part of Don Pizarro in the Munich also a "sound" buy for 4 him recording was taken by Gustav Neid- church,school,or club! í in his characteristic form. Kna has, for instance, a well -known aversion to linger (who sang Alberich in London's rehearsals, and hence to recordings made Rheingold); Murray Dickie sang Ja- by joining together a series of carefully quino; Deszo Ernster was Rocco; and edited separate takes. As usual, he in- Frederick Guthrie was assigned to Don sisted on creating something nearer to Fernando. The role of Marzelline went to Maria Stader, the Swiss soprano who started her career as an oratorio and Lieder singer and later entered the oper- atic field mainly through recordings. Miss Stader sang Constanze, Donna Elvira, ELECTRO-VOICE, INC., Buchanan. Mich. J and Pamina in Deutsche Grammophon's ELECTRO- VOICE. INC.. Dept. 424H complete recordings of Die Entführung, Buchanan, Michigan , and Zauberfliite, and thus Please send me your free booklet, "How to Enjoy High - Fidelity Outdoors" and E -V sound specialist list. took on roles which in the opera house seem to be denied her because of her tiny Name stature. Her voice betrays nothing of her Address physical appearance, but rather impresses by a vivid roundness of the tone. City State Jurinac, Kna: almost religious fervor. KURT BLAUKOPF CIRCLE 40 ON READER -SERVICE CARD 22 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PROTECT YOUR RECORD COLLECTION WITH AUTO -POISE ...first self -powered automatic tonearm Record scratch is a thing of the past with REK -O -KUT Auto -Poise -the first self - powered automatic tonearm. For the first time, the flawless performance of the single -play turntable and independent tonearm is combined with convenient push- button operation. o Auto-Poise, the first automatic self -powered independent tonearm, pays for itself by protecting your record collection and high -compliance cartridge. You get unequalled record protection fully automatic operation unexcelled single -play turntable and independent tonearm performance Ask for a demonstra- tion of Auto -Poise at your high fidelity dealer. Write for free literature today.

AUTO -POISE AUTOMATIC TONEARM, Model AP -320-$74.95 net. D AUTO -POISE CONVERTER, MODEL APK, converts existing Rek -O -Kut Tonearms to automatic tonearms- $49.95. REK -O -KUT STEREO TONEARM, Model S -320, with exclusive Omni -Balance and Micro - poise, for perfect balance and tracking with high -compliance cartridges -$34.50 net.

Co., Inc., Dept. HF4, 38-19 108th St., Corona 68, N.Y. Export: Morhan Exporting Corp., REK0KUT 458 Broadway, N.Y.C. Canada: Atlas Radio, 50 Wingold Avenue, Toronto 19 CIRCLE 71 ON READER -SERVICE CARI) APRIL 1962 23

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Bozak B -5002 ensemble combines two famed B -302 speaker systems with matching cabinet to house electronic components of your choice. Component High Fidelity Musical Integrity Packaged Radio- Phonograph Appearance THE BEST OF BOTH IN BOZAK CUSTOM ENSEMBLES

The choice between a pre- performances with electronic corn - packaged radio -phonograph which ponents you choose. compromises musical quality (and Visually Bozak ensembles inte- they all do to some extent) and a grate separate fine furniture speaker component high fidelity music sys- enclosures with matching equipment tem which can compromise your cabinets to give the appearance of a room decor is no longer necessary. single unit. But there's no mechani- cal feedback With Bozak's new line of custom of vibration from the speakers f- 20-1 music ensembles you get the best to the phono pickup arm, of both. and there's no compromise with proper speaker spacing for stereo- Musically you combine the unsur- phonic reproduction. passed ability of Bozak loudspeaker There are Bozak custom ensem- systems to convert electrical signals bles for every room size and decor into exact reproductions of musical and to suit every budget.

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www.americanradiohistory.com IT'S SOUNDCRAFT IN THE GREAT MOTION

FROM METRO GOLDWYN MAYER SAMUEL IRONSTON S PRODUCTION OF KING OF RINGS PICTURES!

If you believe that all recording tapes are the same ... read these facts about Soundcraft: today's great motion

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in the great MGM (Camera 65), Todd AO, Cinemascope and other wide screen productions is repro- SOUNDCRAF Motion investing millions of dollars can't duced on Soundcraft magnetic products. picture producers SOUNDCRAFT afford to take chances. That's why "It's Soundcraft in the great motion pictures!" You, too, can UNDCRAF ['CRAFT in recordings by switching have this same measure of superior performance and reliability your own KRAFT to Soundcraft -where professional performance is the standard and satisfaction the guarantee. DCRAFT OUNDCRAFT See your Soundcraft Dealer today and let him put you on the right "sound" track with Soundcraft. SODÑDCRAFT

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www.americanradiohistory.com SOUNDTALK ...from the world's most experienced manufacturer of recording tapes What How "four- track" stereo challenges tape quality . . . The dramatic improvement in sound and new economy in tape do you use that four -track stereo prom- ises, make new demands on tape . make the quality you find in "SCOTCH" BRAND Tartana Series hear Recording Tapes four times as important! For not every brand of tape will work satisfactorily from on 4- track. Quality starts with high potency oxides. applied in a thin coating that proyules a wide dynamic range of true highs and lows.The LEONTYNE7I thin yet powerful coating makes a more flexible tape, with opti- mum tape -to -head contact for sharp resolution. SCOTCH The narrower tracks used make Magnetic Tape highest consistency of oxide coat- on SCOTCH BRAND ings a must. Now even minute irregularities can cause signal loss, which in two -track recording, I Recording Tape the ear plight "overlook ". 1 4 1 l. TARTAN RANK% From the tape manufacturer's i :.._:.:.:..... you hear it all! point of view slitting the tape to CO b correct width becomes an ex- tremely critical operation. Noth- ing less than the close -tolerance Critics search for adjectives to describe the recision that characterizes sound of Leontyne Price's voice ("unfurling like a bright banner ", 'Scorch" BRAND Tartan Tapes "pure velvet ", "rings out from C to shining C ", etc.). This will provide optimum perform- "supreme soprano" stamps an exciting personal signature on every ance for four -track. note of every role she creates. Her new and opulent soprano When you go "four- track" select sound is another of the many musical worlds whose highest peaks, widest Tartan Series Tapes -the num- ranges, most individual accents are completely ber one choice of top stereo tape- capturable on {`SCOTCH" BRAND Recording Tape. machine makers. Available in: No. One important reason for the sensitivity and responsiveness of 141, plastic, standard play, 600' "SCOTCH" Recording Tape: its unique uniformity. The fifty years' and 1200'; No. 140, plastic (50% experience of 3M in precision coating techniques makes this tape extra play) and No. 142 (50% the uniform standard of the industry. extra play on super- strong ,poly- ester backing), both in 900 and And microscopic uniformity -in oxide thickness, in backing, 1800'; and No 144, double length, in tape width -is more important than ever in today's four -track double strength on tensilized poly- stereo recording (for full frequency response and proper alignment ester backing, 1200' and 2400'. of narrow quarter -width tracks). "SCOTCH" Recording Tape is From S1.75 at retail dealers. dependably uniform from track to track, from reel to reel, whether FREE! With each Tartan Series in stereo or monaural recording. Exclusive Silicone lubrication Tape -a handy clip that prevents minimizes head wear, maximizes tape life. See your dealer! spillage in mailing or storage.

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Teresa Stich- Randall

A Connecticut -born soprano who became a Mozart specialist on European opera stages comes home to the Met.

OTTO LUENING'S Evangeline, which proceeded swiftly. She created leading roles in the Thomson -Stein Mother of You can assemble was produced by the Columbia Uni- Us All, Bloch's , and Méhul's this new Schober Spinet Organ for $550 versity Opera Workshop back in 1948, its Stratonice, in addition to Luening's - or half the cost of comparable instru- has long been forgotten. but one of ments you have seen in stores. The job is cast members hasn't. Reviewing the Evangeline; sang in the Met Auditions simplicity itself because clear, detailed step - opera's premiere, Virgil Thomson took of the Air; and eventually landed two by-step instructions tell you exactly what special notice of the girl in the title role prized assignments from Toscanini -the to do. And you can assemble it in as little -a nineteen -year -old soprano with a Priestess and Nannetta in Falstaff as 50 hours. rather odd name. "Teresa Stich." he (both performances are still available on You will experience the thrill and satisfac- wrote in the Herald Tribune, "sang beau- RCA Victor records). It was Toscanini. tion of watching a beautiful musical instru- tifully and moved with a semblance of in fact, who advised the young singer ment take shape under your hands. The new star quality." to try the Old World. "I went," she says, Schober Electronic Spinet sounds just like Much has happened to the pretty "because I needed training more ad- a big concert-size organ - with two key- prima donna from Connecticut since vanced and concentrated than I was able boards, thirteen pedals and magnificent the addition of her to get in this country." it's (only then, including pipe organ tone. Yet small enough name to her stage name. She got it -and experience too. By inches wide) fit into the most limited mother's maiden 38 to because it sounds 1951, the twenty- three -year -old American living space. This was done partly more American (despite her European soprano was turning up in musical news learn to play your spinet with You can career, the singer is very conscious of from Europe. She won some crucial astounding ease. From the very first day and partly be- vocal contests (Geneva and Lausanne) will simple tunes into deeply her national heritage) you transform By what- and made a big splash -quite literally, as satisfying musical experiences. Then, for cause "it just sounds better." beau- will be seen the Maggio Musicale in rest of your life, you will realize one of ever name, however, she still sings -at the Florence. Because she was attractive life's rarest pleasures - the joy of creating tifully; and the "star quality" will be your own music. manifest to anyone who listens to the visually as well as vocally, and because Met's Cosi fan tulle, to be broadcast on she happened to he an excellent athlete, For tree details on all Schober Organs, April 14 from Boston. This performance Miss Stich -Randall was signed for Her- No will call. mail the coupon now. salesman will introduce the Hartford -horn Mozart bert Graf's spectacular Oberon produc- th specialist to the largest audience yet to tion at the Boboli Gardens. Cast as a THE J lief 6,214,1 CORPORATION hear her. Daughter of the Sea, she had to swim 43 West 61st Street, New York 23, N. Y. Miss Stich -Randall declares that her a gentle breast stroke across a 100 -foot Also available in Canada and Australia. Metropolitan debut this season was "the lagoon, climb to land for a hymn to the back into the MAIL THIS COUPON TODAY greatest thing that ever happened to me," night, and then plunge but -after a dozen or so years abroad - water for a vigorous crawl to the other The Schober Organ Corporation she would have been perfectly willing to side. "The swimming forced me to de- Dept. HF -10 alone. Even velop my breath control," she recalls. 43 West 61st Street make a career in Europe New York 23, New York now she likes to think of Vienna (where "but something else pleased me even n Please send me FREE booklet and other she has been appointed "Kammer- more about this engagement. I got the literature on the Schober Organs. siingerin") as her "home house," where part before the Italian officials even E Please send me the Hi-Fi demonstration of my previous experience with record. I enclose S2 which is refundable she can sing all kinds of roles, big and learned when I order my first kit. small. At the Met, on the other hand, Maestro Toscanini." she will confine herself to the roles that Soon, Miss Stich -Randall became a Name are her specialty. She takes pleasure in permanent fixture not only at the Flor- this prospect, naturally, and only smiles ence Festival, but also at Salzburg and Address when she speaks of the long detour that Aix -en- Provence. In fact, she is consid- to 39th Street. City Zone... State she made en route L J The soprano's first American career Continued on page 32 CIRCLE 74 ON READER- SERVICE CARD 28 HIGH FIDELITY MAGAZINE

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BY 1965 YOU MAY SEE OTHER STEREO TUNER AMPLIFIERS LIKE THE NEW ALTEC "ASTRO"

NEW CIRCUITRY, COOLNESS OF TRANSISTORS - WHAT MAJOR COMPONENTS ARE PRECISION OF FRAME GRID TUBES INCLUDED IN THE NEW "ASTRO "? NEW FEATURES, For cool operation, Altec makes judicious Five integrated stereo components are use of transistors. For highest sensitivity packaged in a compact 6" x 15" x 131" NEW IDEA IN STEREO and quietest performance imaginable, new cabinet: FM, FM multiplex, AM, dual - channel preamplifiers, dual- channel power ultra -precise frame grid tubes are used. amplifiers. The wide band FM tuner fea- "Modern" is not the word. Perhaps This proper combination of transistors and tures 1.5 microvolt sensitivity (equivalent "ahead -of- its-time" is a bit more descrip- tubes in the "Astro" has produced results to 0.75 microvolts with matched 72 ohm tive of the new Altec 708A "Astro." How that are just this side of miraculous. antenna) to assure highest gain, lowest noise. A built -in FM stereo multiplex re- else would you describe an all -in -one ceiver provides 30 db stereo separation be- stereo center full of features and facilities The "Astro" is sensitive, stable and com- tween channels over the entire audio never before available in a single package? pletely consistent in its performance (top- range. To take all guesswork out of tuning, notch!) free a monitor light goes on automatically and utterly of drift. Indeed, it when stereo signal is received. The AM For example, consider its circuitry. is the first truly practical stereo center be- tuner provides high sensitivity and excel- Transistors are combined with new frame cause transistors in the power stage make lent image and IF rejection. grid tubes to gain the best qualities of each. it run cool for hours on end. Unlike ordin- The preamplifier section features a com- As another example, consider its unique ary "hot boxes," the "Astro" secures peak plete complement of controls and includes stereo headphone facilities. The output re- operating efficiency and maximum life facilities for everything from record and ceptacle is in the rear; you may leave the from resistors, tape player to the stereo headphones. capacitors, and other sub- Powerful dual -channel amplifiers deliver headphones plugged in permanently, out components in its circuitry. And, because 25 watts each down to 20 cycles (IHFM of sight when not in use. The headphone it runs cool, the "Astro" is the first practi- standard) with ± 1 db, 20- 20,000 cps fre- switch, however, is located conveniently cal unit for built -in installations. quency response. on the front panel. YOU MUST SEE & HEAR THE "ASTRO" Feel it, too, for that all- important cool- Or, consider the unique tape recording ness. At your Altec Distributor's now. SO from Or, monitor that functions much like monitors watts for information, write Dept. HF4 in professional recording studios. Namely, an area the size of a postcard! it permits you to monitor any source c 1962 ALTEC LANSING CORP. material two ways during recording: the That's the magic A Subsidiary instant signal enters the record head or of transistors: of Ling- Temco- directly from tape, the moment it is re- the four shown ALTEC Vought,Inc. ar.üuli:J-5:a:i111 corded. And these features are only a at left make up sampling. Truly, the "Astro" is "ahead -of- the power stage its- time" even down to the smallest details of the "Astro." ALTEC LANSING such as the exclusive friction -lock controls In all, 12 transistors and 17 tubes are used that obsolete awkward dual knobs found in this entirely new stereo center CORPORATION that is 1515 S. Manchester Ave., Anaheim, California on conventional stereo equipment. rated several years ahead of its time. 161 Sixth Avenue, New York 13, New York CIRCLE 4 ON READER- SERVICE CARD APRIL 1962 29

www.americanradiohistory.com ...doubles as a car radio, too! Only imaginative SONY design and engineering can pack so much versatility into an FM /AM all transistorized battery operated radio. The dual -purpose TFM -95 not only serves as an exceptionally high quality portable, but also doubles as a uniquely sensitive automobile radio, easily slipping into the optional rack which may be mounted below the dashboard. A special jack will accept the alto antenna. Instant button band selection and tuning, volume and AFC controls are conveniently mounted on top. Automatic gain control and auto- matic frequency control eliminate distortion and drift while 9 transis- tors and built -in ferrite bar and telescoping antennas provide unusual fringe reception. Terminal for stereo multiplex adapter. In handsome Oily 5 lbs. light, SONY TFM -95 is removed black, green or ivory case, it comes complete with batteries, earphone trom dashboard bracket (optional) in a matter list. of seconds. and auxiliary antenna lead. SONY TFM -95 at $79.95

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SONY TFM -122 Cordless FM /AM table SONY TFM -121A Portable and radio adds beauty to every room with only 3 lbs. in weight, built to the its handsome genuire walnut cab- fines' SONY standards with FM/ inet. Twin baffled speakers and auto- AM reception, automatic fre- matic frequency control provide quency control and provision for unmatched sound quality. Witt' 12 stereo multiplex adapter. 12 transistors, tone control, record traisistors for ultra- sensitive re- player input and provision for stereo ception. SONY TFM -121A list multiplex adapter. SONY TFM122 list $99.95. $129.95

frequencies. Civil Defense recommends a battery -operated radio in every home. Every SONY radio clearly shorts the tiro Concitad SONY CORPORATION OF AMERICA 514 Broadway, New York 12, N.Y. CIRCLE 79 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

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We don't pack an engineer into each new Citation Kit but...

. the engineering built into each kit suspended tightly between turret lugs. Citation packaging techniques save much is so precise that the unit constructed in Lead length is sharply defined. The uni- unnecessary time searching and sorting the home will be the equal of the factory - form spacing of components and uniform out parts. produced instrument. lead length insure the overall stability of These truly remarkable achievements in It is far more difficult to design a kit the unit. Control Engineering are only a few of the than to produce a completely manufac- Improper routing of leads, particularly many exciting new developments in kit tured product. In the plant the engineer long leads, can result in unstable perform- design from the Citation Division of can control his design from the moment of ance. To prevent this, the Citation II is Harman -Kardon. inception until the final packaging. The equipped with a template to construct a Send for free reprints of independent kit builder has only his tools, his ingenuity Cable Harness. The result: each wire is laboratory test reports plus a Citation cata- and little, if any, test equipment. just the right length and in just the right log. Write Dept. HF-4 Citation Kit Divi- Therefore, the complex process of in- place to achieve perfect performance. sion, Harman -Kardon, Inc., Plainview, N.Y. plant production and control which guar- To meet the special requirements of the ( Export Office, EMEC, Plainview, N.Y.) antees the fine finished product must Citation III X, FM Stereo tuner, a new somehow be embedded in the kit design. tuner cartridge was developed. This em- The Citation engineering group at bodies most of the critical tuner elements Harman-Kardon, headed by Stewart Hege- in one compact unit. The cartridge is com- man, has succeeded in doing just this in pletely assembled at the factory, totally the design of all Citation instruments. shielded and perfectly aligned- eliminat- Heavy duty components, operating at ing the difficult problems of IF alignment, tight tolerances, have been selected for oscillator adjustment and lead definition. the Citation Kits. As a result, even if every All resistors and condensers have been Component is operated at its limit- remote uniformly mounted and labeled on special as this possibility is-the instruments will component cards to eliminate hunting Citation III perform well within their specifications. through paper bags. All of the small parts HK-64 Only Citation provides rigid terminal have been packaged in cellophane bags boards for mounting resistors and condens- which are mounted on cardboard for ease ers. Once mounted, these components are of identification and handling. The unique harman kardon CIRCLE 49 ON READER -SERVICE CARD Arum 1962 31

www.americanradiohistory.com In All the World Never a TERESA STICH -RANDALL Continued from page 28

Bred something of a prima donna assoluta Hi -Fi Kit Value Like This at the last- named, where each of Mo- zart's major has been revived for her. It is Vienna, however, that remains closest to her. "Mozart is my first mu- FM STEREO BY knight-kit' sical love," she says -and it was in the Austrian capital that she made her repu- tation as a Mozart specialist, a singer who STEREO FM at the flick of a baton can switch from $ 95 Countess Almaviva to Fiordiligi to NO MULTIPLEX KS-10A Donna Anna to Pamina. ONLY MONEY Mozart is not, of course, Miss Stich - POWN ADAPTER KIT Randall's only interest. She also does the standard lyric and coloratura parts in Verdi and Puccini, and recently Strauss's music too has begun to make its mark on her. She has recorded Sophie for Angel's Rosenkavalier, sung Ariadne at several festivals, and not long ago turned successfully to the difficult role of Aithra in Die Aegyptische Helena. She avoids, however, the heavier assignments frequently offered her. "Karajan wanted a revelation me to sing Elsa in ," she says, in performing "but no, thank you!" Vienna has left its mark on Miss Stich - quality Randall in a number of ways. Her speech is now faintly flavored with Germanisms, and her singing adheres rather closely to the manner of the so- called Viennese school. This means that she is a singer whose greatest pride is vocal finesse. Pianissimos emerge in various shades and at degrees, all meticulously controlled, and enjoy beautiful Stereo FM reception purity of tone may take precedence over unbelievably low cost. . . Now you can have the pleasure emotional projection. The actual tonal experience. Now you can add the quality is almost flutelike. For a light of an easy kit -building soprano, her top voice especially has ex- tonal beauty and realism of Stereo FM broadcasts to traordinary cutting power and directness. your present music system. The savings simply can't be Singing Cost at the Met presents only can't be matched for anywhere one problem for this onetime New Eng- duplicated. The quality lander. Miss Stich -Randall has sung the near the price. Order the KS-10A Knight -Kit Multiplex opera most often in Italian, occasionally adapter today -no money down (just check coupon) :1995 in German. The Met, however, utilizes An unbeatable value at only an English translation, and once or twice this has threatened to confuse the new Fiordiligi. Nevertheless, professionalism has triumphed, as Paul Henry Lang's re- OF SUPERIOR VALUE: Self- powered-installs out of PROOF view sight Separation control for precise stereo adjustment (23 db separa- of her debut testifies: "Teresa Stich - tion) Input sensitivity 0.2 volts Frequency response 50- 15,000 cps, Satisfaction Randall is a singer of extraordinary mu- for use In weak signal areas Top- sicianship. The way she phrases, makes ± 1 db Noise filter (switchable) guaranteed performing circuit using 2 dual and 1 triple- purpose tubes Power supply elisions, bends a little cadenza, or nego- is transformer- operated; uses selenium rectifier Pi- filter network for or your tiates a complicated bit of coloratura is ripple -tree El+voltage -hum is practically inaudible Prealigned coils just wonderful to hear...." AC on -off switch Three 36" connecting cables included...Simply money back MARTIN BERNHEIMER plugs into your tuner's Multiplex output and your amplifier's tuner inputs. With all connecting cables, tubes, parts, and famous Knight -Kit step - High Fidelity, April, 1962, Vol. 12, No. 8V,, x 4 ". For 110 -125 v. 80 cycle AC. 4 lbs. by -step instructions. 3% x 4. Published monthly by The Billboard Publishing Co., publishers of Billboard 1 Music Week, Vend, and Amusement Busi- KNIGHT ELECTRONICS DIVISION If ness. Telephone: Great Barrington 1300. Member Audit Bureau of Circulations. ALLIED RADIO, Dept. 12 -D2 typical of the value Editorial Correspondence should be ad- 100 N. Western Ave., Chicago 80, III. dressed to The Editor, High Fidelity, Great and quality of over Barrington, Mass. Editorial contributions

Ship me . K5 -10A Knight -Kit Adapters) 83YX656V will be welcomed. Payment for articles 100 other KNIGHT -KITS accepted will be arranged prior to publica- Ship on Allied's Credit Fund Plan -no money down tion. Unsolicited manuscripts should be order from S enclosed (check) (money order) accompanied by return postage. Subscriptions: Subscriptions should be ad- Send Free 1962 Allied 444 -Page Catalog dressed to High Fidelity, Great Barrington, KNIGHT ELECTRONICS Mass. Subscription rates: United States, Pos- sessions, and Canada, 1 year, $6; 2 years, Name DIVISION $11; 3 years, $15; 5 years, $20. Elsewhere 51 per year extra. Single copies 60 cents. Address Change of Address notices and undelivered ALLIED RADIO copies (Form 3579) should be addressed to High Fidelity. Subscription Fulfillment De- City Zone State partment, 2160 Patterson Street, Cincinnati 14, Ohio.

CIRCLE 3 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com no two are alike

Look at a row of M+racords, and take note of the turntable platters. that gives the Miracord turntable its smooth, unwavering motion. They appear as identical as peas in a pod. Yet, no two are alike. Remove the turntable of any Miracord, and examine the under -side. They all started out as heavy, one -piece aluminum alloy castings You will see where metal discs were affixed, adding just a little more bearing only slight resemblance to the finished product. Each was weight to one point or another to achieve this perfect balance in mo- then secured to a precision lathe, and cut to shape. tion. Now, look at another Miracord platter. This one Layer after layer of metal was shaved from the form may have more or fewer discs, and at different points. until the precise design dimensions were obtained. You can look at a thousand. Each will reveal the indi- it At this point, the turntables were as identical in shape, vidual attention received. No two will be alike. size, weight, finish a-d appearance as modern technol- The Miracord is a modern, high quality record playing ogy can achieve. We could have stopped here, pleased instrument -the only one with dynamically balanced as punch with the smooth, glistening results of our turntable and mass -balanced transcription arm which efforts. But, the standards of Miracord performance you can play manually or as automatically as you demand more than apparent quality -greater accu- please. The 10H with hysteresis- synchronous motor is racy than dimensional measurements alone can reveal. $99.50; model 10 with 4 -pcle induction motor, $79.95. Prices do not include And so, each individual gleaming platter was put to cartridge or base. test for dynamic balance. And each was individually Make it a point to see the Miracord at your high fidelity corrected to assure the balanced distribution of mass M I RACORD dealer soon. For complete details, write to:

BENJAMIN ELECTRONIC SOUND CORP. 97.03 43RD AVENUE. CORONA 68. NEW YORK SOLE U S DISTRIBUTOR FOR ELECTROACUSTICIO RECORD PLAYING COMPONENTS

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Check these Given great sound in the first place, Tarzian Tape will keep it for you, and give it back undiminished and undistorted. outstanding It is a tape of truly professional fidelity, worthy of your characteristics most valued recordings, at a price that lets you use it for all your work (or play). High Output -can accept signals with The proof is in the listening...of course. But you can see dynamic range to realize the full potential the smooth, tightly bonded oxide surface that doesn't flake, of even the finest professional equipment. that does run smoothly without abrasion and without con- Wide -Range Response -virtually flat tributing to wow or flutter. Hold a reel to the light. You response for all recording frequencies. can see that Tarzian Tape is wound on the reel at perfect tension. You'll find a written replacement guarantee in Low Distortion -distortion is less than every box. The box is well made, with ample identification 21/2% at maximum record level as meas- see the tape is ured by Navy Specification W -T -0061. space. You'll that factory sealed in a plastic bag, with labels and a tape -end clip included. High Uniformity- uniformity within a Try Tarzian Tape...let it speak for itself. Available on 1200 -foot reel is within plus or minus % db. standard 3 -, 5 -, and 7 -inch reels and in professional lengths A new oxide formula and special selec- tivity of oxides protect recording heads on reels or hubs, I 1/2 and 1 mil acetate, and I mil Mylar.' from wear and prevent abrasion. Ask your dealer. If he cannot supply you, send us his name and we will see that your needs are promptly supplied. Humidity and Temperature Protec- Helpful new booklet free on request: "The Care and tion- special coating, priming, and bind- Tape Recorders." ing techniques help keep Tarzian tape in Feeding of new condition longer in ordinary good Du Pont trademark for polyester film. tape storage conditions. SARKES TARZIAN, Inc. World's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems Broadcast Equipment Air Trimmers FM Radios Magnetic Recording Tape Semiconductor Devices MAGNETIC TAPE DIVISION BLOOMINGTON, INDIANA 1 Export: Ad Auriema, Inc., N. Y. In Canada, Cross Canada Electronics, Waterloo, Ont. CIRCLE 73 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com The Met -Present, Future, and Past

THE as an institution Oc- gling in a curious and unfortunate limbo. The re- cupies a shadowy no man's land between private sponse to Mr. Charles G. Massie's suggestion that the enterprise and public service. It was at one time the Metropolitan itself issue some of these recorded former-a purely commercial venture which per- broadcasts as a means of soliciting contributions force had to make its own way in the marketplace ( "Letters to the Editor," HIGH FIDELITY, October of entertainment. It may at some future date be- 1961) has been -on the part of our readers -en- come the latter -an official enterprise, akin to the thusiastic and widespread. Letters have poured in Library of Congress, dependent upon public funds from all parts of the country endorsing the proposal, for its support. But at the moment it is neither. and they have been brought to the attention of the Theoretically, the Metropolitan is responsible only Metropolitan management. The Met's position, un- to itself; if it wants to lock the doors, nobody can fortunately, is that "the obstacles of clearance [from prevent it. Practically, as the events of last summer the artists and the unions] are simply too great." demonstrated, the Metropolitan is responsible to the The matter was first broached, we were informed, American public, which has been asked time and fifteen years ago; it has come up several times since; again to assist in its financial rescue; if matters go and the answer has always been the same: insur- askew at 39th Street and Broadway, even the Presi- mountable legal obstacles. dent of the United States eventually gets into the act. Is this sonic legacy from the past then to disappear Being a semipublic institution, the Metropolitan by default? If so, it will be a great loss. We have Opera is properly open to the careful scrutiny of its heard a few of these recorded broadcasts -Flagstad's friends and supporters. And it was in a spirit of debut performance in 1935, the Rethberg- Martinelli- friendship that we commissioned, and Martin Mayer Tibbett of 1938, the Pinza Figaro of 1940- undertook to write, the article on "The Triumphs and we can testify that they are documents of incal- and Troubles of the Met" which begins overleaf. culable importance. It is true that limited editions Friendship does not necessarily demand, however, of these recordings have been circulated through that we view the object of our affections through private collectors' clubs, but this is at best a limited rose -colored glasses, and Mr. Mayer -a writer noted answer to the problem. The preservation of the for his candid and perceptive reporting-has not pro- Metropolitan's past is an enterprise that deserves the duced a whitewash. We make no apologies for this. strongest official sanction, unstinted coöperation, It seems to us extremely important, now that some and the most accomplished technical expertise. Spe- sort of state subsidy for the Met appears increas- cifically, we feel that the enterprise merits the spon- ingly likely, to face up squarely to the problems of sorship and support of a large foundation. The need our celebrated opera company. The Met belongs is two -fold: first, to locate and transfer to tape all to all of us, and we have a duty as well as the privi- available acetate recordings of past Metropolitan lege to coach from the sidelines. broadcasts (principally from network archives); sec- Mr. Mayer concerns himself primarily with the ond, to find some means of making these recordings Metropolitan's present and future. There remains available to interested students and amateurs. If the problem of the Metropolitan's past -specifically, money can be found for the wholesale microfilming the incredibly rich recorded documentation of Sat- of important paper documents, surely it should be urday afternoon broadcasts, stretching back to the found as well for the recorded documents of these regime of Gatti -Casazza, which has been left dan- unique performances. ROLAND GELATT

AS high SEES IT

APRIL 1962 37

www.americanradiohistory.com THE TRIIJMPHS A\ I) TRO LIM ES OF TITh 'VET

BY MARTIN MAYER

A candid appraisal of America's celebrated opera company-its artistic standing, its financial problems, its future prospects.

IN 1884 the doors of New York's then yellow, torium is the largest of any of the world's major now brown, Metropolitan Opera House clanged shut opera houses, and its acoustics are erratic: most on one of the most catastrophic first seasons ever singers find there are only three or four places on experienced by any opera company anywhere. The the stage where they can hear themselves sing. net loss was $600,000, a third as much as the (Dead center is not one of them, and among the theatre had cost to build, and Italian opera was there- crosses Met soloists have to bear is the director fore dropped for the next season. The singers, of who does not know the house, and insists on bal- course, were furious. Italo Campanini, the company's ancing his tableaux around a singer at the center star tenor. gave the New York Times an exclusive of the stage.) "To be thrown on that stage for interview, in which he announced that "the house the first time," as General Manager Rudolf Bing is not fit for music." once put it, "is a shock few survive." When a tenor says "music" he always means In predicting for the Met a future of vocal "singing" (especially singing by tenors); and the futility, though, Campanini was spectacularly wrong. house is notoriously difficult for singers. Its audi- As a house for opera -for the presentation of the

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com most complicated and most humanly satisfying kind on occasion, and must make do with singers who of theatre -the Met has little to recommend it. may be heroes elsewhere but simply cannot fill this There is not enough backstage area for a sensible cavernous hall. Only the mezzos and basses are physical organization of opera productions; the rock -solid every night -a phenomenon which Met stage is inflexible; the lighting facilities, though much customers take for granted, though inflexibility in improved in the last half -dozen years, are still the low voices makes ensemble trouble almost every- archaic by European standards; the rehearsal space where else. But whatever the occasional vocal gaps - is inadequate. But since the turn of the century the however much one may miss a Valletti, unceremoni- Met has offered in almost every peacetime season ously removed in 1961 to make room for Formichini; the best singing in the world. Though vocal artistry or a Callas, scared away by her own repertory; or today is probably not what it was fifty years ago, a Del Monaco, refusing in pique to sing at a house the artistry that exists is most heavily concentrated where Corelli also sings -the Met in an ordinary at the Met. No European house comes close. season can be counted on for glorious voices. It is a question of depth. Nilsson's is Opera patrons come to hear voices. Thus the for sale to any opera house (at a price: the Met pays Met, operating in a house where 744 of the 3,615 her something like $2,000 per performance), but seats are behind posts or so far to the side of the only the Met can casually alternate a Tucker, a horseshoe that they have an officially "inadequate" Corelli, and a Konya as Calaf or a Price, a Moffo, view of the stage, can sell 97% of its tickets through and an Amara as Liù. Artists about whom Metropoli- a 25 -week New York season, most of them by sub- tan subscribers bitterly complain are headliners in scription for eight or twelve or twenty -four "Mon- London and Vienna, Rome and . And the day evenings," etc. In the 1960-61 season, at a casts, the occupants of smaller roles, 97% sale, the Met's ticket income from 179 New though not quite so dependable as they were in the York performances averaged a little over $21,000 years before European opera houses found out a night. The costs of putting on opera in New York how good our kids were, are still head and shoulders averaged out at about $31,000. The price of glory above what any other house can offer. is high. Singers come to the Met from Europe because, as everyone knows, the streets in America are paved IN ADDITION to great voices, Rudolf Bing's Met with gold. Rather surprisingly, the legend turns out has offered the most efficient operatic manage- to be true for a fair number of visitors. A success ment the world has ever seen. A career opera at the Met -as Bing's European agent, Roberto bureaucrat, first in , then in England, Bauer, can demonstrate -may be worth television Bing came into a house where most productions appearances at $5,000 and up, and concert dates at were a dozen years old and more, and looked it. more than $3,000 each. (Sutherland, for next season, (When Bing's predecessor Edward Johnson revived is asking $6,000 for joint appearances with her ac- Mussorgsky's Boris Godunov, Richard Tucker companist- conductor husband.) And the Met itself, studied the part of the false Dmitri with the man though its top fees for a single performance are not who had created it at the Met thirty years before; so high as the occasional top at Chicago or Dallas he also wore the sanie costume, dusted off and or a "gala," pays more on a day -to -day cleaned.) There was no inventory of the costumes basis than any other opera house in the world. Its in the 129th Street warehouse which the Met shared budget for soloists per performance averages almost with the Radio City Music Hall. Much of the stage $6,000, probably half again as much as any other equipment was in profound disrepair, and the light- company that keeps the lights on a full season. ing facilities were roughly those of a high -school American singers stay at the Met, even when they auditorium. "I started in 1920 in Freiburg, a tiny could have juicier parts abroad, simply because provincial German house," Max Rudolf said in 1955, comprimario roles on 39th Street can pay better when he was the Met's chief conductor, Artistic Ad- than a season of starring parts at Cologne or Brussels ministrator, and Assistant Manager; "the equipment or even Vienna. Moreover, the risks of leaving are was ultramodern next to what's here." Many of the considerable, for the Met's God is a jealous God singers came to rehearsals only when a strong con- and will have no other God before Him; comprimario ductor insisted on it -and not even then. "Why singers who try their luck in Europe during the should I rehearse ?" Lauritz Melchior would say. season usually come back as stars or do not cone "Let the understudy rehearse." Though the very back at all. best productions of the Johnson regime were tri- No house that gives 240 performances a year, umphs of a kind Bing's Met has never quite achieved, as the Met does (including the tour), can hope to the average was disgracefully sloppy. avoid vocal embarrassment completely. The world Today the average is first-rate, far higher than suffers an acute shortage of baritones who can go day -to -day performances at houses like Covent Gar- to G with Verdi, and the Met may feel for another den and Paris, both of which receive more than decade the death of Leonard Warren, incomparably a million dollars a year in government subsidies. the greatest "Italian" baritone of recent memory, The stability of Met performances takes incalculable available to this house alone all season long. Even amounts of hard work from the management. Every- the Met runs short of tenors and dramatic sopranos thing has a time slot and a place slot, and a budget

APRIL 1962 39

www.americanradiohistory.com combination of the "repertory" and " stagione" systems of staging opera, gaining the benefits of neither. In the stagione system of the Latin coun- tries, which is also used in the short seasons of THE MET other American opera companies, each opera is a separate theatrical event with its own gala first night; and the cast that did the first night plays the work again four, five, or six times in the course of the next month, after which the opera is with- drawn. Each production has its own integrity, which that is just about right. Rehearsal and performance is maintained; often, each singer is appearing only dates are set as much as a year in advance, and in this production, though perhaps rehearsing some- are kept. Trucks roll back and forth on schedule thing else during the day. Only emergency sub- between the warehouse and the Met (which has not stitutes are ever allowed; in case of illness, the per- enough backstage space to store a single complicated formance may be postponed to another evening- opera if another fairly complicated opera must he though not in America. played or rehearsed the same day); flats are to be In the repertory system of Germany, casts and seen out in the rain far less often than they were even conductors change around, according to in the Johnson days. It still happens occasionally what talents are needed for other productions. The that replacement singers find themselves on stage essence of the system is a stable company, with before sets they have never seen before, playing singers who work together not only through a opposite singers with whom they have never re- single season but often through a span of years - hearsed (one Forza a few years back had four the pension plans of German opera houses are principals none of whom had ever been on a stage designed to discourage too much moving about. before with any of the others). But such horrors Conductors and stage directors, too, are semi - are now mostly a matter of memory. Though the permanently attached to the house (at the better Met only rarely keeps a complete cast together houses, historically, the Generalmusikdirektor has for more than a few performances, most of the had a tenure of about a decade). Ideally, there substitutes these days are people who participated should be a school attached to the house to train in the general rehearsals prior to first performance, singers, and stars should rise from the ranks. The or have had at least piano rehearsals in a room with outstanding example of a true repertory company the other principals. today is the Royal Opera in Stockholm, which pro- Everything on stage looks much better than tects its purity by performing operas in Swedish, a it used to look (off stage is not so good; with the language in which possible guests are unlikely new theatre at Lincoln Center always just around to be fluent. the corner, the management has done little to im- Even at its best -in Vienna under Mahler, in prove the dirty rabbit warren of the dressing rooms, Munich under Walter, in Dresden under Busch - and has let public areas go to seed). This season's the repertory system has severe drawbacks. Pro- Tales of Hoffman was as shiny bright in sets and ductions tend to be frenzied and to fall to pieces costumes as it had been at its premiere in 1955; during a season; anything which does not command even Lee Simonson's sets for Wagner's Ring, which the talents of the Generalmusikdirektor and the go back to 1948, had none of the tired feeling one principal régisseur may he clumsily done. Not to used to associate with Met revivals. New lighting he too personal about the matter, I have seen in has been installed, and the stage has had a new Frankfurt and Vienna productions so discreditable floor every other year or so. Business and Technical that even the placid, flaccid New York audience Administrator Herman Krawitz, a stout young New might have hissed them off the stage. In his auto- Yorker, very Broadway, who organized the Falmouth biography, Fritz Busch recalled that he had once Playhouse on Cape Cod and came to the Met in run into an American musician describing to his 1954, has put the physical side of the house on a colleagues the glories of Busch's reign at Dresden. we- work -harder- than -anybody basis. The costumes "Looking back," Busch wrote, "I ask myself why are not only inventoried now, they are under the there were so few moments when I felt completely Met's own roof, in the old rented studios from which happy.... This was leading to what I later learned Krawitz evicted bitterly complaining tenants. The by my experience abroad, in particular at the Teatro stagehands, some of whom can make up to $500 Colón in Buenos Aires, namely, that stagione work a week (working at overtime rates after 4:30 p.m.), has artistic advantages over the clumsy organization may even be worthy of their hire these days. At of a German theatre." any rate, they handle sets gently, and can be trusted It is a matter of faith and morals at the Met not to drop a crowbar or drag chairs along the that a stagione system cannot be combined with the floor while some poor tenor is singing "11 nnio tesoro" sale of tickets by subscription for six or seven per- before the drop curtain. formances a week, but the argument eventually But the Met has to be more efficient than other gets too complicated for mere mortals to follow. opera houses, because it runs on a preposterous This mortal cannot understand, for example, why

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Lucia has to be given after Sutherland leaves, or why of spontaneous accord among musical artists." the Met's Boris Godunov must use three different Planning was second -rate or nonexistent, and buying Borises, even if there are other operas which must a ticket for any given evening was much more of be given all season long, with inevitable cast changes. a gamble than it has been under Bing. But the pay- (A few seasons ago, Rise Stevens sang eight Carmens offs were bigger, too, because war-enforced stability, under three conductors, with four Don Josés, four quality conducting, and audience patience with Escamillos, and five Michaelas.) The Met by its na- not -quite -great singing enabled a repertory system ture cannot capitalize on the advantages that a reper- to produce its best efforts every once in a while. tory system does offer. It cannot afford any longer Much has been gained through Bing's efficiency, to produce large numbers of operas (as it once did: but something has been lost too. Art is inevitably forty -seven in one season in the 1920s, including inefficient, and Bing has built his smooth -running four brand -new contemporary works, as against machine by squeezing out artists. There is nobody twenty -six this season, the newest of them half -a- in the top management of the Met today who has century old). It cannot make much of the opportuni- ever waved a baton in anger or set foot professionally ties a repertory system offers for the training of on a stage. It is axiomatic that the repertory system young singers (viz., Gedda, Nilsson, and Soeder- works best when the house is controlled by con- strom, schooled to a wide variety of excellences at ductors and régisseurs who work as teams, adjusting Stockholm). The Met's audience and acoustics de- to each other's styles and fitting their work to the mand singers of international caliber; young artists company. At the Met, conductors are not encouraged must cone to major roles at the Met mostly as even to suggest directors with whom they might like scheduled cast substitutes for world -famous singers, to work: "the planning committee likes to control in productions which have lost some of their ar- these matters itself," says Robert Herman, the tall tistic tension and audience interest by the removal of young Artistic Administrator, who came to the Met their star. It cannot maintain a stable company, be- from Carl Ebert's workshops at Southern California, cause artists of international caliber by definition and worked his wáy up backstage. Casting, too, is divide their time among many houses. the prerogative of the management, and conductors During the 1940s when a performance was in the are only rarely consulted -which may in fairness hands a really strong conductor of and of singers mean that the casting is a little better than it would who had learned to live with each other's styles, be otherwise, though there are still horror stories the Met occasionally came up with evenings that like the attempt to persuade Leontyne Price to sing seemed to justify the repertory system. The con- Abigaille in Nabucco. ductors included such luminaries as Beecham, Everyone at the Met admits that the conducting was Reiner, Szell, and Walter. Europe first at war staff is weak, replying only that good conductors so and then in chaos, the singing company was are hard to find. Yet the Met offers a conductor stable; the Met could employ to the full such resi- less authority than any other opera house (less money dent immigrants as Lehmann, Milanov, Saydo, Al- than most, too: in 1960 -61, the average conductor's banese, Melchior, Brownlee, Pinza, and Baccaloni, fee was only $600 per performance in New York, while developing American talents like Peerce and $275 on tour, though individuals doubtless did bet- Tucker. Warren and Hines, Traubel, Steber, Stevens. ter: planned, frequent money-saving substitution by Great performances at the Met in those days were assistant conductors and the chorus master brings doubtless, as Virgil Thomson once wrote, "the result down the averages). A more art -minded manage- ment might find conductors a little less scarce, and might not lose its best so rapidly as the Met lost Perlea, Szell, Reiner, Stokowski, and Kempe. The weakness of the Met's conducting staff pro- duces repercussions throughout the buiiding. The orchestra, despite the management's pride in it, plays adequately for only a few conductors, and the brass section does not play very well for anybody. (A singer was told this season that she could not sing an aria at the tempo she liked because the brass couldn't handle it at that speed.) The chorus, after some years of improvement, is deteriorating again. And the labor troubles are worse. Reiner and Szell managed to make a number of personnel changes in the Metropolitan's orchestra without provoking strikes, but last spring's negotiations stuck for months on the question of dismissing a French horn player. One cannot imagine Al Manuti of the musicians' union insisting that a player was good General Manager Bing, Association President Bliss. enough for the Met Continued on page 106

APRIL 1962 41

www.americanradiohistory.com IMPROVEMENTSarms I N New designs in tone arms can mean longer life for your records and cleaner sound for your ears

BY JOSEPH MARSHALL

HIGH- FIDELITY TONE ARMS have been appearing of The new tone arms generally provide an un- late in novel and even bizarre mutations. A few precedented variety of means for making this com- designs are deceptively simple in appearance, such ponent no more nor less than what it always was as the Dynaco B & O, which is intended to meet the intended to be: a neutral, passive, silent servant car- electrical and mechanical requirements of one spe- rying the pickup across the record. They also offer cific cartridge and no other. At the opposite ex- the means for neutralizing certain harmful tendencies treme are studies in complexity, such as the SME of the cartridge, for compensating for a turntable arm, which is designed to meet the installation and that is not level, and even for correcting some errors performance needs of all current (and possibly fu- in installation. The new arms, in a word, can exploit ture) pickups. Between these two extremes are many the capabilities of most pickups more completely more examples, differing in their knobs, dials, levers, than has ever before been the case. outriggers, shape, size, and even the material of One reason for the development of new tone which they are made -with wood showing up as a arms has, of course, been the interest in low tracking rival to the traditional metal body. force promoted by stereo. The smaller stylus tip - Actually, each new arm represents its designer's 0.5 -mil to 0.7 -mil -used in stereo cartridges, as corn- solution to some very real problems in the repro- pared with the 1.0 -mil tip used for mono pickups, duction of sound. Interestingly enough, these prob- means that the stereo model used at the same pres- lems came to the fore largely because of the de- sure as a mono cartridge necessarily exerts a greater mands of satisfactory stereo playback, yet the re- downward force against the record groove. But sultant improvements in arms have permitted better stereo or mono, many high- fidelity designers have reproduction of monophonic recordings too. One become convinced that lower tracking forces, com- of the most familiar difficulties, for instance -and bined with very high compliance, can permit the one whose solution has lent itself to dramatic ex- stylus to follow the groove wiggles more faithfully, hibition-is that of the need for balance in all planes. improve high frequency response, and even possibly Most visitors to high- fidelity shows have seen a tone reduce record wear. The big proviso here, however, arm tracking a record on a turntable suspended remains the tone arm: a new arm fitted with one upside down. Though this phenomenon might be of the recent high compliance pickups can provide thought to bear little relation to the normal function good performance with stylus pressures between 1 of a tone arm, arms capable of it can -because of and 2 grams and possibly less than I gram; an older their balance -improve the performance of a pho- arm fitted with such a pickup and set to track at nograph system and reduce wear on records. such low pressures may very easily result in distor-

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com tion or even groove- skipping. For this reason, a been done with the SME, Grado, and Rek -O -Kut cartridge designer may insist that his pickup be arms, for instance. The added counterweight can used only in a specific arm, in much the same man- also be made a part of the main counterweight by ner, for instance, that a speaker may be matched drilling an off -center hole in the latter so that when to a particular enclosure. This trend accounts for it is turned more weight can be thrown to one side or the "integrated" or "unitized" pickup- and -arm com- the other. Yet another way of obtaining lateral, as binations, such as the London -Scott, the Shure Stu- well as vertical, balance is to displace the arm's dio, the Pickering Unipoise, the EMI, as well as vertical pivots, a method used in the Weathers, Em- for the tendency of cartridge manufacturers to offer pire, and Acoustic Research arms, among others. In arms of their own design (which presumably will some arms, such as the ESL and 12 -inch Ortofon accept not only their own pickups but others as models, lateral balance is achieved simply by the well). Some excellent performers can be found in "S" curve of the arm's body. Once the arm is both groups; while the integrated models represent balanced in both planes, by whatever method, it a foregone conclusion, the "universal" arms boast a becomes free of gravitational effects and will not new, high order of versatility and dangle the promise load the stylus with its own mass. Then, if the com- of limitless experimentation for the restless audio- pliance of the cartridge is high enough, it will track phile as well as for the record critic and equipment a recording with pressures as low as 1 gram or less. evaluator. It also becomes far less susceptible to shock and vibration, and it will play when the turntable is out "Integrated" or "universal," a tone arm's most of level, or tilted, or turned upside down. 11 obvious problem stems from the fact that its Beyond these considerations, some -though not very weight or mass can "load" the pickup stylus, all -designers hold that even the most perfectly bal- which itself has extremely small mass. Thus, the anced tone arm is subject to another external in- pickup's ability to follow the record groove can be fluence. The spiral of the groove, as it pulls both severely limited. Fortunately, it has been found quite pickup and arm towards the center of the record, simple to neutralize the weight of the arm by balanc- causes the stylus to exert slightly more force against ing its forward part, which supports the pickup, the inside wall of the groove than the outside wall. with an adjustable counterweight at the opposite end. This force is said to cause unequal pressure on the This counterweight can be set so that the gravita- sides of the stylus itself, as well as unequal contact tional pull on the arm is neutralized and the arm with the two walls of the groove. Although little becomes, in effect, weightless. But since an arm in actually is known as to how this "skating" thrust such a state would not permit the stylus to main- affects the sound we hear, several of the new arms tain firm contact with the record groove, the arm provide a means for neutralizing it and thus eliminat- must now be adjusted to permit gravity to pull it ing any degrading influence it may have. The new down so that the desired pressure is applied to the Fairchild arm has a delicate spring which can be stylus. This can be done by a slightly unbalanced adjusted to pull the arm outward to exactly the same counterweight or by a delicate built -in spring. In degree that the skating thrust would pull it inward. either case, the adjustment can be calibrated in grams In the Dynaco and the new Thorens arms, the same to enable the user to set the pressure quite exactly. spring used for establishing stylus pressure also is Although most arms made in the past ten years intended to pull the arm outward to neutralize skat- can be adjusted to provide pressures down to zero, ing thrust. The outrigger on the Grado arm, the "bias difficulties may arise when an attempt is made to adjuster" on the SME arm, the small weight at the reduce pressure below 2 grams. For one thing. an end of a string on the ADC arm -these are some of arm that is balanced only vertically may keep the the solutions recently advanced to neutralize "skat- stylus in proper contact in the groove at very low ing." On the other hand, Ortofon and others con- pressures, but only if the turntable is absolutely sider the matter of skating force to be negligible, level and immune to shocks. And it doesn't take and do not bother to compensate for it.

much shock to overcome 1 or 11/2 grams of stylus Another problem of the tone arm is that of its pressure. In many a household in which a tone arm natural resonant frequency at which "sympathetic has been exquisitely balanced to such a low pressure, vibrations" occur. These vibrations, if sent to the the family must walk on tiptoe or avoid the vicinity stylus, will distort the sound. To prevent this, arms of the turntable entirely, lest an incautious step are designed so that their resonance remains as far cause the needle to skip or skate. Furthermore, below the normal audio range as possible. This is though the arm may be weightless in the vertical largely a question of the arm's structure. Most arms plane, it may not be so in the lateral plane. Then, if are made of tubular metal, whose resonance is kept the turntable is not level, the arm can apply its full below 20 cycles by a careful choice of the material, weight downhill to defeat the compliance of the as well as its shape and cross section, and sometimes stylus. One of the design aims of the newer arms, also by the addition of some damping material such therefore, has been to neutralize the weight of the as plastic inserts between the arm and the counter- arm in both the lateral and the vertical planes. weight. The viscous fluid used in the pivot of the One way to obtain lateral balance is to add an- Gray arm is another method of damping, or neutral- other smaller counterweight on an outrigger, as has izing, spurious vibrations. The growing attraction of

APRIL 1962 43

www.americanradiohistory.com to permit the stylus to follow the groove wiggles more faititfully '

The external forces which affect stylus movement include: A) the inward pull of the stylus, exerted by the spiral of the groove, and exerted largely against the inner wall of the groove; B) the lateral C mass of the arm, which pulls the arm downhill when the turntable is not level; C) the drag of the arm and the friction of its bearings, which tend to pull the stylus against the outer wall of the groove; D) the vertical mass of the arm, which bears down on the stylus. In a well- designed and correctly in- stalled arm, these forces are neutralized so that the stylus is permitted to trace the groove freely, with the least amount of distortion and of record wear.

/ / / When viewed from above, the axis of the stylus / (longitudinal axis of the cartridge) should re- i main as close as possible to a 90- degree angle with respect to the radius of the record. Although this angle prevails when a record is cut, today's methods of playback can only approximate it.

When viewed from front of cartridge, the stylus should be perpendicular to the record to fit the groove perfectly. When the stylus is canted, it makes unequal contact with the groove walls, causing distortion and increasing record wear. In stereo, it also degrades channel separation.

When viewed from the side, the stylus should "lead" by a slight angle. When the stylus "lags," as shown at right, it can add to the mass of the cartridge and increase record wear and distortion. Stylus "lag" can be caused by an imperfect cartridge, or an incorrect installation.

www.americanradiohistory.com wood is fairly apparent, since at the dimensions needed for a tone arm, a wooden member's reso- nance can be kept very low. A special problem in arm resonances is presented by such turntables as If You Install Your Own . . . the Weathers, Stromberg- Carlson, and the new When you are installing a cartridge and arm, Acoustic Research which use synchronous motors three critical dimensions should be kept in mind whose rumble frequencies are in the region of IO for best results. The first of these is "stylus the stylus rumble to remain harmless and not overhang," or the distance between cycles. For this tip and the turntable's center spindle. Overhang distort the audible range, arms used with such turn- is determined by two other related distances. tables should have resonances below 10 cycles. Sig- One is the position of the cartridge mounting holes with respect to the stylus tip. Although nificantly, therefore, these turntables all are offered this distance is generally standardized, it may with integral arms of the same manufacture. vary from model to model. Its importance is Aside from holding the stylus in the record groove indicated by the opinion of some authorities that a discrepancy of 1/4 inch from the recom- with the proper pressure to assure good tracking, the mended overhang distance can double the tone arm must also provide for three angles that tracking error and the distortion. should exist between the complex movement of the The other factor relating to stylus overhang is the position of the arm on the turntable base. stylus and the sidewalls of the record groove. First, Here, an error of a few tenths of an inch can the stylus should vibrate at an exact right angle to increase tracking error by 100 %. For this reason, it is important to drill the mounting hole the length of the groove, or, in other words, travel with care and precision, admittedly not always across the record in a perfect radius. This is the easy on a plywood board with the tools avail- way the stylus of the cutter -head vibrates when the able in the average household. Short of using a drill press to fashion the mounting holes, or original master disc is cut. The cutter travels on a buying the pre -drilled mounting platforms offered screw which is the disc's radius. To date, it has not by many manufacturers, the do- it- yourself audio- means of compensating been practical to produce a playback arm which phile can rely on the both for the difference in cartridges and any also travels on the radius (although there are rumors small error in mounting which most new arms of such arms in the offing). Present -day arms swing themselves provide. Since overhang can be set either by the arm's position on the mounting on a pivot which is necessarily outside the groove's board or by the cartridge's position in the arm, spiral, and this means that the theoretical ideal of either -or both -adjustments usually are de- new a right angle between stylus vibration and length scribed in the instructions accompanying a arm. Among the foolproofing methods presently of the groove can be achieved at only one or two used may be found, for instance, the use of an points along the entire record groove. The differ- off -center mounting post that can be revolved the other ence, in angular degrees, between ideal to provide for exact overhang. At the radial end, the slide on which the cartridge is mounted path and the arc actually described by an arm is may be designed to be movable so that the called the "tracking error." By using a properly stylus tip can be positioned correctly. The second critical dimension in a pickup shaped and offset arm and by positioning the stylus installation is the vertical angle of the stylus so that it overhangs the center of the groove circle to the record groove as viewed from the front. to by a critical distance, it is possible to reduce this The stylus should be exactly perpendicular the surface of the record. With many arms, error to a relatively insignificant one to three per however, if the mounting hole is not drilled cent. All good modern arms manage to do this exactly perpendicular to the base, the stylus will to one side or the other. And, again, if the stylus point is positioned in the arm at exactly be canted it is difficult to drill a perpendicular hole in a the position the designer intended; but the new arms base 1/2 to 3/ inches thick unless a drill press provide adjustments to insure correct positioning is used. Fortunately, several of the new arms provide an adjustment to insure a perpendicular and to maintain the optimum stylus -to- groove angles. needle angle, or to minimize the possibility of Once installed correctly, the new breed of tone a canted needle. The specific methods used arm manages the almost magical feat of making it- differ from model to model, yet all are effective. With an arm that has no vertical stylus angle self unfelt to the stylus. Virtually frictionless and adjustment, the best thing to do is to drill the weightless, such an arm removes all influences on mounting holes slightly wider than necessary and then tighten the mounting bolts, using shims if the stylus except the desired influence of the record necessary, to achieve that ideal vertical stylus groove. This high order of performance exacts its angle. payment, however, in terms of the delicate handling The third critical dimension is the vertical angle of the stylus to the groove when viewed the arm requires. The record listener who had no from the side. Unfortunately, this angle is not trouble using a pickup with 3 to 6 grams of pressure standardized in the recordings themselves. In now finds himself clumsy when handling with current stereo discs as well as in their monophonic one counterparts, a small forward or "leading" less than 2 grams, and an occasional fumble which angle appears to be most common. This angle results in dropping the pickup on the record is not can be adjusted in virtually any tone arm simply by raising or lowering the arm. Although a uncommon. A final concern of arm designers is, precise angle may be difficult to establish, it then, to provide some mechanical help to the fingers should in any event be set so that the stylus in placing the arm on the record, or lifting it off, leads and never lags. If in doubt, adjust the height of the arm so that the main part of its or both. A few cuing devices have been put on body remains parallel to the surface of a record the market which can be used with most arms. Some placed on the turntable. arms come with built -in aids. The SME, for instance, has a lever -operated mecha- Continued on page 109

APRIL 1962 45

www.americanradiohistory.com Bettmann Archive

The death of Sir Thomas Beecham need not mean oblivion for the music of Frederick Delius. Quite the contrary...

THAT MELANCHOLY OCCURRENCE, the death of Sir most interesting to see how Sir Thomas' readings of Thomas Beecham, has brought to the test one of the Delius changed as he grew older, but first we must most curious problems of twentieth- century music: consider how Delius' style itself changed. There is can the writings of Delius survive their stanchest a third dimension, that of changing musical fashion. supporters? The identity of the two men, it would Let us deal with the composer first, and relate the seem, was complete, and the general public has made other two factors to him. In this way we begin at clear that it will listen to Delius only when conducted the beginning, since no matter how skilled the inter- by Beecham. Indeed in the early days of the partner- preter, no matter how arrogant fashionable opinion, ship it was speculated that this music might perhaps without the composer both are lost. be the work of Sir Thomas himself: he was known It was a long time before Delius found himself, to be a composer -whose mysterious compositions and even when he began to write with mastery, his no one ever heard; he alone could interpret Delius style underwent a series of drastic changes as he convincingly! Delius himself, in his few statements grew old. This can be observed by anyone who takes about his work, has shown that he understood it the trouble to study the music, and as we shall see about as much as a hen understands her eggs. What later, it lays an ax at the root of one of the most more natural, then, than that these pieces should persistent Delius legends. His first music was in- be Sir Thomas' own? sipid in the extreme; he found himself in Appalachia, Very natural so to suppose, but the fact is that Paris, and possibly Over the Hills and Far Away. many of Delius' works had been performed in Ger- Before these works are the juvenilia (juvenilia, it many and even in England before he came to Sir might be added, written by a man in his thirties) in- Thomas' notice. It was a performance of Appalachia cluding those jejune early operas which Sir Thomas in 1907 that convinced Beecham of the composer's was lovingly resurrecting in his last years. The first stature. From that time Sir Thomas devoted himself mature works are characterized by something of the wholeheartedly to propagating the work of Delius. brilliance of the late Impressionist painters, and in I propose to study Delius' music in relation to Sir particular by the sheer panache of Gauguin, who was Thomas' readings of it, and in relation to the legend Delius' close friend. Paris, a score quite brilliant in of Delius as the sunset of romanticism; and I shall its color, its extrovert energy, and its mastery of put forward some personal views on both counts. orchestration, in these respects can be compared with The careers of the two men ran roughly parallel the symphonic poems of . There is in time, but diverged widely in development. It is little in it of retrospective brooding, but there is a

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com slightly mineral darkness, like the implied darkness writings have a monumental quality. In the Mass we in some of the stark paintings of Toulouse-Lautrec. find a rugged strength of massive choral writing that His color is post- Impressionist, not Impressionist - would be unusual from any composer, and which even a little Fauve -but too dark, too little innocent, does not fit into the legend of the dreamy voluptuary to be French. It is as well to remember that the Delius at all. In A Village Romeo we see a transi- drinking companion of Gauguin was a hard- bitten tional work, one with some of the early vacuity, Bohemian like the painter himself; both died of the a motley of styles, and a last act that is one of Delius' same disease, and it was not acquired in innocence. masterpieces, rising to a mystical intensity that even These works of this period take their inspiration he seldom attained. A Song of the High Hills I wish from America, Paris, Scandinavia, anywhere but to single out for special attention. England. It was not until Delius married and settled A work for very large orchestra and chorus in Grez- sur -Loing that the nostalgic, specifically divided into many parts, A Song of the High Hills English works began, the music that Sir Thomas is often described (when it is mentioned at all) as interpreted best. Then, beginning with the North botched and formless. Now the only compositions Country Sketches of 1913-4, a further change comes of Delius that have a traditional form are dismal over Delius' work. It darkens, takes on an equivocal failures. His best work creates its own form out air; it is more evasive in expression, there are fewer of the emotional elements it presents, or is a loosely notes. If his first mature pieces can be compared constructed set of variations. (Sea Drift, for example, with the paintings of Gauguin, his middle period is formless, and it is a masterpiece.) We are left with work to something more English- Samuel Palmer the accusation of botching. Let us examine it; the of the Shoreham period, perhaps -his later work Delius problem lies here, under our hands. "Il n'y recalls Edvard Munch and returns to Scandinavia a pas de solution parce qu'il n'y a pas de problème," for inspiration. Its most typical aspects are found wrote Marcel Duchamp; consider only the elements in the bitter and cynical An Arabesque and the comprising the situation and the pattern will disclose mysterious Nordic Eventyr, the first a setting of itself. There are two crucial points in the score of words by Jacobson, the second inspired by the stories A Song of the High Hills, the second of which illus- of Asbjornsen. There are a few pieces like sketches trates both my point and the supposed difficulty. for his earlier efforts (A Song of Summer) and the The first comes six bars before reference 18 in the almost final Songs of Farewell, oddly square and score, the passage marked "Very slow. The wide, massive. And there are several works that stand out far distance -the great solitude." It is here that the from all this music, by reason of their special quality; chorus enters for the first time. Its difficulties are chief of these are A Mass of Life, A Village Romeo mainly interpretative. It is one of the most inspired and Juliet, and A Song of the High Hills. These moments in the whole of Delius, and the marking above gives some idea of its emotional quality. The strings are divided into seventeen parts, against which the chorus enters ppp decrescendo to pppp. A solo horn initiates this unearthly sound, and the The Delius Centenary woodwinds, each playing solo, enter after ten bars Although Mr. Pirie does not mention the of this very slow time. The effect might be thought fact in his article, this year marks the to be almost inevitably muddy; in fact these are hundredth anniversary of Delius' birth. possibly the most disembodied sounds in all music. Ordinarily, record companies like nothing The parts are so very wide laid so much as a centenary to provide an excuse apart and are for issuing new versions of familiar (or out with such skill that the conductor's task is not even not -so- familiar) repertoire. But Delius' to maintain balance but to keep the music moving in reputation is at the moment so eclipsed that spite of the incorporeal, breathless stillness of the even his centenary is being allowed to pass sound and to let the awe -inspiring majesty be made practically unnoticed. The only important centennial project that has come to our at- manifest. Sir Thomas, in his performances and re- tention is the reissue, in England, on two cordings, did keep the music moving with consum- LPs of several out -of-print Beecham re- mate skill, but, let us face it, awe- inspiring majesty cordings. Volume I contains the 1946 re- was not his strong suit, at any rate in the closing cording of A Song of the High Hills, to years his life. I which Mr. Pirie refers (not altogether en- of Am criticizing Sir Thomas Bee- thusiastically) in his article, the cham in Delius? Shocking as it may sound, I am. Rhapsody No. I, Summer Evening, the The gravamen of my criticism, and its bearing on Irtnelin Prelude, and the Intermezzo and the Delius problem, will be made clear when we con- Serenade from Hassan. Volume II contains sider the second difficult passage in this score, but the Violin Concerto and the Piano Con- certo, with Jean Pougnet and Betty Humby first we must pause to consider the art of Sir Thomas Beecham as the respective soloists. Angel Beecham in its own right. Records has no present plans to issue these How many people today realize that this seeming discs in the United States, but they may archconservative, fulminating at all modern music be ordered directly from England by dealers who specialize in imports. R. G. as worthless, was one of the most daring pioneers of contemporary music before the First World War and extended his efforts on its behalf for many years

APRIL 1962 47

www.americanradiohistory.com after? Yet he was. One of the first champions of choral climax does not come off and that the coda the then execrated Elektra, he also fought the Lord is an anticlimax. Chancellor for the right to stage Salome. His cam- Behind this misguided view is one simple circum- paigns on behalf of Sibelius and Delius, although stance: within memory no one performed this work not quite the pioneering efforts they are sometimes except Sir Thomas, and no one else recorded it. The made out to be, were decisive in turning the tide in recording is one in which a man at the control board both cases. But caution and conservatism slowly took was allowed to panic, which he does at the choral over, until at the end of Beecham's career he played climax (which certainly looks terrifying in the score), little music that could not, at a stretch, be contained thus spoiling Sir Thomas' mighty crescendo. After in the description "light music," or, as he would say, this Sir Thomas himself takes a hand, suddenly de- "lollipops." His style followed suit; the blazing and ciding to linger over the orchestral coda. The climax adventurous Beecham of the early years of the in the coda, much smaller than the one preceding, century, the dancing aristocrat of the Thirties, master does not look formidable on paper, and the en- of Mozart, still able to give fine hard performances gineers allow it its full weight. Result: the choral of Sibelius-this man had changed by the Fifties climax doesn't come off, an overlong orchestral into a dreaming hedonist, whose tempos became coda follows, and its climax is much louder than slower and slower, more and more sensuous, and the one which should be the climactic point of the whose repertoire was increasingly filled with sopo- work. All just what the critics say. The conclusion rific trifles. is inescapable. the modern critic being himself above A good illustration of this progress is afforded criticism: Delius bungles. And if one appeals to the by Beecham's three recorded versions of Delius' score, then the composer writes effects that are Over the Hills and Far Away. The first (issued in viable only on paper. In fact, if the score is ob- the 1930s for the Delius Society) is an extrovert served, the performance will make its effect. affair of rattling drums and taut rhythms, crisp, Blunders like this -together with Sir Thomas' bouncing, the very spirit of Sir Thomas. His second, revival of early pieces best left in obscurity and the released in the early days of microgroove, is much general hardening of the musical climate -all account more subdued; the drums have almost disappeared, for such things as the British critic Donald Mitchell's the climaxes are toned down, the tempos are slightly easy dismissal of Delius as "The only German Im- slower. His last version, made not long before he pressionist." Now, it is true that Delius was of Ger- died, takes these things to extremes. Here the tempos man extraction and that the Impressionist painters are much slower, the sensuous strings swoon, the (or rather, I reiterate, the post- Impressionists -the drums have vanished; the whole thing is no more a distinction is important) were his great liberating in- young man's vision but an old man's dream. fluence. But let us consider the music itself. Ger- man music is formal, intellectual; and what is not linear is sonata. The music of Delius, on the con- ONE MUST realize that the present tremendous trary, is improvisatory, harmonic, and emotional. popularity of the gramophone record is of very Impressionist music has static harmony, based on one recent origin, and also that the break caused by the chord used on many steps of the scale, and is at once last world war changed (and hardened) the whole aloof and decorative, rendering the facts of nature, face of music. Young people of the postwar era detached from human experience, into formal pat- no longer have much use for music like that of terns of arabesque derived from the Oriental con- Deliils -and to make things worse, the Delius they ception of art. But the music of Delius is an ex- hear is the softened Delius of Beecham's latter -day ploitation of the pathetic fallacy; sea, woods, hills, recordings, full of the vapid works of the composer's flowers, birds, are all enrolled in the service of hu- prentice years. Today's listeners do not buy ancient man emotion. 78s; if they did, they would hear a very different There is no human observer in Debussy's La Mer; Delius, greater music more tensely performed. the lonely waves freeze into formal patterns and the Again I turn to A Song of the High Hills, to the storms are void of human sympathy. Delius' Sea Drift second difficult passage from the score, beginning at is not about the sea at all, and only at second hand reference 30. Although this passage is the usual about birds. The external world furnishes an elabo- source of adverse criticism, in my opinion it is the rate symbolism for a boy's discovery of the tragic most tremendous thing in the work. I hope to show and exclusively human facts of emotional growth, that it is not A Song of the High Hills that is love, and loss. The shattering impact of this wonder- at fault, but one or two unfortunate mishaps in Sir ful work is not for the coarse -fingered analyst, proud Thomas' recording. The passage begins with chorus of an insensitive approach to music. The harmony a cappella, divided into eight parts, beginning very too is at the furthest possible remove from Debussy; quietly, and culminating in a tremendous climax, an instead of moving a single chord through all possible outburst of overwhelming intensity and searing positions in a single key, Delius' harmony moves exultation. When it dies down, after being joined by daringly from one strange chord to another, and his the orchestra for the final moments, there follows sense of modulation is here like that of the great turn a long orchestral coda, itself achieving a climax of masters. The tremendous, heart -shattering 108 some weight. The common complaint is that this to the major at the end Continued on page

HIGH FIDELITY MAGAZINE 48

www.americanradiohistory.com F4iuDahem

When the Big Bands Played Swing

Irr THE FALL of 1939 a fist fight broke out between period of greatest mass popularity that any jazz style two boys in the corridor of a New Jersey high has ever had. school. The fracas soon spread to half the student The accounts usually say that everything started body, and took all available faculty members to in March 1937 when the Benny Goodman band quiet. The bone of contention was not baseball or played an engagement at the Paramount Theatre in girl friends. It seems that Benny Goodman and Artie New York. From the moment the musicians came on Shaw were both appearing in Newark during the stage, there was shouting from the seats, dancing in same week and one young man had declared Good- the aisles, panic followed by resignation from the man the best. The other young man wasn't having ushers and the management -and 11,500 paid ad- any of that. As hostilities spread, the belligerents missions the first day. formed themselves into firm battalions: one group Of course, a few rumbling voices declared at the shouted that neither Shaw nor Goodman but Tommy time that this "swing music" was not really anything Dorsey was "the greatest "; another (smaller but no new, that it was just "another name for jazz "; and, less vocal) declared for Bob Crosby; still another as if to prove their contention, the hit group of group (highly excitable, mostly composed of fresh- 1917, Nick La Rocca's Original Dixieland Jazz Band, men and therefore indicating adulation to come) was revived at the New York World's Fair. These shouted for Glenn Miller. And so events marched. dissidents notwithstanding, the fact was that be- It was all a part of what jazz writers call (some- tween 1917 and 1937 jazz had been through a major what pompously perhaps) "the swing era," the revolution affecting not only the size of the jazz

Amu'. 1962 49

www.americanradiohistory.com When the Big Bands Played Swing

orchestra but the jazzman's basic ideas of rhythm derson had already given this music a basic frame. and melody. Among the early contributors was one work and style in their orchestrations. Before the man whose name is indeed well known -.Louis Arm- improvising soloist gets to it, swing music belongs strong -and two whose names are not so well known to the composers and arrangers, and the first success- -pianist -leader and arranger ful arranger for big bands was Redman, working and alto saxophonist and arranger Don Redman. for Henderson's orchestra. Actually, the teen-age swing fans described above Like most "second- generation" jazzmen, Don were fighting a battle about very little. There Redman came from a middle -class background. He was not really very much difference between the was born in 1900 in Piedmont, West Virginia, and Goodman and Shaw styles. Goodman had a disci- it is said that he played trumpet at three. His father plined brass section and the scores leaned heavily on was a member of a brass band and young Redman it; Shaw's band was, in contemporary parlance, learned every instrument, as well as elementary "cooler" and depended on its highly disciplined sax harmony and theory, before settling for alto saxo- section. Both were simply popularizing a kind of phone. Later he attended conservatories in both music that .had begun in the early Twenties and Boston and . When he came to New York had already reached its maturity by 1933. Tommy after making a reputation as a player and arranger Dorsey and Bob Crosby, as we shall see, were also in Pittsburgh, he went to work in recording studios, derivative, if from different sources. And as for accompanying singers, generally finding himself in Glenn Miller, however good his music was as the company of a young pianist from Georgia named dance Music, it is rather hard to take it seriously Fletcher Henderson. Gradually, a kind of semiperma- as jazz. For one thing, Miller never had any really nent "house band" began to gather around Hender- good soloists except Bobby Hackett, and Hackett son and Redman for these sessions, and it usually spent most of his time striking guitar chords in the included tenor saxophonist Coleman Hawkins and rhythm section. Second, the Miller band's ideas of drummer Kaiser Marshall. On one occasion, these rhythm frequently reflected the archaic phrasing of men-still leaderless at this point -were asked to commercial "hillbilly" music. On the other hand, record some instrumentals, one of them called two of the great creative big bands of the late Dicty Blues. Later that same day they auditioned for Thirties, Duke Ellington's and Count Basie's, didn't the Club Alabara', using the same piece, and got even raise a voice among our high -school devotees. the job. Then they decided to make Henderson the But we are getting ahead of our story. As I have leader because he was nice -looking and a college already indicated, the roots of big -band swing style graduate (in chemistry and mathematics). go back to the Twenties. Three major forces that Redman as arranger first shaped the style of shaped it came together in 1924, when Louis Arm- the Henderson orchestra. Apparently he saw that strong, a shy young man wearing red underwear the future of jazz lay with more control over the and big -toed work shoes, joined Fletcher Hender- group yet more freedom for the individual soloist. son's orchestra in New York. Don Redman, Hender- The "collective" improvising of New Orleans jazz son's chief arranger, has said, "Louis, his style and seemed to have gone as far as it could -at any rate, his feeling, changed our whole idea about the band more and more often such groups were using soloists musically." To the layman, Armstrong's contribu- with rhythm backing. What Redman did was to tion is perhaps at once the most nebulous and the abandon the New Orleans approach almost entirely. easiest to recognize. It was he who first dramatized He took a conventional American dance band of the phrasing, the ideas of rhythm and melody-in the time -with its separate sections of saxophones short the swing -that was to dominate the music, (doubling on clarinets), trumpets, trombones, and and the mode of improvising that was to influence rhythm -and managed to convert it into a new kind every jazz player no matter what his instrument. of jazz band. He even made some use of the dance But before Armstrong arrived, Redman and Hen- band's basic style, but the rhythms had to be jazz

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com rhythms, the solo passages had to be jazz impro- aptly titled "A Study in Frustration "), and through visations, and the written variations had to be in the producer John Hammond, Henderson was introduced jazz style. One more thing became characteristic: to Benny Goodman. Goodman's new orchestra Redman borrowed the "call and response" patterns needed arrangements, and Hammond thought Hen- heard in Negro church services. When the familiar derson the man to provide them. Goodman agreed biting brass of a swing band plays a brief musical and Henderson became chief Goodman arranger, phrase and the saxophones answer with another although for some years he also tried to keep to- short phrase and an exciting back -and-forth of these gether a band of his own. phrases follows, the music echoes the preacher's Perhaps the best single introduction to the Red- prodding question, "Do you want to be saved ?" and man- Henderson style is the celebrated Henderson the congregation's, "Yes, Lord!" Some of the early arrangement for Goodman of Sometimes I'm Happy. arrangements by the Henderson band seem crude It begins with muted brass instruments carrying today, and some few imitate the style of King the familiar melody; they play it fairly straight but Oliver's New Orleans band or the New York Dixie - with phrasing that makes it swing. Every time the landers of the time. But in the best of them can be brass pause, however, the saxophones interject a heard the style that was to become a national and phrase that is now part of the tune; clearly that world craze in the late Thirties. musical phrase is saying, "Yes, indeed!" After one By 1927, Armstrong had left the Henderson chorus, the jazz soloists enter -first a trumpet, then band, and Redman and Henderson were also going a tenor saxophone with the brass answering his their separate ways. Redman first led the famous phrases quietly behind him. Next, the saxophones McKenney's Cotton Pickers around Detroit. Later, play a written variation on the theme which sounds he returned to New York to lead his own band in as .natural and fluent as a good improvised jazz solo. competition with Henderson's orchestra. Basically, Then the trumpets join the variation. Finally, the both groups played the style their leaders had earlier record ends with a two -part conversation for the worked out together. brass and the clarinet improvising against them. Henderson, however, continued to get the solo- There were many highly talented big -band ar- ists. At various times in the Twenties and Thirties, rangers during the swing period, of course, but they in addition to Redman, Henderson had Hawkins, all owed a basic conception and many of the details Armstrong, and Kaiser Marshall; pianists and ar- of the music to the work of Redman and Henderson. rangers Fats Waller and brother Horace Hender- Some arrangers put the ideas to a very personal use, son; trumpeters Joe Smith, Rex Stewart, Tommy to be sure, and one such particularly worth mention- Ladnier, Henry "Red" Allen, and Roy Eldridge; ing here is Sy Oliver. Oliver was chief arranger for clarinetist Buster Bailey; saxophonists Russell Pro - the later Tommy Dorsey band, after having worked cope, Benny Carter (who also arranged), Hilton for several years for Jimmy Lunceford. Today Jefferson, Ben Webster, and Chu Berry; trombonists one can also hear the influence of Redman and J. C. Higginbothani, Benny Morton, and Dickie Henderson in the work of such diverse talents as Wells; drummer Sidney Catlett -to name only the Gil Evans, Quincy Jones, and such current arrangers best known. for Count Basie as Ernie Wilkins and Neal Hefti. In the early Thirties, Henderson had just about formed his band's style: the arrangements and soloists Redman and Henderson made a big Awing band out worked together beautifully, the fire and the phras- of a conventional dance band, but there were other ing Armstrong had inspired were in both the individ- approaches employed in the Thirties. One of these uals and the group, and many of the famous arrange- was the idea of a big "Dixieland" band. Both Good- ments that Goodman was to use were already in the man and Tommy Dorsey had toyed with this notion books. By 1935, Henderson had recorded Sugarfoot in their earliest days, using the help of a talented Stomp, King Porter Stomp, Henderson Stomp, Some- arranger named Deane Kincaide. The early Woody body Stole My Gal, Honeysuckle Rose, Down South Hernian band was also such a big "Dixieland" Camp Meeting, Big John Special, Wrappin' It Up, group. But the most successful was the Bob Crosby and Rug Cutter's Swing in virtually the same scorings orchestra. Crosby himself was the front man -he that Goodman played later. Even the Henderson stood there and smiled and waved a stick and his soloists sometimes directly inspired Goodman's- real function was an occasional song. The Crosby compare Red Allen's Wrappin' It Up improvisation book was provided by the band's director, Gil Rodin, to Harry James's with Goodman, for example. and the arrangers, including clarinetist Matty Mat- Later Henderson organizations, between 1936 -38, lock and Deane Kincaide. recorded Christopher Columbus, Sing, Sing, Sing The earliest band to achieve any national identity (which the Goodman band ad- libbed into a mara- using an expanded Dixieland format was New Or- thon grandstander), Blue Lou, and Stealin' Apples - leans trumpeter 's 1926 group, and at music still well worth listening to. about the same time Jelly Roll Morton was flirting At the very time -in 1932 -33 -when the style with the same idea. Oliver did what Redman did not was finally perfected, however, work began to get do: he tried to build on the jazz band and style that very scarce (Columbia's recent four-disc documen- already existed. He expanded his two -trumpet New tation of Henderson's recorded career, C4L 19, is Orleans group by sub- Continued on page 109

APRIL 1962 51

www.americanradiohistory.com The consumer's guide to new and important 1111 IM II 1 1111111111101111 II 11M1 1 1111111111111111111111111111111111111111 high -fidelity equipment 11101111 1111111111111111111111111 1111111=1 11 111111111111111IIIIII111111111111111II1 11111111 1111111111 II 1113011 I1 11111111 11111111 11111 11III1111M1 11 11111111 11111011 1111 11111 11111111 11111111 1 111111 IIII11 111111111111 1111111111IIIII111II III1111111111 111111111 IIIII Itlp 111f 111( 111E 11111' 11111111 1111111111111 11111a 11111111111111111III IIn I111111111111 111111111111 III I lif>tiRi Uf111111111UI11111111In1011111U1 11111011 HI 11111 I .. 11111111111ni111U111 111111 11111111111111111111111111111111 lu M 11 iïii1l 11111'' :: IÌÌI ÌÌÌÌÌ fideli 1111111111111111111111111 high 111111111 M11111111111111 11 11111111 11m1111ä1111111 111111 111111110111111111111111111111 EQUIPMENT REPORTS

Grado Laboratory Series Stereo Cartridge

AT A GLANCE: Grado Laboratories, Inc., of Brooklyn, The Grado cartridge had extremely low distortion at N. Y., well known in monophonic high fidelity for its all frequencies, as well as excellent tracking ability, excellent cartridges and novel wooden tone arm, has resulting in a clean output signal and a high, favor- been offering stereo versions of its products which able signal -to -noise ratio. Needle talk was very low, merit serious consideration by the quality- minded as was susceptibility to hum pickup. discophile. The stereo arm was reported on in an The frequency response curves for the Grado car- earlier issue (November 1960). Of the three stereo tridge were obtained using the Westrex IA test record, cartridges now in the Grado line, the "Lab Series" is which is cut at a constant peak velocity of 5 cm /sec. the costliest and designed for use in a professional arm These curves show the cartridge's smooth response with such as Grado's own. Tests made at United States a gentle downward slope, with the right channel approxi- Testing Co., Inc., supplemented by extensive listening mately 2 db higher in output than the left channel. tests, indicate that the Grado Laboratory cartridge is, Measurements indicated that the cartridge's output is without a doubt, one of the finer magnetic pickups uniform within plus or minus 4 db from 35 cps to 15 kc, available, with very low distortion, excellent tracking, and within plus or minus 2 db from 100 cps to about and smooth "effortless" response. Price: $49.50. 12 kc. Channel separation remained above 16 db from 1 IN DETAIL: The Grado cartridge is the only one kc to II kc, and was maintained to better than 12 db manufactured in the United States that employs the up to 15 kc. The cartridge's output at 5 cm /sec and moving coil principle. Its signal -generating system is 1.000 cps was 3.5 mv, which is adequate for use with activated by a plastic arm to which the diamond stylus all high quality preamplifiers. The Grado is designed to is attached. Compliance of the "Lab Series" model is work well into any preamplifier input load above 5,000 rated at 12 x 10.1' cm /dyne. These cartridges, by the ohms. Its recommended tracking force is 3 grams. way, are produced largely by hand, and one at a time. For many of our listening tests, we used the Grado In making performance measurements on a car- cartridge fitted to a Grado 12 -inch arm. Once the busi- tridge, it is customary to observe the cartridge's output ness of drilling the mounting holes on the turntable waveform on an oscilloscope as an aid in determining platform and adjusting the arm's various balancing qualitatively how much distortion is present in the features is done with, this arm proves to be a genuine signal, and how well the cartridge tracks the test record. pleasure to use. It has a very easy "handling" quality,

Equipment reports are based on laboratory measurements and listening tests. Data for the reports, on equipment other than loudspeakers, is obtained by the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization which, since 1880, has been a REPORT POLICY leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally a supplementary 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.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 4 probably because of its fine balance and low pivot !s0 height which make it simple to cue a record. This is one arm which doesn't seem to elude your fingers FREQUENCY RESPONSE CHARACTERISTIC to make you feel the need for an external cuing device 8 the record. It also has an 12 to set it down or lift it off Zero DB = 3.5 mv. Output at 1 Ice acoustic feedback, and its 16 obviously high resistance to Lek Channel cable and ground lead harness is as helpful 20 pre -soldered Right Channel during installation as it is immune to hum pickup 24 during use. 28

A cursory glance at the response curves would lead 20 SO 100 300 500 18 30 SR 108 208 to expect that the Grado cartridge has a rich and one of full bass response and a comparatively "light" or "thin" to what Grado terms the "plastic resonance" effects high frequency response. Yet, in listening to it, one commercial records, which tend to "peak" a cartridge's scope becomes more aware of its excellent definition of musical high -end response unnaturally. It is beyond the tones rather than of anything "missing" at the high end. of our evaluation program to prove or disprove this To be sure, some listeners felt it lacked what they theory, but this much seems certain: the Grado's audible called "enough brilliance," but others disagreed and response is among the smoothest we have heard, and it averred that the sound of the Grado was superb and seems particularly good at deëmphasizing record surface eminently musical, that it was indeed reproducing "every- noise which shows up as short tone bursts that can thing" but with such cleanliness and fine transient become exaggerated with a cartridge whose high -end characteristics that it only seemed as if some of the response is peaked or which lacks good transient abil- highs were missing. In connection with this point, by ity. The Grado is a very easy cartridge to listen to for the way, Grado Laboratories allows that its cartridge hours on end. Its lack of listener fatigue and quality logically should be expected to exhibit a sloping treble of response merit careful audition by the critical response since it is designed deliberately not to respond discophile.

EICO ST -96 FM -AM Tuner and MX -99 Multiplex Adapter

AT A GLANCE: EICO's Model ST -96 is a twin FM -AM The FM "front end" incorporates an ECC85 dual triode tuner available in kit form for $89.95 or factory -wired housed in a completely shielded aluminum -zinc casting. for $129.95. The MX -99 is a self -powered FM multiplex The FM IF strip incorporates three IF and limiting adapter, intended for connection to the FM section of stages using 6AU6s, and a broadband ratio detector the ST -96 to convert it to FM stereo reception. The using a 6AL5. The AM section has a built -in ferrite loop adapter, as a kit, is priced at $39.95; factory -wired, antenna and uses two 6BA6s and one 6BE6 in its IF $64.95. The tuner tested at United States Testing Co., strip. which has a tuned RF stage at the front end. The Inc., was built from a kit; the adapter was a wired model, output from the AM IF strip is fed through a 10 -kc although subsequent experience with a kit-built adapter whistle filter on its way to the audio output stages. Both indicates that similar performance can be expected with FM and AM signals are boosted through a 12AU7. Sep- the do- it- yourself version. In general, USTC feels that arate volume controls are provided for FM and AM. The both the tuner and the adapter represent good value for output signals will drive any external amplifier. the cost. Both kits are fairly easy to build and should Separate electronic eye tuning indicators are used for provide satisfactory mono and stereo reception in all but FM and AM. These are located on sliding brackets the weakest of fringe areas. behind the frequency scale to indicate the tuning position. When tuned to a station, the tuning eye opens slightly IN DETAIL: By way of explanation, it should be pointed to form an inverted exclamation point, and although out that until the advent of FM stereo multiplex, the the eyes apparently worked as they should, they were ST -96 type of tuner was known as a "stereo tuner," considered to be rather small and hard to see. Including since it provided independent and simultaneous recep- the two DM70 tuning eyes and the one EX80 power tion of both FM and AM signals. For the newer FM supply rectifier, the ST-96 has thirteen tubes. stereo, the ST -96 must be used with a multiplex adapter, The MX -99 adapter uses six tubes and six crystal such as the MX -99. diodes. It features a convenient visual indication when Construction of the FM -AM tuner was very easy, tuned to a multiplex station. due in part to EICO's completely prewired and pre - The MX -99's filtering, of the multiplex pilot signal aligned FM "front end" and IF strip and AM IF strip. and 38 -kc subcarrier. is very effective, and assures that

APRIL 1962 53

www.americanradiohistory.com I05M SENSITIVITY CURVES z20 A oO I"; et z 30

40 G

10 10' lU 10' 10'

TUNER INPUT-MICROVOLTS

T- FREQUENCY RESPONSE How It Went Together

The ten hours required for assembling the ST-96 tuner, FM Output !Fours the AIX -99 adapter, and the additional five for Multiplex Ou put . ------were quite painless, as kit -building goes, and in the 100 1K 10K 1000 builder's rien anyone who ran follow printed instruc- FREQUENCY - CPS tions should be able to complete these unies .successfully. No previous technical knowledge is required. Much FREQUENCY RESPONSE of the tuner actually comes pre wired, so that a good 0

portion of the work involves fairly simple mechanical 4 assembly. In fact, about as nu ch lieue was spent han- 8 --- dling a screwdriver and a nutdrirer as wielding the 12---, FREQUENCY RESPONSE CHARACTERISTIC soldering iron. The only snag encountered was in the .supplied the 16 I----- adapter kit. where the nuts for holding CHANNEL SEPARATION front panel switches did not match the nuls pictured 70 ______The was to use ordinary hex 24 in the manual. solution Lab Channel nets on hand. These held the switches all right, but were 28 Right Channel .. - - - - -. too big to permit fitting of shields over the rear of the 20 SO 100 300 5K switches. The instruction manuals were found to he 500 1K 315 10K 2^.K very clearly written and carefully prepared, so that diagrams and printed directions for a given portion S I of the work all were contained in the saine page folds. AM FREQUENCY RESPONSE There was no need. in other words, to flip pages to 0 locate a drawing referred to in the test. And FICO 4 Wide Bandpass .- also has managed to eliminate the need for tacking large R NarrowBandpass blowups on the wall; the detailed illustrations are there, g 12 -20 50 100 300 500 10 3K 50 10K 20K but contained within the instruction manual. All told, a a pair of neat and efficient kit packages.

no beat notes will develop when feeding the output The FM section of the ST -96 then was given a pro- signals into a tape recorder. fessional alignment by USTC to determine whether its The adapter's operating controls consist of an off - performance could be improved over that provided by on switch. a channel separation control. and a sub - the original prealignment. It was first aligned using a carrier oscillator control switch to permit turning off relatively low input level, which resulted in the "B" the internal oscillator when listening to mono FM sta- sensitivity curve. As can be seen. the INFM sensitivity tions that transmit subscription multiplex programs. increased from 20 microvolts to 4.7 microvolts. but the The ST -96 tuner was assembled in accordance with distortion at high signal strength increased over that of the instructions furnished. and performance tests run on the "A" curve. A second realignment resulted it the it without further alignment. The IHFM sensitivity of "C" curve. indicating an IHFM sensitivity of 3.5 micro- the tuner was measured to be 20 microvolts at 98 mc, volts, and low distortion at high signal strength. There 23 microvolts at 90 mc. and 27 microvolts at 106 mc. all was. however. a large hump in the curve at the 20- shown on the "A" sensitivity curve in the accompanying microvolt level. Actually. these widely varied curves graph. As is fairly common with tuner kits. a professional are somewhat characteristic of ratio detectors. Depend- touch -up alignment [here. of the ratio detector] im- ing on the particular alignment given such a tuner. its proved the tuner's sensitivity. Before making such align- performance will be good at some input levels and poor ment. however. USTC measured the tuner's various at other input levels. The harmonic distortion at the operating parameters. The total harmonic distortion at 1.000- microvolt level was fairly low when the tuner a high signal strength level (1.000 microvolts) was 2.2% was aligned as indicated by the "C" curve, with 1.3% at 40 cps. and 1.2% at 1,000 cps. The IM distortion distortion measured at 40 cps. and 0.8% at 1.000 cps. was 0.4 %. which was rather low, and the capture ratio On AM, the IHFM usable sensitivity was 12 micro- was 18 db. which was quite high. The over -all signal - volts. After tuning it up slightly the sensitivity increased to -noise ratio was 51.7 db, and volume sensitivity was to 6.5 microvolts. The THD on AM was 1.75% at 12.5 microvolts. The alternate channel selectivity of the 401) cps. The audio frequency response was fairly good tuner was 36.9 db at 98 mc. which is fair. with the "wide" iF bandwidth, with usable response The audio frequency response rolled off at about up to about 9 kc. With the "narrow" bandwidth, it cut 40 cps at the low end. and was down by -3.7 db at 20 off at about 4.5 kc. As was expected, the AM sound was kc. The response at the multiplex output jack was flat distinctly poorer than the FM. at the low end, but dropped off to -3 db at 20 kc and In normal operation the ST -96 provided approxi- -14.6 db at 50 kc. mately 2.6 volts rms at the multiplex output jack for

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com operation of a multiplex adapter. This is a relatively high the audio output. Operating from the ST -96's 2.6 -volt level signal for an adapter to handle, but the MX -99 output, the MX -99 operates at just under the maximum handles it fairly well. The MX -99 has a gain of unity, level at which it functions well. Furthermore, it was with each output jack identical in output level to the found that if the level of the composite signal into the input level. Operation of the adapter is automatic; there multiplex adapter was less than 1.2 volts. the 38 -kc is no need to use any switches to change from mono to oscillator in the adapter went out of synchronization, stereo. The frequency response of our adapter was quite causing high distortion. Therefore, for satisfactory opera- good up to about 13 kc. after which the response of each tion. the input level to the adapter must be in the range channel dropped off sharply. At 15 kc. the response of of 1.2 volts to 2.6 volts rms. Because of this, the MX -99 each channel was down 8 db. The channel separation is best used -in USTC's view -with the EICO ST -96 was only fair in comparison to some adapters we have tuner. Taken together, the two units form a satisfactory seen, but was entirely adequate for a good stereo effect. receiving system, available at a very reasonable price. Separation was maintained above 12 db from 30 cps to 9 The significance of the 20- microvolt sensitivity obtained kc, and dropped to 8 db at 13 kc. before professional alignment is relative to receiving On stereo operation at 40 cps. USTC measured 6% conditions. This figure indicates less than full limiting THD on the left channel and 4% on the right channel. with weak incoming signals. In a normally good signal At 1.000 cps, the THD was 4% on the left channel and area, this factor is of minor importance. and has little 3.8% on the right channel. (The designations "left" and bearing on the sound. However, in USTC's view, pro- "right" are not used by EICO and it will be necessary fessional alignment can increase the ST -96's usable for the owner of the MX -99 to determine by ear which sensitivity to enable the set to be used at greater dis- output is left and which is right.) tances from stations, and to become less critical of The MX -99 was very susceptible to overmodulation reception conditions. For the best results on FM stereo, by FM broadcast stations (some of which do over - such alignment -which generally costs about $10-is modulate occasionally), causing noticeable distortion of recommended.

H. H. Scott LK -72 Stereo Amplifier Kit

AT A GLANCE: The Scott LK -72 is a high- powered, In UST'C's tests, a kit -built LK -72 developed 40 high quality stereo control amplifier available in kit watts rms of clean audio power per channel at 1,000 form. United States Testing Co., Inc.. points out that cps with one channel operating. and 32 watts per chan- the unit is handsomely styled, relatively small. and nel with both channels operating. The decrease in power weighs a mere 26 pounds. Nevertheless, it contains a is due to the loading on the amplifier's power supply, full complement of controls, and will develop 40 watts which uses a GZ34 /5AR4 rectifier tube and SRI seleni- of clean audio power per channel over most of the audio um rectifier. At that. the power still available is, in spectrum. Price: $159.95. USTC's opinion, quite ample for most installations. The amplifier's power bandwidth extends from about IN DETAIL: The LK -72 has separate bass and treble 30 cps to about 20 kc. At the 1 -watt output level, controls for each channel, a single volume control for frequency response was found to be flat within +0.6 both channels, a channel balance control, a seven - and -1.0 db from 16 cps to 29 kc. Response continued position function selector, a three -position input se- well beyond this point and was checked, in fact, out lector (phono or tape. tuner, and "extra" or auxiliary input). loudness switch. and scratch filter. A separate EKTa MD TONE CONTROL 01AiACTRKTKS front panel switch is also provided for selecting either Max. Bass the NAB tape head input or the RIAA magnetic phono input. On the rear panel, terminals are provided for Loudness On _Pr connecting either 4 -. 8 -, or 16 -ohm speakers to the ton ni- amplifier. Additionally, there are two low level input 0 _ Scratch two high level input pairs, as well as a high pairs, and - Filter _ level tape recorder input which is connected when the - a tape monitor switch is on. A center channel output MMin. Bass Min. Treble well jack is included. as as tape recorder output jacks. 14 -`_-- `, An AC convenience outlet is also furnished on the rear 18 panel. Provision is made for adjusting the DC balance Note: Loudness contour measured w th volume control at 9 o'clock position. 20' SO 100 300 S00 1K 3K 5K l0K 20K of each channel without using test instruments. FREQUENCY -.CPS

APRIL 1962 55

www.americanradiohistory.com - 2S 0 NAB Standard Equali zation a POWER RANOWIDTN CURVE 1 20 4 15 6 10 R S THD CURVE AT 40 WATTS OUTPUT 10 0 12 TOO CURVE AT 20 WATTS OUTPUT is 14 10 16 NAI EQUALIZATION CHANCTERISTICS FREQUENCY RESPONSE AT 1.0 WATT 18 OUTPUT 20 50 100 300 500 1K 3K SK 10K 20K 20 I Zero DB = 39.7 Watts Output 22 1.0 IO 10' 10' 10' 10' 20 FREOUEN(Y - (PS It 15 Ze 10

5 S 2.0 0 INtRMODINATION OISTORTNNI á 13 1.0 RIRA EQUALIZATION (NARACTERISTK d 10 03 °` 15 0 RIM Standard Equalization. - l 2 2 10 20 40 20 I1 POWER OUTPUT-WATTS 20 50 100 300 500 1K 3K 5K 10K 20K

to 41 kc where it was down only 3 db. Total harmonic distortion at 40 watts output was only 0.45% at 1,000 cps and remained below 2% from 30 cps to 18 kc. At half power (20 watts rms), the THD remained below 1% from 30 cps to 19 kc, which also is quite good considering the size and weight of the LK -72. Intermodulation distortion was very low on the LK -72, with only 0.73% IM at 40 watts rms output. At 10 watts, the IM distortion was less than 0.4 %. The sensitivity of the LK -72 for 40 watts output was 0.85 volts on the high level inputs, 16 mv on the RIAA phono input. and 7.6 mv on the NAB tape head input. In USTC's view, higher gain on the two low level inputs might he desirable to realize the full potential of some recent high quality, low -level pickups. This is not critical. however. for many other pickups. Signal -to -noise ratio was very good. being 79 db on the high level inputs and better than 60 db on the low level inputs at maximum gain. Channel separation was better than 50 db below I kc, and was 39 db at 10 kc. RIAA equalization was generally accurate from 25 cps to 20 kc, varying no more than 1.0 db from the RIAA standard curve. NAB equalization was slightly poorer. but did remain within 2 db of the NAB standard curve from 35 cps to 20 kc. The tone control, loudness. and scratch filter all operated quite well and exhibited what one might term "tasteful characteristics" from a musical standpoint. How It Went Together

The packaging and instruction manual for the Scott LK -72 kit help make the assembly and awing of this amplifier painless and even pleasurable. Each stage of the work is carefully explained, with text and illustrations that leave little or no room for error, and which were obviously prepared with more than a passing sense of humor. There are no outsize "blowups" to hang on the hall, but rather meticulously detailed drawings. in color, of each stage of the work, and all contained in the manual in the normal .sequence of steps used by the builder. The instructions are prefaced with helpful hints on how to unpack the kit, what tools to select, correct soldering procedures, and so on. For those who are interested, there also is a section explaining how the amplifier operates, stage by stage. All told. this is a neat, attractive, very well- designed kit, and one which gives every assurance of successful completion even in the hands of the inexperienced or first -time kit builder. Square wave response, LK -72 kit.

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Square wave tests were made at 10 kc and at 50 cps. integrated amplifiers. The LK -72's damping factor was As shown in the accompanying photos of the square 14.6. indicating good stability with varying loads. wave oscillograms, the 10 -kc response is fairly repre- All indications are that the LK -72, with ample power sentative of a good control amplifier, and relates actually output to drive virtually any speaker system, will per- to the high frequency rolloff measured in the extreme form very well in a home high -fidelity system. Its very fringe area of the spectrum. The oscillogram also shows, low distortion makes for clean, sweet sounds. Not to be by the way, fairly good transient response. The 50 -cps overlooked is its compactness, which enables it to be put response shows the effect of a "lagging" phase shift on a bookshelf or in any cabinet. For those willing to which relates to the steep drop in response below 20 spend the time building it, the LK -72 represents good cycles and which, again, seems fairly typical of many value on today's market.

Audax CA -70 "Sonoteer" Speaker System

AT A GLANCE: The Audax "Sonoteer" represents a these two apparently opposite concepts, and working departure from the usual type of compact speaker within the framework of a high order of compactness, system in that it is quite slim, with an enclosure which Audax designers have come up with a reasonably good measures only four inches in depth. Other dimensions compromise which might be useful in a number of are 21 inches wide by 25 inches high. The legs -which compact installations. may be used or not, depending on the type of installa- The system's response, while not phenomenal, seemed tion desired -add another two inches to the height. The generally smooth throughout most of the audio range. model reported on here was the CA -70, styled in con- There was little serious harshness or distortion evident temporary mode and finished in oiled walnut. Its general until the "Sonoteer" was driven with some really husky character could be summed up as modest but fairly amplifiers in the 40 -watt or higher class. There is, in smooth. Price is $79.95. Other cabinet designs, incor- high fidelity lore. an old adage about it being best to porating the same basic system, also are available. use an amplifier whose power rating is half that of the speaker's -and this idea seemed to be borne out here. IN DETAIL: The CA -70 "Sonoteer" weighs only 18 In any case. at the modest power levels furnished by a pounds. It is an 8 -ohm system rated at 45 watts power - typically good. but compact, integrated amplifier. the handling capacity. Within the strikingly styled enclosure CA -70 provided fairly clean. "normal room level" type are installed four 6 -inch, 8 -ohm speakers in a series - sound. Its range was checked from 50 to 15,000 cps, parallel hookup. and one 3 -inch tweeter which is con- with peaks observed at 250, 700 -800, and 3,000 cps. nected across the line in series with a capacitor which Aside from these. response was generally smooth from serves as a high -pass filter for treble tones. Two of the about 100 to 4,000 cps. Below 100 cps, response rolled 6 -inch speakers are treated to serve as woofers; the off gently but was still apparent at 50 cps. other pair, as midrange units. All the speakers are Admittedly. the "Sonoteer" will not satisfy the acous- mounted on the front baffle board and face directly tic demands of the most critical listener, but it does have forward. However. the rear panel of the enclosure has the unique virtues of its generic class of "thin- line" two large openings which permit much of the sound to speakers. These are: fairly clean sound within its some- leave the system from the rear. what limited range, an ability-because of its doublet This type of design makes for a certain amount of action -to produce a very pleasing "spread" on stereo doublet operation, in which sound is radiated in more or and mono, and its adaptability to virtually any type of less of a "figure 8" pattern from the nominal front and installation, including floor, wall, or room divider. rear of the housing. A doublet speaker is, of course, relatively critical of placement in a room since a good deal of what is heard depends on the "bounce and COMING REPORTS spread" effect from that side of the system away from the listener. This is particularly true of the upper mid- KLH -9 Electrostatic Speaker range and high frequencies. which often sound better when not heard "directly," a fact which suggests speaker Shure M33 Cartridge placement at some distance from a wall. (The surface of the wall, incidentally, also will affect the sound, Sherwood S- 3000 -IV FM Stereo since a "soft" wall absorbs more of the highs than a "hard" wall.) On the other hand, the bass response is (Multiplex) Tuner reinforced by placement near adjacent walls. Juggling

APRIL 1962 57

www.americanradiohistory.com Fa EtNTERPXIIAm>

MANIER SYMPHONY NO. 3 IM D MINOR Bernstein Conducts Mahler LEONARD BERNSTEIN - Linton, memo vop.,no A first in stereo: Maestro Leonard Bernstein, the New York Philharmonic, soloist Martha Liptoñ, a boy's choir and women's chorus scale the heights of Mahler's towering Third Symphony. THE

STRAUSS Strauss and The Philadelphia 1: DON IUNN /DEATH AND TRANSFIGURATION INE PHILADELPHIA ORCHESTRA EUGENE ORMANDY The sumptuous sound of The Philadelphia Orchestra under Eugene Ormandy is revealed afresh in this stereo recording of Richard Strauss' stunning tone poems. ':LLECER'S

SNI }.RIT1

Robert and Gaby Casadesus The Casadesus -Four Hands French Musc for Plano -Four Hands MUSSY FN. 5... CHARRIER T.... .D, romampun SATES Tm. ,...... n Lame M p.- TAURE Virtuosi Robert and Gaby PM, Casadesus combine four hands and their special wit in a program of two -piano music by Debussy, Satie, Chabrier and Fauré. CHOICE

Richter Plays Rachmaninoff THIRD CONCERT IN 111E IIINIORIC SIRILO CSVIATOSLAV RICHTER "Rachmaninoff himself could AT CARNEGIE HALL hardly have played these rded OCTROI, 2S. 1960 m aciwl performance RR,ISR,Rn- Sonal+ m D M+Ier. Op. 10. Ro 3 (preludes) more feelingly," Racómamn RM: Ten Preludes. Op. 23 and Op 32 said the N. Y. Herald Tribune of master pianist Sviatoslav Richter in his Carnegie Hall concert. This is the third complete concert in the historic Richter series, S C\ recorded live at Carnegie.

F.ERED.

Superb Duo MOZART:a°UpDwi é.. ú°rILNÚäiBa, JOBHR POCn TIOLIMLST31LL1ARIVCn NOWT A superb chamber music team: violinist Joseph Fuchs and his sister, Lillian, violist, lend special lustre to Mozart's appealing but rarely- recorded Duos. C LUV3A

Music From an a Hs,

CIRCLE 27 ON READER- SERVICE CARD 58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com , who died at his tervened. Then in the mid -Forties home in Beverly Hills on February 17, there was talk of his doing it with was the last of the great conductors Metropolitan Opera forces. This proj- firmly rooted in the musical soil of ect too came to naught. So we are nineteenth -century Germany. He be- left with only one largish opera re- longed-by right of birth and force of cording by a conductor who devoted temperament -to the late- Romantic a major part of his life to the lyric ambiance. At the outset of his con- theatre. This is the 1936 waxing of ducting career, Brahms and Bruckner Die Walkiire, Act I, with Lehmann, were alive and still productive, Wagner Melchior, Emanuel List, and the Vien- and Liszt had only recently gone to na Philharmonic. Angel should lose their graves, while Mahler and Strauss no time in restoring it to circulation were just emerging as promising tal- as a Great Recording of the Century. ents. Walter's death breaks the last remaining link with this distant era. ODDMENTS: When you see the Others, of course, will carry on the Tchaikovsky Seventh Symphony on a tradition he exemplified, but as re- Bruno Walter record jacket later this year, don't creators of a style rather than as par- fifth side is given over to excerpts assume that some monstrous typo- ticipants in a movement. Even such from the rehearsals for the symphony, graphical error has been perpetrated. elder citizens as Otto Klemperer and the sixth to a recorded conversation We can testify that the music really Hans Knappertsbusch belong to a (dating back several years) between exists. having heard it performed in different, and appreciably more up -to- the conductor and Arnold Michaelis. the Academy of Music by Ormandy date, generation. Inevitably, there are some tantaliz- and the Philadelphia Orchestra (who How fortunate we are that this ing might- have -beens. In February will make the recording). Tchaikov- nineteenth -century man lived long and March of this year Bruno Wal- sky began work on this symphony enough to record the bulk of his ter was to have made another big in 1892. prior to composing the repertoire in unassailable sonic splen- batch of recordings on the West Coast. Pathétique, but gave it up as a bad dor! Walter had a lively appreciation Chief item on the agenda was a com- job after several abortive months. of stereo sound, and he realized full plete Fidelio with Gré Brouwenstijn "I have decided to scrap it and forget well that he was leaving a legacy (Leonore). Wilma Lipp (Marzelline), about it," he wrote to a friend. But far more vividly recorded than either James McCracken (Florestan), George his sketches were preserved, and now Toscanini's or Furtwängler's. The last London (Pizarro), and Otto Edelmann a Soviet composer with the tongue - years of his life he devoted almost (Rocco). Unfortunately, the cast had twisting name of Semyon Bogatyryev exclusively to the making of records. to be released from their contracts has reconstructed the abandoned work Much of this work has already been early in January when it became evi- for our edification. published, but a good deal more is dent that Walter's health would not Tchaikovsky's sketches were used still to come. Although Walter's last permit so arduous an undertaking. for the first. second, and last move- sessions took place over a year ago, John McClure, Columbia's classical ments. The third movement, a scherzo, there is a surprising amount of un- recording director, had also hoped to is taken from the composer's Opus 72 released material in Columbia's vaults. schedule Walter sessions this year for set of piano pieces. The Seventh Sym- Mahler lovers will be especially the Mahler Fourth and Fifth Sym- phony is recognizably Tchaikovskian heartened to know that Walter re- phonies and also for a coupling of and has some lovely moments, partic- recorded both the First and Ninth Debussy's La Mer and Ravel's Tom- ularly as played by the Philadel- Symphonies for the stereo micro- beau de Couperin, two works of phians. No long -lost masterpiece, phones. These are yet to be released, which the conductor was particularly however.... RCA Italiana officially as are new tapings of the Bruckner fond even though they lay outside his opened its new recording studios- Seventh, Brahms's Song of Destiny and usual orbit. said to be the most modern in the Alto Rhapsody (with Mildred Miller), A Walter recording of Fidelio world -early in March. They are lo- and various works of Mozart, Haydn, seems to have been as jinxed from cated at the company's headquarters Beethoven, Dvofák, and Wagner. The the start as a Bjoerling recording of in Rome and have been designed Mahler Ninth is due to be issued Un Ballo in maschera. He was specifically with large -scale opera later this month as part of a Bruno originally to have made it in recordings in mind. An on- the -spot Walter memorial album. The sym- with Lotte Lehmann and the Vienna report will appear in this space next phony itself occupies four sides; the Philharmonic. Hitler's Anschlu.ss in- month.

APRIL 1962 59

www.americanradiohistory.com NEAR Gi4f AUDIO HEAR FIDELITY tunti

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STRINGS FOR A SPACE AGE, Recognized for years by discrim- Bobby Christian & His Orch. inating listeners for true stereo- SPACE SUITE: The Call Count -Down Flight Into Orbit & Empyrean The Call Re -Entry phonic reproduction and the Finale Midnight Sun Out Of This World highest standard in high fidelity! Blue Star Autumn In New York Out Of Nowhere How High The Moon AFLP 1959 AFSD 5959

NICKEL MUSIC, The Sound DATE WITH EDDIE CANTOR, A of the Nickelodeons at Songs, Stories and EDDIE Paul Eakins' Gay Nineties Village his Carnegie Anecdotes from King Cotton Dixie Patriotic Hall One Man Show CANTOR r Medley Georgia Camp Meeting Makin' Whoopie If You Knew Susie ik Q' Hands Across The Sea The Jolly Ida Ma, He's Making Eyes At Me 5()\(i: Coppersmith The Irish Washerwoman There's No Business Like Show STORIES Battle Hymn Of The Republic Business Dinah Is It True What and ANECDOTES My Wild Irish Rose March Medley They Say About Dixie? Margie Carry Me Back To Old Virginny Josephine Please Don't Lean Yankee Doodle Ta Ra Ra Boom On The Bell and others De Ay Over The Waves AFLP 102 AFLP 1960 AFSD 5960

SOUND EFFECTS, Volume 3 Teletype Machines Facsimile SOUND izrEtni- Wirephoto Machines Cuckoo Clocks Grandfather Clock Clock Ticking EFFECTS Pistol Range (time -bomb effect) Army MEXICO WITH LOVE, Heavy Artillery 'Vulcan' Aircraft Machine Gun M48 Medium Tank Jo Basile, & Orch. Close Order Drill Police Car La Bamba Jarabe Tapatio Passing Thru Traffic Pedestrians Malaguena Chiapanecas La Raspa In City Street Thunder And Rain Ay Jalisco No Te Rajas El Rancho Rain On Pavement N. Y. Subway Grande La Cucaracha Cielito Model T Ford Starting, Idling, Passing Lindo Guadalajara La Golondrina Electronic Effects many others Las Mañanitas DFM 3011 DFS 1011 AFLP 1946 AFSD 5946 CARNAVAL DO BRASIL, STEREO - MU" MARCHAS, FREVOS, SAMBAS 30 EXCITING RIT CINÒIRl SONOS Me. PANORAMA MUSICAL de Tumba Le Le Levanta Mangueira BRASIL, BOSSA NOVA, Pra Seu Governo, Recordar Na Base IaaP SAMBAS, MARCHAS Do Amor Se Eu Errei, Me Da Um Dinheiro Ai Indio Quer Apito A Lua 0 Apito No Samba Mulata Assanhada E Dos Namorados, Evocacao Poema Do Adeus Covarde Vassourinha, Madalena Vai Casar Arrasta A Sandalia Marcha: Mundo .M .,, M, , ., ., I ....,...,.1, F, N,. PO..., . ,.a Cacareco E 0 Máior, Piada De Salao De Zinco Eu Chorarei Amanha Maria Escandalosa Paie, Quem Lata D'Agua Nao Me Diga Adeus Me Ve Sorrir Nao Me Diga Adeus Chora Tua Tristeza Implorar 0 Amor Air ..- __ew:c/n4.-a_.---. General Da Banda, Qual E 0 Po E A Rosa Recordar Marcha: Madeira Vai Ver Que E and others De Lei E Com Esse Que Eu Vou 1953 AFSD 5953 AFLP 1954 AFSD 5954 AFLP

REG. APP. FOR NEW! FREE! Mono (AFLP, DFM)- $4.981 Stereo (AFSD, DFS) -$5.95 Complete catalog -fully illustrated TO: AVAILABLE AT YOUR RECORD SHOP, OR WRITE with complete selection listings for each record -mono and stereo. AUDIO FIDELITY RECORDS Complete stereo tape listing. Dept. HF4, 770 Eleventh Avenue, New York 19, N. Y. CIRCLE 13 ON READER- SERVICE CARD 60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMMELL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. INDCOX Records ROBERT C. MARSH CONRAD L. OSBORNE in JOHN S. WILSON Review

by Herbert Glass

There's No Longer Any Trouble With Salome ..

Nilsson: an infinite variety of subtleties.

AFTER the Dresden premiere of Salome records. Singers capable of meeting I do not mean to suggest that superior in 1905, most critics agreed that Richard Strauss's great demands have, I assume, interpreters of the role have been totally Strauss's vocal music was written in a always been in short supply, and in my absent in recent years. We have had, for hopelessly unvocal manner. The orches- experience several prima donnas granted instance, Ljuba Welitsch and Inge Borkh tra, the sages contended, indulged in the role of Salome have been virtually (the best Salomes I personally have en- such barbarous cacophony that it actually incapable of singing the printed notes. countered), although unfortunately nei- made little difference what the singer did. This situation, however, has not deterred ther artist recorded the work in its entire- Henry Finck, a highly influential critic opera companies from retaining the work ty. Now, however, this opera has been in the early years of this century, capped in their repertories. One thinks, by con- committed to discs in a version that sup- his opinion of Salome with heavy- handed trast. of other important operas - ports my contention that the trouble with irony: "Who can fail to see the stupen- comes immediately to mind -for which Salome has been not Strauss but some of dous originality and advantage of this a lack of fully qualified singers has its singers. Hereafter, listeners should re- new style of opera? What composer be- meant. in our time, comparatively few main forever convinced that Strauss was fore him I Strauss] was clever enough productions. I realize, of course, that at all times able to, and at all times did, to write music in which it makes no Strauss's ability to create tension on write a "vocal" line. Clearly, Birgit difference whether you sing or play cor- stage and in the pit makes it possible Nilsson, in the title role, firmly believes rectly?" Today Salome has achieved even with a sloppy performance to create that Salome was meant to be sung with something of the status of a repertory "compelling theatre" of a kind that the same precision as a "singer's opera." piece, but I suspect that the late Mr. Bellini's more "chaste" concept of opera Nilsson simply does not have to resort Finck's dim view of the opera is still does not permit. And it is true that the to the vocal tricks employed by lesser tacitly shared by many listeners today. vocal line of Salome is far less exposed artists. For once, that throaty sound so The reason is hardly obscure, consid- than that of Norma. Nevertheless, find- favored by many Salomes is totally dis- ering the inadequate performances ing a good Salome is at least as difficult carded, as are countless other little Salome has received on stages both in as finding a good Norma; in my opinion, cover -ups for trouble which have come this country and abroad, as well as on it should be as important. to be considered ineluctable parts of the

APRIL 1962 61

www.americanradiohistory.com approach to Salome. Furthermore, Nils- or, if you prefer, the living room, with tually interwoven with the orchestra. son is able to create the headiest excite- the very stench of decay. It is to be Although the orchestra is allowed to ment without ever sacrificing that lyri- hoped that we will hear much from this swamp the singers when the score so cism which should be as much part of gifted artist in the future. As for the requires, the dominant impression is one the role as its inherent intensity. Her Jokanaan, most singers have, of neces- of a large, generally loud orchestra in ability to hurl out a fortissimo high note sity, taken pretty much the same dra- balance with large, generally loud voices; with the greatest of ease is well known. matic approach to this role, but it would and an astounding clarity and fullness But in Salome much more is required. be unusual indeed to find another with of sound is maintained from the highest Listen to Nilsson's exquisitely delicate Eberhard Wächter's glorious vocal en- squeak of flute or violin down to the A flat on the final word of "Gewiss ist dowments. Jokanaan's sickening right- deepest rumblings of double bass. It er keusch wie der Mond" and you will eousness can turn into farce when han- should also be mentioned that stage ac- be sampling the astounding completeness dled by a singer perpetually on the brink tion is faithfully reflected throughout of this singer's technique. Again, with of collapse beneath the burden of the course of this recording. Most im- the reiterated requests for "den Kopf Strauss's staggering demands of range portant, however, is the fact that these des Jokanaans," Nilsson is able to find and volume within an extended phrase. qualities of technical expertness are not a different shading, a different degree of Wächter carries it all off with a voice superimposed upon the performance; intensity every time the phrase is uttered; that is superbly solid and beautiful in they are requisites of a true presentation then, when it comes at us for the last tone. Waldemar Kmentt repeats the of the opera. time, there is such monomaniacal reso- gorgeously sung. passionate Narraboth I think that I can safely call this new lution in the voice that Herod's deathly which was one of the chief joys of the Salome one of the greatest opera re- fear of the girl becomes fully believable. deleted Columbia set (SL 126), while cordings ever made; and it is without At the end the famous apostrophe to Grace Hoffman brings her splendid voice doubt a performance which makes all Jokanaan's head emerges, as it should, and theatrical awareness to the part of previous recordings obsolete. as the culmination of a totally chilling Herodias. And so it goes; each contribu- experience. In short, in this performance tion is flawless. STRAUSS, RICHARD: Salome we encounter one of those rare artists Solti's leadership of the Vienna Phil- who can display an infinite variety of harmonic and the intelligence of Lon- Birgit Nilsson (s), Salome; Liselotte are other factors which Maikl (s), A Slave; Grace Hoffman subtleties within the framework of a don's engineers (ms), Herodias; Josephine Veasey (c), firm and at all times appealing vocal contribute immensely to the over -all suc- Page of Herodias; Gerhard Stolze (t), production. cess of this production. Salome is a Herod; Waldemar Kmentt (t), Narra- Nilsson's magnificent work would natural for a conductor of Solti's dy- both; Nigel Douglas (t), Second Naza- alone be reason for gratitude at the ap- namic temperament. This Salome is, how- rene; Kurt Equiluz (t), Aron Gestner pearance of this set, but there is more. ever, by no means a hurly -burly. The (t), Paul Kuen (t), Stefan Schwer (t), Gerhard Stolze, a performer new to rec- performance is impeccably organized, Jews; Eberhard Wächter (b), Jokanaan; Herod while retaining all of its built -in excite- Tom Krause (b), First Nazarene: Heinz ords. is easily the most convincing Theodor a pleasure it ment. The engineers have, I feel, here Holecek (bs), Second Soldier; I have encountered. What Kirschbichler (bs), A Cappadocian; Ze- is to hear a singer with a healthy voice surpassed even their previous technical non Koznowski (bs), First Soldier; Max in this great role rather than the usual wonders of Rheingold and Otello. An Proebstl (bs), A Jew. Vienna Philhar- superannuated Heldentenor. In spite of ideal sonic relationship -the unique re- monic Orchestra, Georg Solti. cond. moments which come perilously close to lationship demanded by the score -has LONDON A 4247. Two LP. $9.96. caricature, Stolze's Herod fills the stage, been created: i.e., the singers are vir- LONDON OSA 1218. Two SD. $11.96.

by Alfred Frankenstein

Ives's Concord Sonata- A Great Day for American Music

George Pappa.stavrou

CHARLES Ives's Concord Sonata has the pianist, and the hearer's receptivity. posed to reflect a lighter quality which is finally been issued in a technically ade- It is worth all the trouble, though; many often found in the fantastic side of quate recording. It was released on 78s years ago Lawrence Gilman called this Hawthorne.... The first edition, together many years ago, and an LP dubbing cir- work "the greatest music composed by with the Book of Essays, was published culated briefly before it was withdrawn an American," and it still stands up as in 1920. This sonata was composed most- and forgotten. To all intents and pur- the greatest of American piano sonatas. ly in 1909 and 1910, the last movement poses, the new disc marks the Sonata's Ives himself described the piece in the fully completed in 1915. .. . first appearance on microgroove. This following terms: "The whole is an at- The "Book of Essays" to which Ives is a great day in the history of tempt to present one person's impression refers, published under the title Essays American music, but one can readily of the spirit of transcendentalism that is Before a Sonata, is as remarkable an in the domain of aesthetics, understand why it has been postponed associated in the minds of many with achievement and literary expression as is so long. The work -officially entitled Concord, Mass., of over half a century philosophy, Pianoforte Sonata "Concord, ago. This is undertaken in impressionistic the music itself in the domain of sound. Second from the essays are Mass., 1840 -1860 " -strains everything to pictures of Emerson and Thoreau. a Extensive extracts the limit: musical notation, the piano, sketch of the Alcotts, and a scherzo sup- reprinted in the second edition of the

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com score and on the inside paper jacket MUSIC GUILD 14. LP. $4.12 to mem- of the new recording. bers; $5.50 to nonmembers. The Sonata is not at all easy to de- CLASSICAL MUSIC GUILD S 14. SD. $4.87 to scribe. It employs familiar Ives devices, members; $6.50 to nonmembers. but in a much more closely integrated and creative fashion than usual. One de- The symphony by Bach's son Johann vice, for instance, is quotation, specifical- BACH: Brandenburg Concertos (com- Christian (who became the English Mr. John) is an ly the quotation of the opening plete) eye opener. Most of his bar of music on records has an Italianate song- Beethoven's Fifth Symphony, which rings New York Sinfonietta, Max Goberman, fulness, and is transparent in texture and throughout the whole work, often paired cond. uncomplicated in facture. Now comes with or played off against a more lyrical Or LIBRARY OF RECORDED MAS- this G minor Symphony, written about motif of Ives's own. Regarding his use TERPIECES. Three LP or SD. $25.50. 1767, to knock on the head all our pre- of the Beethoven motif, Ives says, "We conceived notions about its composer. would place its translation above the re- Still another set of Brandenburgs? Yes, Here is a work with a dramatic first lentlessness of fate knocking at the door, but this one offers some things not movement, a tragic Andante, and a finale available in any other recording. that sweeps tempestuously above the greater human message of Before along-to end we mention the unique aspects of this in a pianissimo. There is as destiny, and strive much Sturm to bring it towards album, however, let us see how it com- told Drang here as in any work by the spiritual message of Emerson's revela- pares with other versions now available. brother Philipp Emanuel. The Quintet, tions ... the Soul of humanity knocking It compares very well, on the whole. on the other hand, conforms to the usual at the door of the Divine mysteries, The instrumentation is almost exactly generalizations about John Christian- radiant in the faith that it will be opened, that called for by Bach, and Goberman, this is beguiling entertainment music. and that the human will become the as usual, has taken pains to secure ex- So is the Sextet by his older brother, divine." pert performers. His tempos for the fast Johann Christoph Friedrich, though it is Closely linked to Ives the Transcenden- movements are generally somewhat more somewhat less distinguished in materials talist is Ives the musical rapid than the customary ones, but they and workmanship. Finally there is the historian of two- movement New England manners. Thus The Alcotts come off well, except perhaps in the symphony by the oldest finale of No. 1, which seems a bit brother, Wilhelm Friedemann. Its Adagio recalls family hymn singing and the play- breathes ing of sentimental hurried in spots, and in that of No. 3, a gentle melancholy, there are songs on the piano in which does not have soft dissonances, and here the parlor, and there the dancelike char- and there an are the inevitable acter that appears to be imminent in the anticipation of Gluck. This is followed Ives marches and barn in Haw- music. The slow movements, on the by a fugue that is at first vigorous and thorne. But all of this is absorbed into other hand, at least in Nos. 2 and 4, expressive but after a while begins to the personal, mystical, Heaven-storming, while broader and more deliberate than wander and become repetitious. All of Transcendental style which is the other in some other recordings, are not per- these works, especially the symphonies, side of Ives; the two are really one here, mitted to sag. There are many felicitous are ably performed, and the sound is satisfactory. as they seldom are in other works. details. The first movement of No. 1 is N.B. There is little or no folklore in the clean and crisp. The trumpet in No. 2 is immense, rugged Emerson or the pro- extremely well played by Melvin Broiles BACH, JOHANN -only one of his high notes is off pitch. CHRISTOF found Thoreau, which for me is the most FRIEDRICH: Sextet in C -See satisfactory movement of the four. To- Franz Rupp, who plays the harpsichord in No. 5, builds up considerable tension Bach, Johann Christian: Symphony wards the end of the Thoreau, which is in G minor, Op. also the in the course of his long cadenza. The 6, No. 6. end of the opus, Ives combines difficult problem his two basic motifs of balances in Nos. I, into a new theme 2, and 5 has and, with typical been successfully solved BACH, WILHELM FRIEDEMANN: unconcern for practical- almost throughout. Even the recorder in ities, directs that these few bars be Symphony in D minor -See Bach, No. 2 can be heard most of the time, Johann Christian: played on a flute. This direction is fol- despite the penetrating, and often domi- Symphony in G lowed on the new record and the effect nating. tone of the trumpet. All in all, minor, Op. 6, No. 6. is electrifying. But the few notes in the one of the better complete Branden- first movement which Ives suggests be burgs. BARTOK: Miraculous Mandarin: played on a viola are not so played. And now for the extras. The most Orchestral Suite The performance is by George Pappa. important of these is a facsimile of the tShostakovich: Age of Gold, Op. 22: entire score in Bach's handwriting. stavrou who, one gathers, is a recent Sec- Orchestral Suite ond is a recording of two sections from graduate of Juilliard just starting on his the Sinfonia in F (S. 1071 ), which is Philharmonha Orchestra, Robert Irving, career. He plays the Sonata magnificent- now thought to be an earlier version cond. ly, with full understanding of its formi- of the First Brandenburg Concerto. The CAPITOL P 8576. LP. $4.98. dable rhythmic and technical problems, excerpts given are the Adagio, in which CAPITOL SP 8576. SD. $5.98. fine appreciation of its big line, and there is no violino piccolo and the splendid tone. He is going to have trouble strange minor -second rubbings between The from Shostakovich's Age of if he insists upon spelling his last name bass and upper parts are smoothed out; Gold is one of his most popular pieces; with a dot in the middle of it; other- and the second Trio of the Minuet, unfortunately the rest of the score is by wise he would appear to be launched where instead of the later part for unison no means up to it in interest. Since The oboes there is an entirely different, but on a very remarkable career. The little Miraculous Mandarin does not come off effective. one for unison violins. Final- as a concert work, the total effect of this flute solo is beautifully played by ly, there is an earlier and shorter ver- Bonnie Lichter, disc is fairly dreary, despite good record- and the whole is sion of the elaborate harpsichord caden- ing and performance. One good point: superbly recorded. Ives makes much of za in the first movement of No. 5. N.B. the notes provide overtones and undertones a synopsis of the action and all the of Age of Gold, and it is beyond belief secondary sound energies that the piano - BACH: Concerto for Two Pianos all about Soviet heroes and a Negro from stirs up in its commotion; the old 78- a capitalist country being cheated at an rpm recording was incapable of deal- and Orchestra, in C, S. 1061 -See international sport festival. A.F. ing with these at all, but the new tech- Haydn: Sonata for Piano, No. 52, niques capture them well, and that makes in E flat. a considerable difference. In fact, the BEETHOVEN: Concerto for Piano and Orchestra, No. 1, in C, Op. new recording makes me feel that I have BACH, JOHANN CHRISTIAN: really heard the Concord Sonata for the 15; Sonata for Piano, No. 22, in Symphony in G minor, Op. 6, F, Op. 54 first time. No. 6; Quintet in F tBach, Johann Christof Friedrich: Sviatoslav Richter, piano; Boston Sym- IVES: Sonata for Piano, No. 2 ( "Con- Sextet in C phony Orchestra, Charles Munch, cond. cord") tBach, Wilhelm Friedemann: Sym- (in the Concerto). phony in D minor RCA VICTOR LM 2544. LP. $4.98. George Pappa.stavrou, piano; Bonnie RCA VICTOR LSC 2544. SD. $5.98. Lichter, flute. Instrumentalists (in the chamber works); COMPOSERS RECORDINGS CRI 150. LP. Chamber Orchestra of the Sarre. Karl Richter's muscular Beethoven and his ap- $5.95. Ristenpart, cond. (in the Symphonies). parent refusal to acknowledge different

APRIL 1962 63

www.americanradiohistory.com you're going to calm down and listen to the notes." And so "O namenlose Freude."' instead of being the usual des- perate scramble for tenor and soprano, is the most painstakingly articulated num- ber in the opera. The performance's high point -which in many readings tends to occur with Florestan's melodramatic sal- vation and the arrival of Fernando, or even with the Leonore No. 3 -is saved for the finale. which is as broad and grand as one will ever hear it. It takes time for this sort of approach to sink in, and many listeners may not have the patience to sit through such a deliberately paced performance very often. The soloists work beautifully with the conductor. Sena Jurinac, who was the Marzelline of the old Furtwängler set, is a persuasive. womanly Leonore. She is not a dramatic soprano of the Flagstad or Nilsson type. and wisely chooses to convey the heroine's courage and faith with musical and vocal directness. Her phrasing is almost ideal. the quality of her voice firm and round. She hasn't quite the resources for the most im- perious "Ahscheulicher" -but neither do her competitors on the other complete recordings. Maria Stader is a splendid For Fidelio, in Munich: cast, conductor, and recording staff. Marzelline, bright but full and never coy; she is given plenty of room to breathe a lovely thing styles for the composer's early, middle, BEETHOVEN: Fidelio in her aria, and makes can dull the listener's per- of it. and late music in his recorded ception of what the pianist is actually Sena Jurinac (s), Leonore; Maria Stader Jan Peerce turns best (s), Marzelline; Jan Peerce (t), Flores - work in many a year with a surprisingly doing. fine Florestan. I prefer Torsten Ralf's It is obvious in this recording that the tan; Murray Dickie (t), Jacquino; Gustav rocklike work in Neidlinger (b), Pizarro; Deszo Ernster really superb work on the Böhm record- Sonata -a powerful, Peerce brings vocal freshness two movements which lies between the (bs), Rocco; Frederick Guthrie (bs), ing; but Waldstein re- Don Fernando. Chorus and Orchestra and interpretative dignity to the role, and Appassionata and the -has surmounts the viciously difficult solo ceived an extraordinarily strong state- of the Bavarian State Opera, Hans Knap- with cond. scene with admirable poise. Neidlinger ment. Only after some comparison pertsbusch, we versions, however, does it become WESTMINSTER XWN 3318. Three LP. seems to me a bit wrong -certainly other want a Pizarro whose voice moves, rather clear that Richter has given us the most $14.94. music since the WESTMINSTER WST 318. Three SD. than one who produces only wooden, potent account of this sound above the staff. especially Schnabel edition. That alone ought to $17.94. hollow the present album, but in view of the fact that Knappertsbusch's be the making of pacing demands that the singer sustain we have still the Concerto to deal with. Whether one will or won't take to West- tones longer than usual. I suppose the On first hearing this work, I was minster's new Fidelio, which marks that sound and such aberra- company's welcome return to operatic idea is that the "Ha, x'elch'cui Augen- troubled by the blick" will crush us with sheer weight, tions as an opening C sharp in place of a recording, depends almost entirely on tape edition how one reacts to the concept of the but instead it stands almost still. Neid- C. I now have a copy of the dark and ringing below and this stays on pitch. It also provides work so compellingly projected by Hans linger sounds sonorities. Knappertsbusch. I should like to empha- middle C, however. and contributes a a superior quality of ensemble characterization. The veteran Even the first impression of the Con- size that my own first feelings are by no convincing will take a number of basso Deszo Ernster hasn't the person- certo, however, is that of an exceptional means definite -it bear- but here too playing playings, I am sure, to "set" my attitude ality to make Rocco's "Gold Song" solo performance, in but he an alternate ver- towards this rendition -and I will try to able (a tough trick any case), this recording against has precisely the right vocal quality for sion serves to pinpoint misconceptions. content myself here with a description the opening of the effect. together with the most ten- the role -black and just slightly ill -de- For example, on the basis of with an enviable ease. phrases one's natural assumption is that tative of conclusions. fined -and sings thing to say about It is a blessed relief to hear again a true in the Largo movement the recent The most obvious his in- slower. Not so. the Knappertsbusch reading is that it is bass who is not ashamed to use Fleisher set is much some lyric purpose. Murray takes a faster tempo in the open- slow. Moreover, the faster sections are strument to Richter is a top- drawer Jacquino, but the ing phrases (thereby giving them some- slow in proportion to the rest of the Dickie but the stop work; that is, Knappertsbusch has, it Don Fernando of Frederick Guthrie is what greater continuity), however laudable from a watch shows his performance to be only would seem. deliberately put a rein on sadly weak, faster than things just where we expect them to pick stylistic standpoint. The chorus is really about forty -five seconds two good soloists for Fleisher's over -all. Similarly in the finale, up. Thus, though Florestan's aria "In excellent (including first seems to be playing des Lebens Friilingstagen" is taken only the Prisoners' Chorus), and the orchestra, when Richter though it may not be a great one, re- in more of a "middle period" manner slightly more broadly than is the custom. American. it turns out the duet "O namenlose Freude" is sung sponds to Knappertsbusch with some than the young splendidly warm, pliant playing. that Richter's is actually the lighter and so much more slowly than usual that the more in proportions we have taken for granted The stereo staging is thorough and more playful account. the one splashy, but no keeping with the Allegro scherzando are seriously altered. Of course. when most convincing- nothing the composer. Further, al- we speak of "custom" we are guilty of opportunity missed. either. The dialogue marking of been assigned to a sepa- though Fleisher has a closer microphone sloppy terminology. One of the nice has apparently is things about Fidelio is that it attracts the rate cast of actors; this works well enough pickup than Richter was given, it the whose whose regis- attention of the greatest conductors; except in the case of Peerce, Russian pianist personality as to be instantly ters more forcefully in the end. It is a among those who have already recorded timbre is so individual that puts the the work are Toscanini, Furtwängler, recognizable. There is nothing to com- warm, outgoing personality sound, which is clear and necessary brio in the opening movement Böhm, and Fricsay, with Klemperer in plain of in the the Beetho- the offing impressive line -up of deep. All told. an imposing presentation and makes one ask whether -an unique concept of a 15 be less of a titan maestros. each of them having definite of this conductor's ven of Op. should the set is than that of Op. 73. (Young titans are and individual things to say about the troublesome masterpiece; walk on tiptoe.) score. But none has proportioned the thoroughly competitive with the other titans too. They do not versions. C.L.O. In short, the more I hear of this rec- work in the Knappertsbusch fashion, as available ord, the more I am convinced that it is if to say, "Now I'm laying it all out for one we are fortunate to possess. R.C.M. you -and when the big moments come, Continued on page 66

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www.americanradiohistory.com BEETHOVEN: Overtures is far better than average, as is that of listeners (though I am not among them) the reproduction, which remains clear might prefer her work to Tebaldi's Die Ruinen von Athens, Op. 113; Corio- and unforced. lusher, more mature -sounding portrayal. Ian, Op. 62; Egmont, Op. 84; Fidelio, Actually, it will probably be many For that matter, the basic timbre of Op. 72; Leonore No. 3, Op. 72a. years before anyone approximates the Giulio Neri's tough bass voice is much exquisite interpretation by Charles better suited to the title role than Siepi's Bamberg Symphony, Berlin Philharmonic, Munch, available in RCA Victor mono silky basso cantante; too much of Neri's and Hamburg State Philharmonic, Joseph for several years. This is one of the singing, though, is stiff and effortful. Keilberth, cond. instances where it is more rewarding Capuana's conducting is quite alive, and TELEFUNKEN TC 8049. LP. $1.98. to forego the wonders of stereo for the the orchestra and chorus do well. TELEFUNKEN TCS 18049. SD. $2.98. glory of a great performance. Though London, of course, has a tremendous nothing can surpass Munch, the Cluy- edge in the sound, and anyone seriously When Keilberth has a first -class orches- tens is a good buy for the budget - considering the Urania performance tra at his disposal he produces solid, minded. P.A. should be cautioned away from the straightforward Beethoven with the fa- wretched "duophonic" edition (here miliar merits of the German tradition. boldly labeled "stereo"), which is as badly With a lesser band of instrumentalists, BERNSTEIN: Jeremiah Symphony processed a recording as one could rea- the results can be leaden, lethargic, or (Harris: Symphony No. 3 sonably expect to encounter. The mono lackluster. Jennie Tourel, mezzo (in the Bernstein); version is adequate for its age (roughly You will find such variation here, - eight or nine years), which means that with variation in tech- New York Philharmonic, Leonard and it engineering stein, cond. it's somewhat muddy and distant, but nique. Coriolan and Fidelio -both Barn - listenable. C.L.O. berg productions -pair the worst engi- COLUMBIA ML 5703. LP. $4.98. neering and the weakest orchestra. They COLUMBIA MS 6303. SD. $5.98. BRAHMS: Concerto for Piano and are not recommended. The best stereo after two hun- To revive a symphony Orchestra, No. 1, D minor, Op. is in the excerpts (which include the dred years is easy; to revive one after in Turkish March) from The Ruins of twenty years may be embarrassing. This 15 Athens, products of a Hamburg session proves to be true of Bernstein's and vigorously attractive performances. Claudio Arrau, piano; Philharmonia Or- Jeremiah, especially in its labored and chestra, Carlo Maria Giulini, cond. The Egmont and Leonore No. 3 come obvious scherzo. But the first movement from Berlin. The perspective is that of ANGEL 35892. LP. $4.98. still has some prophetic grandeur and ANGEL S 35892. SD. $5.98. the front -row balcony, with resonance the Biblical lament of the finale still replacing intimacy, but the performances has power, especially when it is sung are good and the excellence of the en- Rudolf Serkin, piano; Philadelphia Or- as beautifully as it is here, by Jennie chestra, Eugene Ormandy, cond. semble always apparent. R.C.M. in Tourel, Hebrew. COLUMBIA ML 5704. LP. $4.98. The Harris work on the other side COLUMBIA MS 6304. SD. $5.98. BERLIOZ: L'Enfance du Christ, is not a revival; it has never been out Op. 25 of the repertoire since Koussevitzky in- Although we are not at a loss for excel- troduced it in 1939. As I observed in lent stereo recordings of this demanding Elsie Morison, soprano; Peter Pears, these columns not long ago, the premiere music- Epic's fine entry by Leon tenor; Edgar Fleet, tenor; John Cameron, of Harris' Third was the break -through Fleisher with George Szell and the Cleve- baritone; Joseph Rouleau, bass; John for all American symphonies; at one land Orchestra, for example, and, at a Frost, bass; St. Anthony Singers; Golds - stroke the American symphony won lower voltage, London's discerning and borough Orchestra, Colin Davis, cond. the respect of the world audience and well- reproduced Katchen -Monteux disc- OISEAU -LYRE OL 50201/02. Two LP. one no longer had to fight to get it a both the Angel and Columbia re- record- $9.96. hearing. This broad, tawny, grandiose, ings by Brahms authorities offer trium- OISEAU -LYRE SOL 60032/33. Two energetic, tightly built work sounds just phant accounts of the score. SD. $11.96. as powerful, original, and challenging Serkin descends on the music like an today as it did then, although Bernstein's eagle. There is something majestic, even Hélène Bouvier, contralto; Jean Girau- excited interpretation lacks the classic imperial, about his approach here. Not a deau, tenor; Louis Noguéra, baritone; poise which Koussevitzky brought to it. note nor an accent is misplaced, and his Michel Roux and Henri Médus, basses; But the Koussevitzky is no longer avail- tone. while not particularly colorful, is Raymond St. Paul Chorus; Orchestre de able. Bernstein is warm and communica- magnificently solid. As in his recent la Société des Concerts du Conservatoire tive as always, and his wonderful re- remake of the Brahms Second Concerto, de Paris, André Cluytens, cond. cording captures some things in the score the pianist's tempos are slower than they Vox VUX 2009. Two LP. $5.95. which the old electronic ear couldn't used to be; but unlike that performance, hear. A.F. in this one the leonine Serkin intensity L'Enfance du Christ, Berlioz's musical is ever present. It turns on the writing description of Herod's dream, the mur- BLOCH: Quartet for Strings, No. 5 like a steady flame, uniting phrase with der of The Innocents, the flight into Hindemith: Quartet phrase. paragraph with paragraph, move- Egypt, and the arrival of the Holy -See for ment with movement. Ormandy sees the Family at Saïs, is one of his most Strings, No. 3, O. 22. work from the same point of view as delicate and sensitive works. There are Serkin, perhaps too much so: whereas no gigantic forces here, no heaven - BOITO: Szell, on Serkin's earlier recording of storming climaxes, no brass bands - this work, offset the pianist's austerity by just a simple Biblical tale simply told. Rosetta Noli (s), Margherita; Simone bringing warmth and tonal hue to the With the Oiseau -Lyre recording, the dall' Argine (s), Elena; Ebe Ticozzi (c), orchestral part, Ormandy's clean -cut, work makes its stereo debut, and we Martha and Pantalis; Gianni Poggi (t), rather objective statement tends to give a find soloists, chorus, and orchestra well Faust; Gino del Signore (t), Wagner and monochromatic cast to the performance. spaced in the aural spectrum. That, how- Nereo; Giulio Neri (bs), Mefistofele. Otherwise, the conductor's finely disci- ever, is about the extent of this album's Chorus and Orchestra of the Opera di plined. dramatic support is all that can be merits. Briefly, there seems to have been Milano, Franco Capuana, cond. desired. an unwise choice of performers, most URANIA UR 230. Three LP. $14.94. Sunlight rather than menacing skies of whom have acquitted themselves URANIA US 5230. Three SD. $17.94. is characteristic of the Arrau -Giulini per- admirably elsewhere. Davis' approach is formance. Arrau favors very deliberate often coarse and insensitive, often Urania's re- release of this recording is tempos, although they are really not so overdramatic, often just plain matter - well worth noting. for the performance much slower than Serkin's as they might of -fact. All those under his direction is a solid one, preferable at some points seem at first. The reason for this illusion seem to reflect this attitude, resulting in to London's more recent presentation. is due to the fact that Arrau's interpreta- a performance that has plenty of sin- To be specific: the Faust of Gianni tion is basically loose, relaxed, and ro- cerity but little refinement either of Poggi (in far fresher, more attractive mantic. while Serkin's approach is sharp. style or tone quality. Vox's version is form than he has been for the past seven classical, and organizational. In the third an inexpensive reissue of its earlier and or eight years) is assuredly an improve- movement. for example, the former still highly commendable recording. It ment over Del Monaco's muscle -bound changes gear for the second subject, is a thoroughly French performance, rendition, and Simone dall' Argine is a while Serkin keeps the tempo going rig- tender and sensitive, and is interpreta- more secure, dramatic Elena than idly throughout. Arrau's approach is tively superior to the prosaic Davis Floriana Cavalli. Rosetta Noli is fragile reading. The quality of the solo voices and sensitive as Margherita, and some Continued on page 68

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BRAHMS Symphony 1'o.2 in h.l1p';

1111111 :ll:I\PF.IN: , "This is the finest Brahms Second in stereo ...The Best Classical Orchestral Albunt of 1961 THE NEW YORK HERALD TRIBUNE

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the tremendous potential of the new Just a few short months ago, COMMAND Records (acknowl- revealed to the critics edged leader in popular stereo albums) entered the highly 35 mm recording technique. selective field of classical music with a series of five releases In fact, COMMAND'S total success in faithfully repro- ... all master- recorded on 35 millimeter magnetic film. The ducing the sound of large orchestras through the use of 35 mm impact this initial set of classical albums created among magnetic film, was neatly epitomized in this statement by music critics and connoisseurs alike, was nothing short of The American Record Guide, an independent journal of sensational. Even though released late in the year, William opinion: "These first five classical issues from COMMAND Steinberg's delicate reading of Brahms' Symphony No. 2 was constitute a technological breakthrough of major proportions. selected as the No. 1 classical orchestral album of 1961, in the They are the product of multiple microphone pickup of sound New York Herald Tribune's annual record review. recorded on 35 mm magnetic film traveling at 18 inches per In this newspaper's same selection of the year's best rec- second. The results are, beyond question, the most life -like ords, another of COMMAND'S CLASSICS, Pierre Dervaux's sound any of us has ever heard ... Enoch Light, producer version of Ravel's Daphnis et Chloe, Suite No. 2, was also of the records, deserves our thanks." And, American Record singled out for top classical honors. Guide was sufficiently impressed with the COMMAND 35 mm These new COMMAND CLASSICS (including the Rach- recording technique to terminate their review with the maninoff Symphony No. 2; the Mussorgsky -Ravel Pictures at observation that "to all record companies, the message by an Exhibition, and the two capriccios; Tchaikovsky's Capric- now should be loud and clear enough : the word is convert cio Italien and Rimsky -Korsakov's Capriccio Espagnol) -to 35 mm film."

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4,1MOUNT rA10[L,.OIM SOMA, BERLIOZ Symphony Fan - LEONID HAMBRO & tastique, Op. 14-ANDRE JASCHA ZAYDE, world C4,141414;Nta RECORDS VANDERNOOT / I'Or- renowned duo -pianists, now play MOZART/ Record Co., Inc. chestre National. MENDELSSOHN/ Manufactured by Grand Award SCHUBERT. 1501 BROADWAY, New York 36, N. Y. CIRCLE 28 ON READER-SI :RN ICE: CARD A pmr1. 1962 67

www.americanradiohistory.com by far the more difficult to bring off, Fleisher quite matches. But although proach. As it goes along, it loosens up and in the past I have heard him fail the latter's bracing, kinetic performance and, as the coda draws near, tempo utterly to do so. Here, however, he is might sound a trifle unpolished alongside and accent have become considerably entirely convincing, and I feel that he Serkin's supremely accomplished pianism, more flexible than might have been an- owes a great deal to Giulini whose own it has, to my mind, more spontaneity and ticipated. At least I assume Steinberg authority helps greatly to consolidate the enthusiasm, not to say more poetic in- loosened up as he went along; it is also pianist's reading. As a team, the two fusion. For these very personal reasons possible that the variations are due to work together magnificently, with the I continue to prefer it. if only very slight- combining material from more than one fervent, expressive orchestral playing ly. Arrau's reading will also have many recording session. In any case, the con- crowning Arrau's wonderfully spacious adherents, and deservedly so. H.G. ductor's tendency to liberate himself from phrasing. Like Serkin, this pianist has a rigid metrical pattern does no great a notable tonal weight on this disc, and harm, and, indeed, many will probably if Serkin is more the philosopher, Arrau BRAHMS: Symphony No. 1, in C feel that the climactic sections of the excels him as an introspective poet. minor, op. 68 work benefit from Steinberg's eagerness I have yet to hear a recorded version to make the most of their possibilities. of this Concerto which does justice to the Pittsburgh Symphony, William Steinberg, The slow movement and scherzo are string -brass dialogue around the solo cond. reserved without being restrained. Both piano in the first movement or the final COMMAND CC 3311011. LP. $4.98. have been recorded with greater expres- brass fanfare at the very end of the COMMAND CC 11011. SD. $5.98. sion, but Steinberg does them justice finale, but. as recordings go, both of the and -more important- avoids all the pit- new discs are splendid. Columbia has Steinberg's Brahms Second for Command falls which lie in these seemingly inno- captured Serkin's piano with full -blooded created quite a stir among the cogno- cent pages. The solo violin of the sonority, although the engineers seem to scenti when it appeared last autumn, Andante sostenu to can easily get out of have cut back the volume in the proclam- and this recording is likely to do the hand, and the transitions of the third alive double- octave cascade leading into same. The sound. if anything, is even movement must be handled with care if, the first- movement development, and more spectacular, which means that there in fact, they are to be grazioso. that passage, as a result. sounds a mite is now little real competition among the This is not going to be every man's small -scaled. I could also wish for a two- channel versions of this popular Brahms First. As total performances the more prominent balance of the brass sec- score. As before. the largest sound J- Toscanini and Klemperer surpass it in tion (possibly Ormandy's responsibility masses are handled without a trace of their unity of approach and consistent here rather than that of the recording hedging. and the quality of the reproduc- integration of the material within a single technicians). Angel's sound is warm and tion is splendidly clear and clean. One point of view. Achievements of this glowing, with more brass proportionately, feels the presence of the orchestra with- level are rare. however, and neither of but with a smaller, more intimate orches- out an electronic barrier, and the ear the examples cited is on a par with the tral pickup in general. There is also less is able to pick out details which even in Steinberg in matters of engineering. If separation and clarity than Columbia's most stereo versions are covered by a your primary interest is sound, this is edition provides. sort of wash of extraneous tone. unquestionably the version to have. And In summation. this is a true battle of Steinberg's performance. particularly in if you will settle for a sensitive, authori- titans. Serkin's interpretation has an in- the two outer movements, begins by giv- tative, and effective performance, lying evitable quality, which neither Arrau nor ing the impression of a fairly strict ap- somewhat short of the finest we have ever known, Steinberg delivers it in this recording. R.C.M.

CHOPIN: Les Sylphides (trans. Roy Douglas) NEXT MONTH IN (Delibes: Coppélia: Ballet Suite Berlin Philharmonic Orchestra, , cond. DEUTSCHE GRAMMOPHON LPM 19257. LP. $5.98. DEUTSCHE GRAMMOPHON SLPM 136257. SD. $6.98. The Czech Philharmonic Von Karajan brings a certain style and distinction to this oft- recorded ballet Some of the world's finest orchestral playing can music. Dancers may not feel altogether be heard in the ancient city of Prague. at home with the conductor's tempos - the opening of the Czardas in Coppélia by Paul Moor is inordinately slow -but his interpre- tations make good listening, and he cer- tainly gives stature to two scores that Memories of Fritz Kreisler are so often tossed off casually by re- by Joseph Szigeti cording conductors. The sound is good in mono, superior in stereo. P.A. The Legacy on Records Kreisler CORELLI: Concerto grosso in G by Harris Goldsmith minor, Op. 6, No. 8 ( "Christmas ") -See Tartini: Concerto for Cello AND and Orchestra, in D. DEBUSSY: Images pour orchestre Spotlight on FM -Stravinsky: Symphonies for Wind Programming: An Incredible Diversity Instruments tRavel: Pavane pour une infante by Robert Silverberg défunte

A Progress Report Orchestre de la Suisse Romande, Ernest Stereo Multiplex: Ansermet. cond. by Norman Eisenberg LONDON CM 9293. LP. $4.98. LONDON CS 6225. SD. $5.98.

Antennas for FM Nice in detail and nice in recording. but, by Charles Tepfer as is so often the case with Ansermet, rather listless in spirit. A.F. Continued on page 70

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS "When the cannonade was at its height, a Confederate band of music began to play and waltzes which sounded very curious, accompanied by the hissing and bursting of the shells." COLONEL ARTHUR J. L. FREMANTLE, British military diarist with Lee at the time of the Battle of Gettysburg

OTHER SPECTACULAR SOUND PRES- ENTATIONS IN MERCURY'S SERIES THE LIVILI WI1AI OF BATTLE-MUSIC RECORDINGS: * ITS MUSIC AND ITS SOUNDS * 1812 OVERTURE (r,'itb cannon «ad bells) by THIS UNIQUE ALBUM tells the story of the Civil War through its Tchaikovsky. blinner:polis Symphony, Dorati. music and the men who made it- bandsmen, buglers, fifers and drum- S R90054/ M G 5005.1 mers. The Union and Confederate songs recorded here are taken from WELLINGTON'S VICTORY (with cannon actual Civil War band books and played on authentic Civil War instru- and muskets) by Beethoven. London Sympho- ments. Included are such favorites as Hail to the Chief, Listen to the ny, Dorati. LPS9000 /LPS5000 Mockingbird, Dixie and Bonnie Blue Flag; Camp, Garrison and Field Calls for Fife and Drum; and Cavalry Bugle signals. For this deluxe LIVING PRESENCE SOUND SERIES presentation, Mercury has combined over 1500 shots from authentic Civil War weapons in 93 separate battle sound tracks to re- create the Battle of Gettysburg's awesome sounds of conflict. Martin Gabel narrates this spectacular dramatic sequence. FREDERICK FEN N ELL EASTMAN WIND ENSEMBLE THERE HAS NEVER BEEN A RECORD ALBUM LIKE THIS ONE -IT IS A LASTING AND INSPIRING RECORDED

LPS:1001 DOCUMENT FOR THE ENTIRE FAMILY. L1'., _ . ;oot -... E CIVIL WAR r1F MUSIC AND ''SSI110ND3 VOLJIIE I fir rLmLLIrY MOM L.enlll glll>iAilli LIVING PRESENCE WI _.._LRUCrlOvi ems x.s- unu oro...r.w SOUND SERIES I SEREO AN ORIGINAL 35MM MAGNETIC FILM RECORDING CIRCLE 61 ON RE VDF:R- SERVICE CARD Aridi. 1962 69

www.americanradiohistory.com DEBUSSY: Songs self. It is not surprising, then, that he (CM 9302 or CS 6220 containing the should be stylistically attuned to this Grand pièce symphonique and Choral Beau soir; Mandoline; Les Cloches; music. His performance of the Concerto No. 2, CM 9303 or CS 6221 the other Green; Chevaux de bois; Le Jet d'eau; and the Romance, the latter transcribed works listed above) ran high. Unfor- La Mer; Le son du cor s'afflige vers le by Dvoïák from a discarded string quar- tunately, they are quite disappointing. bois; L'échelonnement des haies; De tet, is incisive, admirably proportioned, Here the organist plays everything in a .soir; Le temps a laissié son manteau; beautifully expressive. and rich in firm, perfunctory fashion, often with tempos Pour ce que plaisance est morte. Fêtes glowing tone. More than that one can- that are too fast and interpretations that galantes l: En sourdine; Fantoches; Clair not ask. Ancerl's orchestral accompani- barely scratch the surface. London's de lune. Fêtes galantes I1: Les ingénus; ments are completely en rapport with sound encompasses the complete range Le Faune; Colloque sentimental. Le the soloist, while the fairly high level of the organ with excellent fidelity and Promenoir des deux amants: Auprès de stereo sound is true, spacious, and rather gives it realistic spacing, with different cette grotte sombre; Crois mon conseil, resonant. P.A. stops emanating from the two speakers chère Climène; Je tremble en voyant without being unnaturally isolated. But ton visage. FOSS: Time Cycle the overly spacious acoustics of the Gerard Souzay, baritone; Dalton Bald - Church of the Madeleine, with a rever- win, piano. Adele Addison, soprano; Improvisation berate overhang of about six seconds, DEUTSCHE GRAMMOPHON LPM 18758. Chamber Ensemble; Columbia Symphony cause some unfortunate muddying of LP. $5.98. Orchestra, Leonard Bernstein, cond. many passages. P.A. DEUTSCHE GRAMMOPHON SLPM COLUMBIA ML 5680. LP. $4.98. 138758. SD. $6.98. COLUMBIA MS 6280. SD. $5.98. GERSHWIN: Concerto for Piano and Orchestra, in F; Variations on "I This release offers a fine cross section of The Ford Foundation has made grants Got the composer's song writing, the second to a number of distinguished American Rhythm "; Cuban Overture side (the two d'Orléans songs, both sets singers and instrumentalists so that they, Wild, Le Promenoir Earl piano (in the Concerto and of Fêtes galantes, and in turn, may commission new works to Variations); Boston Pops Orchestra, Ar- des deux amants) being particularly add to their repertoires. This is the first thur Fiedler, standpoint. such cond. rich from a musical of works to be recorded, and it pro- RCA VICTOR LM 2586. LP. $4.98. I say Souzay's rendi- VI And when that vides singularly rich and lively enter- RCA VICTOR LSC tions do not much satisfy me, it may be tainment. 2586. SD. $5.98. that I am simply confessing a resistance Time Cycle is, in essence, a cycle of The singer is George Gershwin achieved a remarkably to impressionistic songs. four songs for soprano and orchestra on effective union between just the effect called for in by jazz and sym- creating texts W. H. Auden, A. E. Housman, phonic music in his Concerto most instances you see it, now you in F. The -now Franz Kafka, and Friedrich Nietzsche, spontaneity and melodic invention don't. Just as we often find ourselves the first two sung in English, the last com- that bine with rhythmic verve to make this a asking of these songs, "How did two in German. The songs are largely truly irresistible phrase go again ?" so we frequently atonal, employing various modern American mas- serial devices terpiece. The Variations on "I Got wonder of the singing, "Is there a tone and exploiting the wide leaps and jagged Rhythm," there, or isn't there ?" Still, I am not though less inventive and in- rhythms in the vocal line characteristic teresting, still are worth conscious of any dislike of these settings, of serial composition. In the last song, hearing now and and I cannot help feeling that if only then. while the spirited Cuban Overture however, tonal and atonal are unified in is always refreshing. But the the singer would forego a few of his a most extraordinary fashion: there are important flights into wispy mezza -voce, the effect work here is the Concerto, and it is three simultaneous levels of sound, one treated importantly would be no less Debussyian, and per- diatonic and tonal, one chromatic and by Wild and Fiedler. haps a bit more musical. His constant There is commanding style, warm lyri- atonal. and one atonal in terms of a com- cism, and a proper amount nervous resort to this virtual non -tone forces plex serialism derived from the text in a of one to suspect that he may be unable energy in the pianist's interpretation, at manner I cannot attempt to describe here. once penetrating to hit the middle ground between no The whole thing comes off; you can and brilliant. An old volume and full volume; the suspicion and respected hand at Gershwin, Fiedler really hear those three levels of sound provides ideal is strengthened by the limited resources and the difference between them. orchestral collaboration in of color and the peculiar formation of the two solo works and gives a rousing Between the movements of the cycle, account his forte high tones. the composer and his Improvisation of the Overture. The sound Yet Souzay's familiar sensitivity to Chamber Ensemble (piano, clarinet, could hardly be better. The ring of the text (more important, even, in Debussy piano tone is unusually true, and it is cello, percussion) improvise a series of surrounded by the spacious than in other French composers), his interludes, all of them grandly aloof deployment sure concepts of phrasing, and the flexi- of the orchestral instruments, which from the songs in substance and spirit, emerge with bright bility of his pleasant baritone place him although they too are atonal. These are fidelity. This is def- in the front rank of interpreters of these initely one of the outstanding Gershwin marvelously brilliant and spirited affairs, discs of recent years. mélodies, and records devoted to De- but they are matched by the spirit and P.A. bussy's songs are not released every drama of the songs. The whole thing is ex- month. Baldwin's collaborations are incredibly ingenious, exhilarating. and Songs: emplary, and the sound clear as a bell. GLINKA: Traveler's Song; thought -provoking. Lukas Foss was long The Scythe; The Wind Is Blowing However, DGG still refuses to supply counted among the more conservative of English translations. C.L.O. at the Gate; A Prayer; Oh, Night- American composers; turning to atonality ingale, Be Is Mat- and serialism seems to have released Silent; What the some extra energy and creativeness in- ter, Pretty Girl; The Wind Howls DELIBES: Coppélia: Ballet Suite- tTchaikovsky: Romeo and Juliet: See Chopin: Les Sylphides. side him, and he is now doing the best work of his career. Performance and re- Balcony Scene Duet cording leave nothing to be desired. A.F. DVORAK: Concerto for Violin and Ivan Kozlovsky, tenor (in A Prayer); Orchestra, in A minor, Op. 53; Tatiana Lavrova, soprano, and Sergei Romance for Violin and Orchestra, FRANCK: Grande pièce sympho- Lemeshev, tenor (in the Tchaikovsky); nique, Op. 17: Choral No. 2, in B other soloists; Radio Ensemble of Songs; in F minor, Op. 11 minor; Prélude, fugue, et varia- Chorus and Orchestra of the Bolshoi Josef Suk. violin; Czech Philharmonic tion. Op. 18; Prière, Op. 20; Pas- Theatre; Philharmonic Orches- Orchestra. Karel Ancerl, cond. torale; Pièce héroïque, in B minor tra; Samuel Samosud, Vassili Tselikov- ARTIA ALP 193. LP. $4.98. sky. Serafina Popova. conds. ARTIA ALP S 193. SD. $5.98. Jeanne Demessieux, organ. MONITOR MC 2055. LP. $4.98. LONDON CM 9302/03. Two LP. $4.98 The Dvoiák Violin Concerto has re- each. All this music. with the exception of the ceived some notable interpretations on LONDON CS 6220/21. Two SD. Tchaikovsky, has a folksy, semipopular records, outstanding among which have $5.98 each. flavor about it. The Glinka songs are been those by Johanna Martzy and Na- atmospheric. never profound, but listen - than Milstein. Now their leadership is Several years ago, Jeanne Demessieux able and frequently touching. However, challenged by the immensely gifted young gave exceptionally perceptive accounts A Prayer, which is a setting for tenor Czech violinist Josef Suk, grandson of of the three Franck Chorals in a London and chorus of a poem by Lermontov and the noted Czech composer of the same monophonic recording. Consequently, name and great- grandson of Dvofák him- my expectations for the present discs Continued on page 72

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com gifIEaEo ?ME INV Si. Beet BACH /'//I/;/,/11 /(. PP/ì tt 7NYrt'NI'H. rand. ST JOHN PASSION Sena Jt'tt/N.1I' ..,, Pt: ER( 'E

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3 4 -.: ©MiE - E_.. - 4he etnt Itast Atlords or 11ANI)EL (hrisl (DESS1MI

VIENNA ACADEMY CHORUS ORCHESTRA HERMANN SCHERCHEN

WESTMINSTER PRESENTS AN EASTER OFFERING FOR THE SELECTIVE LISTENER Your Westminster dealer is featuring a number of superb want to hear - and own - Westminster's new recording of albums this month especially appropriate for the spirit of Fidelio with its message of hope and deliveration, in a the Easter Season. Highlighting the list are three master- widely -acclaimed new recording featuring Sena Jurinac and pieces of sacred music: Handel's Messiah, the Bach St. John Jan Peerce, with Hans Knappertsbusch conducting. This is Passion and Haydn's Seven Last Words of Christ, in defini- music for the Selective Listener who demands - and gets - tive interpretations by Hermann Scherchen. You will also the very best in recorded music on Westminster.

1) BACH: St. John Passion. Phyllis Curtin, Soloists, Vienna State 3) HANDEL: The Messiah (original version). Vienna State Opera Orchestra and Vienna Academy Chorus conducted by Her- Opera Orchestra and Vienna Academy Chorus conducted by Hermann mann Scherchen. (3- record set) WST -319 (Stereo), $17.94; XWN- Scherchen. (4- record set) WST -306 (Stereo), $19.98; (3- record set) 3319 (Monaural), $14.94. XWN -3306 (Monaural), $16.98. 2) BEETHOVEN: Fidelio. Sena Jurinac, Jan Peerce, Soloists, Bavar- 4) HAYDN: Seven Last Words of Christ. Soloists, Vienna State ian State Opera Orchestra and Chorus conducted by Hans Knapperts- Opera Orchestra and Vienna Academy Chorus conducted by Hermann busch. (3- record set) WST -318, $17.94; (Stereo), XWN -3318 (Mon - Scherchen. WST -17006 (Stereo), XWN -19006 (Monaural). aural), $14.94. FROM THE WESTMINSTER CATALOG OF MUSIC FOR THE SELECTIVE LISTENER: BACH: Mass in B Minor. Vienna State Opera Orchestra and Vienna CAMPRA: . Soloists, orchestra and chorus conducted by Louis Academy Chorus conducted by Hermann Scherchen. (3-record set) Frémaux. WST -17007 (Stereo), XWN -19007 (Monaural). WST -304 (Stereo), $17.98; XWN -3305 (Monaural), $14.98. pAAAMOUNrs HANDEL: Highlights from the Messiah - Scherchen. p WST -14095 (Stereo), XWN -18676 (Monaural). BACH: St. Matthew Passion. Vienna State Opera Or- °T0 chestra. Hermann Scherchen, conducting, XWN -4402 The Westminster Listener is the Selective Listener (Mono). Fritz Werner, conducting, WST -402 (Stereo). Free ... for the Westminster Listener ... complete new hnindtelt catalog. Write Dept. HF-6, Westminster Recording Co., BERLIOZ: Requiem. Soloists, orchestra and chorus con- Inc. A subsidiary of ABC -Paramount Records, Inc. 1501 ducted by Hermann Scherchen. (2- record set) WST -201 Broadway, New York 36, New York. (Stereo), $11.98; XWN -2227 (Monaural), $9.98. Stereo: $5.98 - Monaural: $4.98. CIRCLE 95 ON READER -SERVICE CARD APRIL 1962 71

www.americanradiohistory.com the longest of the Glinka pieces. strikes of the first movement development where me as being banal and syrupy in its in- the closing subject dramatically recurs. spirational effort -the sort of thing that The virtuoso's fingerwork in the treacher- used to become theme music for radio ous finale is so impeccable that I was programs about the American heritage. rather surprised by the enthusiastic burst The Tchaikovsky scene uses themes of applause at the end, which told me LE this easy way. familiar from the Romeo and Juliet that the disc had been made under theory electronics knowledge required. Overture. It was completed and orches- the uncontrolled conditions of an actual No previous technical trated by Sergei Taneiev, having been concert. (A look at the record label re- intended as a part of the composer's vealed that this took place in Bucharest, projected opera on the subject. It is ef- and was recorded by Electrecord. No fective, even haunting, and would be date is given.) even more so had not its principal ma- The Bach is also played with very BUlL terial been pounded into one's head in fast tempos, but here the approach is the finest professional quality TV Set so many watery, sleazy versions. (Where excessively romantic and articulation de- would Muzak be without Peter Ilich ?) generates into mere clatter. Since the on a "pay -as -you- wire" plan. practical The soloists are equal to their assign- sound tends to be rather overresonant ments, which means that Kozlovsky dis- with distant pickup of the solo keyboard plays a wide range and considerable instruments, perhaps I am prejudiced ease in the vicinity of high C; that Leme- against the performance for sonic rea- shev and Lavrova produce well- focused, sons. H.G. SAVE full -bodied lyric tone (rather remarkable up to 1/2 on cost of equivalent for the veteran tenor, if this was re- HINDEMITH: Quartet for Strings, educational course corded at all recently); and that the plus TV set. others can negotiate a few easy lines No. 3, Op. 22 without disaster. The sound is a trifle tBloch: Quartet for Strings, No. 5 Build the Transvision "Professional" TV Kit distant. a trifle muddy, but not enough in Fine Arts Quartet. described below and get this to ruin the disc for those interested complete course the music. C.L.O. CONCERTDISC M 225. LP. $4.98. of study for $7.95 (available only to CONCERTDISC CS 225. SD. $4.98. Transvision Kit builders.) GOEB: Concertino for Trombone Gentlemen. Hindemith, not César Franck. Requires no previous technical knowledge. and Strings-See Martin: Ballade Bloch, not Ravel. A.F. Prepared by experts in teaching novices for Trombone and about electronics. Piano. HINDEMITH: Sonata for Trombone YOU LEARN: About block HARRIS: Symphony No. 3 -See and Piano -See Martin: Ballade diagrams...How to read for Trombone and Piano. and follow electronic Bernstein: Jeremiah Symphony. circuits...How to use basic measuring instru- 2 ( "Con- ments... Theory and oper- HAYDN: Sonata for Piano, No. 40, IVES: Sonata for Piano, No. ation of basic electronic In G -See Scarlatti, Domenico: So- cord") circuits... How to service natas for Piano. TV, Radio, and other types George Pappa.stavrou, piano; Bonnie of electronic equipment. Lichter, flute. COMPOSERS RECORDINGS CRI 150. LP. range HAYDN: Sonata for Piano, No. 52, Prices $5.95. from $119 to $199. in E flat Concerto for Two Pianos and t Bach: recording, Orchestra, in C, S. 1061 For a feature review of this see page 62. Sviatoslav Richter. piano; Anatol Veder- nikov. piano (in the Bach); Moscow JOSQUIN DES PREZ: Missa Her- Chamber Orchestra, Rudolf Barshai, Four Motets cond. (in the Bach). cules dux Ferrariae; The Transvision ARTIA -MK 1569. LP. $5.98. Wiener Kammerchor; Musica Antiqua "Professional" TV Kit Wien, Hans Gillesberger, cond. Richter's performance of Haydn's last, VANGUARD BG 620. LP. $4.98. Choice of 19 ", 23 ", or 27" and possibly finest. piano sonata is a VANGUARD BGS 5042. SD. $5.95. Picture Tube...Easy "Pay as tour de force of controlled virtuosity. You Wire' Terms...Only $15 Taking the last movement at a breakneck Gillesberger uses instruments as well as for the Starting Package. speed desperately beyond the reach of all voices in the Mass-not only organ, but a few pianists, the great Soviet artist bassoon, trumpet. and trombone. but also A few of the Quality Features Professional still succeeds in obtaining the utmost modern reproductions of krummhorn, of Transvision TV Kits: transparency and most loving tonal sordun, pommer. and alto trombone. Choice of push -pull 10 -watt audio or output to caress. Furthermore. Richter highlights These add rich and unfamiliar hues to your Hi -Fi System... D.C. restoration ... Ultra - the drama in the writing by judiciously linear sweep circuits...Standard Coil Model the music. Less convincing is his treat- PKO Automatic Tuner... Super -sensitivity for adjusting the tempo to the needs of the ment of the Kyrie: "Kyrie I" and "Chris- fringe areas... Complete line of Accessories for music without really altering it. An ex- te" are first played by the instruments and Custom Installations. ample of this sort comes at the beginning then repeated with the voices; "Kyrie I1" U. S. Armed Services and over 4000 schools and is first performed by voices and instru- colleges have selected Transvision Receivers for ments. then repeated by the latter alone. educational television. The performance is sometimes. as in the ASSEMBLY MANUAL -$2.00 elevated and lovely Sanctus, eloquent; See how easy it is to assemble the Transvision at other times. as in the Credo. it is Kit. Cost of Manual refunded on purchase of Kit. rather metronomic. With some fifteen Masses by Josquin still unrecorded. it seems a pity that Gillesberger chose one (:Cois New Rochelle, N.Y. of which two versions were already avail- NE 6 -6000 able in the domestic catalogues. works on the present disc START NOW - MAIL THIS COUPON.. The other TRANSVISION Electronics, Inc., New Rochelle, N Y. Dept. HIY-4 comprise the fine "Et incarnates est"

O Send FREE 12-page Catalog... E I enclose $2 for Assembly from the Missa Da pacenn (here per- Manual, refundable on purchase of Kit. formed by instruments alone); the six - I enclose 515 for Starting Pkg. on pay -as-you-wire plan. part Veni Sandie Spiritus, with its inter- Remplete Kits range from $119 to $199.1 esting double canon (one canon between Name top and third voices, another between fourth voice and bass); and the beautiful Address four -part De profundis, with its grand City Zone State opening sweep upward "out of the Richter: Haydn lovingly caressed. depths." Excellent sound. N.B. CIRCLE BS ON READER -SERVICE CARD 72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com KURKA: Symphony No. 2, op. 2-{- the incredible See Whitney: Concertino.

LISZT: Dante Symphony Margit László, soprano; Budapest Radio Choir; Budapest Philharmonic Orchestra, György Lehel, cond. WESTMINSTER XWN 18971. LP. $4.98. WESTMINSTER WST 14152. SD. $5.98. RG T LISZT: Les Préludes; Orpheus; Me- phisto ; Spanish Rhapsody (trans. Gabor Darvas) Hungarian State Orchestra, György Le- hel, cond. (in Les Préludes and Spanish Rhapsody); Janos Ferencsik, cond. (in Orpheus and Mephisto Waltz). WESTMINSTER XWN 18970. LP. $4.98. WESTMINSTER WST 14151. SD. $5.98. LISZT: Tasso: Lament and Triumph. Hungaria Hungarian State Orchestra, Janos Fer - encsik, cond. WESTMINSTER XWN 18969. LP. $4.98. WESTMINSTER WST 14150. SD. $5.98. These three discs, part of Westminster's observance of the 150th anniversary of the birth of Franz Liszt, are of variable interest. One can't help wondering, for example, just how important it is that we hear Tasso and Hungaria. Although the former reveals Liszt's ability to trans- form and develop several themes and to combine the elements of a four -move- ment symphony into a single movement, both it and Hungaria are too often full of turgid, bombastic writing. On the other hand, Les Préludes, Orpheus, and the Mephisto Waltz remain beautiful and inspired. The same disc also contains the Spanish Rhapsody, Gabor Darvas' orchestral transcription of Liszt's Rapso- die espagnole for piano, a deft fantasy on two popular Spanish dance tunes, the Folia d'espaiia (also used by Corelli in his La Folia), and the Iota Aragonesa (employed by Glinka). Darvas' arrange- ment is tasteful and within Lisztian or- chestral bounds, though I personally pre- fer Busoni's transcription for piano and orchestra. By far the most arresting of these records, however, is that given over to the Dante Symphony, a sort of spiritual brother to Liszt's finer, more extensive Faust Symphony. The work is in two parts, the first a fairly stormy pic- One of the greatest records of all time ture of Inferno, the second an amazingly placid one of Purgatorio, leading to a conducted by final celestial Magnificat, the latter set for soprano solo and women's chorus. In the performances too, it is the Dante Symphony which comes off best. I might have liked a bit more storm and stress in the Inferno section, but there is refinement in the contrapuntal Purga- torio and beautiful blending of voices GEORG SOul and orchestra in the inspired Magnificat. Considering the altogether competent job with he does in the Dante Symphony. it is sur- prising to find Lehel so vapid -almost Eberhard Wächter, Gerhard Stolze & Grace Hoffman perfunctory -in his readings of Les Pré- ludes and the Spanish Rhapsody. Ferenc- and sik's conducting of the other works car- The Vienna Philharmonic Orchestra ries more conviction. The monophonic reproduction in all three discs is good without being start- ling. though in the record containing Les Préludes. etc.. the general volume level appears to be lower. In the Dante Sym- oI1Tp O/1 phony, the celestial effect of the final RECORDS CIRCLE 59 ON READER- SERVICE CARD APRIL 1962

www.americanradiohistory.com section is heightened apparently by anthology of undigested impressions of Italian Symphony, where there is a great placing the solo soprano back with the the musical Occident, especially of deal of interplay between the first violins chorus. Westminster could have spared Varèse, Stravinsky, Webern, and Boulez. on the left and the second violins on itself the trouble of printing the seating Still and all, the piece has character; for the right. P.A. diagrams on the jackets of the stereo all its faults, it comes to grips with a versions, since the addition of a second whole new world of experience (new, MENDELSSOHN: Quartet for channel adds little to the sonic effect ex- that is, for Western music) and it in- cept perhaps a bit of resonance and spa- creases one's understanding to know it. Strings, No. 2, in E minor, Op. 44 tial depth. There is practically no illu- Furthermore the climax at the end of the -See Schumann: Quartet for sion of direction or horizonal spread to second movement is a real spine tingler. Strings, No. 1, in A minor, Op. 41. the sound. P.A. The recording is magnificent. A.F. MOZART: Concerto for Piano and MARTIN: Ballade for Trombone and MENDELSSOHN: A Midsummer Orchestra, No. 22, in E flat, K. 482; Piano Night's Dream: Overture, op. 21; Sonata for Piano, in E flat, K. 282 tHindemith: Sonata for Trombone Incidental Music, Op. 61 and Piano Philippe Entremont, piano; Philadelphia fGoeb: Concertino for Trombone and Heather Harper, soprano; Janet Baker, Orchestra, Eugene Ormandy, cond. Strings contralto; Philharmonia Chorus and Or- COLUMBIA ML 5678. LP. $4.98. chestra, Otto Klemperer, cond. COLUMBIA MS 6278. SD. $5.98. Davis Shuman, trombone; Leonid Ham - ANGEL 35881. LP. $4.98. bro, piano; WQXR Strings. ANGEL S 35881. SD. $5.98. This French pianist, now twenty- seven, GOLDEN CREST RE 7011. LP. $4.98. has toured widely and successfully in the United States in the last few years. MENDELSSOHN: Davis Shuman is a remarkable man. I The Hebrides, The present disc reveals him as a mature have heard him play the horn part of Overture, Op. 26; Symphony No. artist, with most of the qualities of a the Brahms trio on the trombone with 3, in A minor, Op. 56 ( "Scotch ") first -rate pianist and with few faults (and all the mellowness and discretion of the these of the kind that a little more pol- instrument for which that part was writ- Philharmonia Orchestra, Otto Klemperer, ishing could easily erase). His tone is ten, but he can also blast out like ten cond. attractive, though some single forte notes trombones if he wants to. Here he neither ANGEL 35880. LP. $4.98. sound a little hard, he phrases nicely, blasts nor pretends to be a horn; he sets ANGEL S 35880. SD. $5.98. he has a good legato, and his command forth the noble -Roman tone of his in- of dynamic nuance is considerable. All strument in superlative style, and in the MENDELSSOHN: Symphony No. 4, these qualities are especially evident in the Sonata, which is well Hindemith sonata he has a first -class in A, Op. 90 ( "Italian ") particularly work to match his playing. I am not so done. It is in the Concerto that an oc- tSchumann: Symphony No. 4, in D casional hardness of tone creeps in. The sure about the quality of the other pieces, Op. 120 though. A.F. minor, whole conception here is laudably re- mote from the prettified Mozart that Philharmonia Orchestra, Otto Klemperer, used to be all too common, but some- MAYAZUMI: Nirvana Symphonie cond. LP. $4.98. times there is a tendency to lean too ANGEL 35629. far in the other direction, resulting in Tokyo Choraliers; Nippon University ANGEL S 35629. SD. $5.98. Chorus Group; NHK Symphony Orches- one or two tuttis that seem rather heavy Schlichter, cond. Presenting Mendelssohn's most popular and incisive for Mozart. On the other tra, Wilhelm hand, there is much fine playing by both TIME S 8004. SD. $5.98. orchestral works in integrated recordings by a single orchestra and conductor soloist and orchestra, Ormandy's men Toshiro Mayazumi is one of that con- should have been a fruitful enterprise, providing, for example, an unusually elo- composers, Klemperer seems to have the quent introduction in the Andante. siderable group of Japanese but been The dynamic range could have been trained in Western techniques, who have wrong choice for the assignment. Men - risen to prominence since World War delssohn must be elegant, crisp, light, wider-there is not a true pianissimo to be heard -and there is a spot in the II. This is the first sizable work pro- flowing. Klemperer gives us plenty of where duced by any member of the group to elegance but almost always at the ex- first movement of the Concerto reach American discs. pense of everything else. His tempos are important material in the bassoons is informs us on the slow side, with the buried, but in all other respects balances As the composer himself consistently N.B. in his notes, the composition is based result that one often hears too many and sound are very good. essentially on two things -the sound of rhythmic "trees" and not enough basic the Japanese temple bell and the sound pulsating "forest." For example, the MOZART: Quartets for Strings: No. produced by Buddhist priests chanting Midsummer Night's Dream Scherzo 20, in D, K. 499; No. 22, in B flat, sutras together. The music calls for a emerges with a stiff three beats to the K. 589 symphony orchestra plus many bells and measure instead of a light, basic one gongs of different sizes and pitches, and beat. The incidental music to Shake- Vienna Philharmonic Quartet. the bell effect is further enhanced by the speare's play, by the way, is not offered LONDON CM 9298. LP. $4.98. use of woodwind and brass instruments in its entirety, but it is about as com- LONDON CS 6231. SD. $5.98. playing bell -like harmonies. Each of the plete a recording as can be found in the three movements is called a "campa- catalogue. The one big vocal excerpt, Ye This is the first appearance of stereo nology," and each is full of huge, dense, spotted snakes, is delightfully sung here versions of these quartets, but it is wel- clangorous, bronze- colored, tremulous by the soloists and a women's chorus. come on other counts too. The perform- sonorities; at times the effect is as if If I cavil at Klemperer's slow -paced ers are clearly first -rate artists. playing one were sitting inside a bell tower readings and occasionally heavy- handed with a unanimity that comes from long during Buddhist services, or even inside a approach, I must still admire him for association and common aims. Mozart is bell. These percussive sounds mingle the nobility with which he invests the obviously close to their hearts. The gen- with the sounds of the male chorus in a normally slower sections of the Scotch eral conception is virile, yet the tone is marvelously effective way (and a way, I Symphony. Then, too, he seems more at never permitted to grow coarse; and suspect, which is the product of imagina- home in the Schumann Fourth, which when delicacy or songfulness is required tive recording and is not capable of being shares the third record with the Italian it is forthcoming. The frequent dynamic reproduced in the concert hall), but there Symphony. His reading of this work nuances, which are unusually plentiful in is also much independent chanting, at couples the aforementioned nobility with K. 499, are carefully observed most of times a bit monotonous. considerable vigor. the time. The finale of the same work is Since Mayazumi describes his piece The recorded sound is natural and taken at a spanking pace, but it is not as a "sort of Buddhistic cantata" and em- spacious, without being too reverberant. breathless, nor does it impair the cellist's phasizes its religious as well as its purely The only unnatural moment occurs in articulation of the staccato triplets. The sonorous motivation, the texts of the the Midsummer Night's Dream Wedding sound is spacious and realistic. N.B. sutras should therefore have been given March, where the cymbals have a small. or at least indicated and not merely stifled quality. There is somewhat more MOZART: Sonata for Piano, No. 12, is separation in the stereo edition of all named. (One of them named -deep in F, K. 332 Scarlatti, Do- breath- Mahaprajnaparamita. ) three discs than I am accustomed to -See The composer has obviously fallen hearing from Angel. Tt is a natural sepa- menico: Sonatas for Piano. under several Western influences over the ration, however. and is particularly ef- years, and in some ways his score is an fective in the first movement of the Continued on page 76

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to humorous. The style Francesco Cavalli rates no less and a more resonant recording, utilizes ing from tranquil an impression of of violin writing is post- Romantic, very PIERthan four pages in Groves Dictionary all the notes to give harmonic overtones. His cello, much like that of early Bartók and the as Monteverdi's disciple and the com- continuous however, is out of tune, varying from a Sibelius Concerto. The form, however, poser of forty -two full -blown Venetian two fast move- in the half to a whole tone off, and he does not is original. consisting of operas. Yet despite this eminence by gentle, introductory dramatic music, Cavalli is accent properly. Neither of these per- ments preceded history of inher- music, and the juxtaposition of violin and totally absent from the domestic record formers brings out the polyphony a single instrument orchestra is clever. Both the perform - catalogues, and his first complete work ent in this music for its varied rhythms. as Casals does ance-by Yehudi Menuhin and the Dan- to be released in Europe is a choral one, nor six now available as a re- ish National Radio Orchestra conducted the Messa Concertata (Schwann/ Dussel- in his set of issue on the domestic Angel label. For by Mogens W¢ldike -and the sound on dorf AMS 14/15). are excellent. Also included was made three years an equivalent in present -day conics we this record The recording excerpts from the colorful of St. Angelo in shall evidently have to wait for Janos are three ago in the Church Nos. Suite. under faithful to Cavalli Starker, who has already recorded Aladdin Milan conditions which is the trademark of Edi- for stereo. Choruses are 2 and 5 for English HMV. BAM, -and perfect de la Boîte à Musique, has pro- side, and the soloists and tions split on either sets of Mozart chamber mu- opposite the string IT is baffling why the music of Carl duced two brasses are placed sic: the four Flute Quartets, with Jean- There are striking contrasts in the Nielsen (1865-1931 ), the greatest body. Pierre Rampal as soloist (LD 055) ; and with the rhythm taking sur- Danish composer since Buxtehude. is so 1 - music too, the two Flute Quartets, with Robert prising turns, the chorus alternately neglected in this country. Only a few of Veyron- Lacroix as pianist (LD 057). chantlike and melodious, and the strings his works are available on records, of obbli- whereas in Europe all the symphonies The string parts in both cases are played and brass cast first in the role Pasquier, whose record- then blend - and concertos and most of the chamber by the brothers gáto against the voices and back to prewar domestic sonority. Fortunately, the music have wide circulation: perhaps ing history goes ing in full Victors and Columbias. The flute record church echo permits the subtle detail of foreign discs will eventually fill in the is a winner, with Rampal positively to be heard and gives gaps here. Danish Odeon. an EMI sub- the choral singing tone production and sound to the three sidiary, has now issued the performance Orphic in his sweet just the right arching phrasing, and the Pasquiers a effect is impressive in of Nielsen's Violin Concerto (MOAK 7) effortless soloists. The total buoyant support. The piano quartets same detached, powerful manner as which originally appeared about six years the present far more difficult music, both in Berlioi s Requiem, written two hundred ago on the HMV label. It's good to have this amiable concerto technique and seriousness of approach. years later, especially the big opening of The the back in circulation. The jacket notes. in and the strings are not up to them. the Kyrie. Umberto Cattini handles me- Milan well. and English, quite correctly state that it is tempos are too fast. the phrasing Angelicum Orchestra of the recorded sound is finely less characteristic of Nielsen than any of chanical, and even the stereo, called "compatible," the fullness needed for The records are compatible to his other major compositions and is not itself is without balanced. the passionate Quartet in G minor, K. the extent that a monophonic stylus one of his most important works, but it 478. Mark one out of two for BAM. seems to do no damage at all; the mono- is both tuneful and varied in spirit, rang- phonic sound is a trifle pinched. The only reservation I have against the whole HAVING last month pilloried Deutsche venture is that the music could easily Grammophon's current crop of Ital- have been pressed more economically on ian operas sung in German, I think it is three sides instead of four. only fair to note here the reappearance Another German firm, Bärenreiter of one of the best efforts of this kind. Musicaphon, has released a major por- A radio performance of was tion of Bach chamber music: the six recorded in Germany in 1944. with Erna unaccompanied cello suites; the six solo Berger as Gilda, Heinrich Schlusnus in violin sonatas and partitas; and the six the title role, Helge Roswänge as the sonatas for violin and harpsichord. It is Duke, Josef Greindl as Sparafucile, convenient to compare the cello suites, George Hann as Monterone, and Mar- played by August Wenzinger (BM 30 L garete Klose as Maddalena, with Robert 1507/09). with the complete set of the Heger conducting. Berger was at her best same work performed by Henri Honeg- in that production, surpassing her later ger on the French Valois label (MB recording of the part for RCA Victor; 422/24). Before Pablo Casals gave this Schlusnus and Hann were particularly music its proper weight half a century good. and the ensembles superb, with ago, much of it written for the lowest only Roswänge overdoing his character- string was considered a series of passing ization and sounding beery. The per- notes, to be used as a basis for accom- formance was issued in the United States paniment. No one would handle it in by Urania after the war and later with- that way today. Honegger (no relative of drawn. It has now been remastered the composer), playing with a small but (well) and issued by DGG as LPEM sweet and full tone, manages to project 19222/23. The two records, with li- a continuous melodic line with many bretto in German only. will not be made rises and falls, but his accenting is ques- available here through DGG's regular tionable. and his temnos are frequently distribution channels. and can he ob- stodgy. Wenzinger, with a deeper sound Carl Nielsen: why so forgotten? tained only as an import. GENE BRUCK

APRII. 1962 75

www.americanradiohistory.com Continued from page 74 Votto turns in a reading that is sensi- bly paced and relatively clear, but never "ASTONISHING!" MUSSORGSKY: Pictures at an Ex- exciting; his orchestra is only an ordi- hibition nary one, and the total effect is tension- less is "EXCELLENT!" 9 and slightly choppy. His Mimi tSchumann: Camara', Op. Renata Scotto, the young soprano who Benno Moiseiwitsch, piano. has been Mercury's operatic bellwether. "TERRIFIC VALUE!" DECCA DL 10042. LP. $4.98. She produces a great deal of attractive, DLCCA DL 710042. SD. $5.98. full -bodied sound, particularly in the upper -middle portion of her range, but ars For his first American -made disc Moisei- she does not exude much warmth or witsch has remade the Pictures, which charm. Her phrasing is unimaginative, he once did for HMV 78s, and provides and many little dramatic details (such as his first recorded Carrara'. Both works the "Ali!" when Rodolfo seizes her hand have figured prominently in the noted at the start of "Che gelida manilla ") are virtuoso's recital programs, and, in fact, forced or in the wrong spirit altogether. classify as Moiseiwitsch specialties. It is Miss Scottó s voice and mannerisms seem untn7hed therefore most disappointing to hear the headed in the direction of a hardness; drab quality of this recording -probably this lends a piquancy that is welcome in to be attributed to an inferior piano eighteenth- century opera bu/fa roles, rather than to any inadequacy on the which currently represent her strongest part of the engineers. The bleak, mono- suit. One can't help being disappointed, chromatic scheme is especially hurtful though, that a talent which offered so to a pianist like Moiseiwitsch, whose art much promise for roles such as Violetta, CABINART relies so greatly on nuance and atmos- Gilda, or Mimi, is not fulfilling that phere. Whatever pleasure I did derive promise. Gianni Poggi sounds tired on from this release came from listening to this recording (his second Rodolfo on SPEAKER SYSTEMS discs), and the bleaty quality of the Acou.trc da Ping mater,al the monophonic pressing. in which the tonal faults are at least minimized. There, voice is more pronounced than ever-an a" thrck some of Moiseiwitsch's grace and charm uninspired, workaday performance. Gior- throughout come through. gio Giorgetti, possessed of a rather The pianist gives both works old -style characterless voice. makes a perfect car- performances. ones in which inner voices toon of Schaunard -a bag of overdone Plastie cane buffo tricks. There is an adequate Mu- grill cloth are stressed and much rubato permitted. For example. Moiseiwitsch underlines the setta from Miss Meneguzzer, and Mo- Tuned double ducts syncopated figure in the Paganini section desti sings his "Coat Song" nicely, though from Carnaval, and also the left -hand not in such a way as to throw a scare mark I d" model countermelody of Area. Another device into competitors like Siepi and Tozzi. 11' Hx91" D x 23" L, This leaves only the very vital, rich Shipping Wt. 27 lbs. used by this artist is the linking of one Sculptured Front Walnut 18°° section with another. A case in point: (except for those hooty top notes) Mar - Veneer, Oiled Finish $30.00 Untrn.shed who walk cello of Tito Gobbi to provide some FOB Factory Chopin and Estrella, arm in arm on this disc. As a whole, the interest. Extended range domestic speaker, new hi- Schumann comes off better than the The entire production has about it an efficiency magnetic circuit. Ideal for med. & unwelcome air of lowbrow Italian slap- low level monaural or stereo reproduction. 1" Mussorgsky, which, in addition to having voice coil, 8 ohms impedance. Speaker resp. 45 competition from two Richter recordings stick. All this is made depressingly clear to 13,000 cps. 3.16 oz. new type magnet. Nom- from an excellent Firkusny version, by DGG's crystalline sound; the com- inal power rating 10 to 15 watts. and is heavily cut. One can appreciate many pany has again made the mistake of plac- mark II 12" model rarefied details in Moiseiwitsch's guided ing soloists much too close to the 14" H x 111/2"D x 233/4 "L, 700 tour -the unhatched chicks chirp en- microphone. All in all, the set is not in Shipping Wt. 37 lbs. $2 Sculptured Front Walnut gagingly -but this music really has more the same league with four or five avail- Veneer, Oiled Finish $43.20 ui,r,i,,.nen stark energy and power than Moisei- able versions. C.L.O. FOB Factory witsch's basically salon performance can 12" coaxial 6.8 oz. Alnico V magnet with 1" achieve. The opening promenade, to cite voice coil, heavy 1 -pc. cone and specially RAVEL: Pavane pour une infante de- one instance, is decidedly low -powered, signed 3" Alnico V PM tweeter mounted co- défunte -Sec Debussy: Images pour axially with built in hi -pass filter, capacitor even static. orchestre. type. Power rating 15 watts; imped. 8 ohms. is Speaker resp. 40 It only left for me to praise the to 15,000 cps. pianist's technical fluidity. which re- Cabinart Cabinets are made of extremely dense mains unimpaired despite his seventy - RESPIGHI: Feste Romane; Fontane pressed wood, unfinished. Walnut models are odd years -and, again, to deplore the Roma genuine hardwood veneers with superlative fin- di ish. Extra heavy 3/4" thick construction, solidly piano used. H.G. glued, achieves maximum speaker response. Orchestra of Accademia di Santa Cecilia Unique of acoustic resistive loading principle 1 Rome). Fernando Previtali. cond. effectively improves low end response for bal- PUCCINI: La Bohème WESTMINSTER 18959. LP. $4.98. anced full fidelity reproduction. Each system XWN tuned, double ducted, acoustically insulated. Renata Scotto (s), Mimi; Jolanda Me- WESTMINSTER WST 14140. SD. $5.98. "Astonishing!" says E. T. Canby in Audio, Nov. neguzzer (s), Musetta; Gianni Poggi (t), '61. Send for FREE re -print article on Cabinart Rodolfo; Enzo Guagni (t), Parpignol; speaker systems. Czech Philharmonic Orchestra, Antonio Tito Gobbi (b). Marcello; Giorgio Gior- Pedrotti. cond. AVAILABLE AT YOUR DEALER OR ORDER DIRECT getti Schaunard; Giuseppe Modesti FOR IMMEDIATE DELIVERY (b), PARLIAMENT PLP 155. LP. $1.98. Ibs), Colline: Virgilio Carbonari (bs). PARLIAMENT PLPS 155. SD. $2.98. CABINART GUARANTEES Benoit and Alcindoro; Mario Frosini You must be satisfied for 10 full days (bs), A Sergeant: Augusto Frati bs). or your money back. Doganiere. Chorus and Orchestra of the RESPIGHI: Feste Romane ONE FULL YEAR WARRANTY Written registration card and warranty Maggio Musicale Fiorentino, Antonino (Sibelius: Symphony No. 7, in C, included. Votto, cond. Op. 105 DEUTSCHE GRAMMOPHON LPM 18764/ CABINART ACOUSTICAL DEV. CORP- 65. Two LP. $11.96. Philadelphia Orchestra, Eugene Orman- 33 Geyer St -, Halcdon, N. 1. DEUTSCHE GRAMMOPHON SLPM dy, cond. Pleese ship the following to be used in my home for 10 COLUMBIA ML 5675. LP. $4.98. lull days. I understand unit (s) ey, he returned and 138764/65. Two SD. $13.96. my money re funded within that time unless fully satisfied. COLUMBIA MS 6275. SD. $5.98. - -- -_Mark I Unfinished $16.00 each With so many Bohèmes to choose from Mark II Unfinished $27.00 each (and the end nowhere in sight-Victor Ottorino Respighi's imaginative, color- Mark I Oiled walnut $30.00 each ..... Mark II Oiled Walnut $43.20 each already has a new version on tape) the ful tone portraits of the sights and (Meese make check or money order ewyable to only justification for another one is the sounds of the Eternal City have long Cabinart Acoustical.) presence of a really extraordinary cast served as brilliant orchestral showcases, Name or conductor. This new DGG version both in concert and on records. On Address simply doesn't qualify, being the preser- these three discs they are exposed in City Mah vation of a performance that is thorough- the best light by three conductors who t- ly routine in all respects. obviously know their business. Previtali's CIRCLE 22 ON READER- SERVICE CARI 76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Qui Collis," the gravely lovely "Et in- carnatus," and the very beautiful Agnus Dei -he produces music of moving ex- pressivity. Outstanding among the five soloists is the soprano Jean Preston, whose voice as recorded here has power, attractive quality, and firm focus. The other soloists perform their elaborate parts ably, and Mr. Abravanel keeps things moving at a good clip. Excellent sound in both versions. N.B. NEW STEREO TURNTABLE WITH INTEGRATED ARM SCARLATTI, DOMENICO: Sonatas for Piano: in G, L. 286; in E, L. 23; in C minor, L. 352; in A, L. 238; in F, L. 119 tHaydn: Sonata for Piano, No. 40, in G tMozart: Sonata for Piano, No. 12, Ormandy: his Respighi's hair- raising. in F, K. 332 Ivan Davis, piano. reading is of the utmost transparency, ML 5695. LP. $4.98. in cleanly separated yet COLUMBIA well accented COLUMBIA MS 6295. SD. unexaggerated stereo. Listening to his $5.98. the impression interpretations, one has Ivan Davis gives a far more commend- that he is intent on evoking the spirit that of the pres- able account of his abilities here than he of the past rather than did on his recent Liszt disc: his pianism ent. There is a certain aura of mystery, sections of on this record is much more controlled especially in the quieter five Scarlatti gems and a great sensitivity and interesting. The Roman Festivals, in particular are treated with flexibility in the Fountains. Pedrotti and Ormandy, be and finesse; and although Mr. Davis on the other hand, seem to concerned THORENS TD -135 Like Previtali, Pedrotti preserves the classicism and proportion with the present. inherent in these pieces, he furnishes emphasizes clarity, but also injects a bit COMPLETE WITH INTEGRATED ARM The Czech Philharmonic plenty of fiery rhythmic thrust. accent. more virtuosity. and scintillant color. Furthermore, the is first -rate orchestra, but Pedrotti has For the first time, Thorens in the a playing retains a measure of intimacy TD -135 - it playing even better than usual. He new - offers a component. with while not at all miniaturized. In Longo quality arm and turntable mated with has been accorded reproduction a precision that insures you perfect brilliance, and 23, the pianist uses a text which repeats the requisite spaciousness, the closing refrain, but the liner notes sound ... always ... with a minimum tonal splendor -and all this at a budget of installation effort on your part. performance of Feste make no reference to this unorthodoxy price. Ormandy's (it appears four times in the course of Romane is a hair -and -decibel- raising tour There's no compromise whatever with to have you cheer- the performance). quality such as you usually find in de force, calculated Mr. also deviates from the origi- ing at its conclusion. The over -all volume Davis integrated turntable and arm units. nal text in the second movement of the level is a little higher than that of the THORENS TD-135 is Swiss -precision Westminster or Parliament recordings, Mozart Sonata, where he follows a ver- crafted throughout ... true component the unsurpassed orchestral brilliance sion printed by Artaria and Schott which high fidelity all the way. You get: A and precision 4 shines dazzlingly in both mono and is at considerable variance with Mozart's turntable featuring speeds, manuscript. The clear articulation and all adjustable, with an 8 -pound non- stereo. magnetic table plus a completely Philadelphia conductor takes an rhythmic brio constitute very fine in- ... The strumental playing. but neither the Mo- new, advanced tone arm that's so good entirely different tack with the one - we also sell it separately (see below) movement Sibelius symphony. Nobility zart nor the Haydn are, to my mind, as for use with any turntable of your and consistency are the keynotes here. successfully interpreted as are the choice. Exceeds NAB specs for wow, Tempos are broader than usual, particu- Scarlatti pieces. For one thing, the rumble and flutter. Has same belt -plus- larly in the Scherzo; but everything fits pianist's whole conception of this music idler drive as famous TD -124. Shuts together with glowing logic. P.A. is excessively delicate, even dainty. The off automatically at end of record. bouncy, tinkly account of the Haydn Many, many more features than we first movement, in particular, suggests can detail. SCARLATTI, ALESSANDRO: Messa that this artist retains some rather passé net di Santa Cecilia notions regarding "classical" style. And $110 why must so many of today's musicians Soloists; University of Utah Chorus; persist on playing appogiaturas before Utah Symphony Orchestra, Maurice rather than on the beat so that they Abravanel, cond. sound like musical mosquito bites? In- VANGUARD BG 621. LP. $4.98. deed, though Haydn may have marked VANGUARD BGS 5044. SD. $5.95. this first movement Allegretto innocente. THORENS BTD -12S surely this innocence mustn't be allowed 12" PROFESSIONAL TONE ARM In the best residential section of to extend to musicological points! is called Via today the main avenue But while purists will quibble about Identical arm included with TD -135, but sold Alessandro Scarlatti. It is a busy as separate unit. Less than 0.6' /inch tracking with traffic and details such as these, even they will note error. Built -in cueing device. All adjustments: thoroughfare, crowded the lively of the interpreta- vertical height; calibrated gram- force; stylus lined with good shops. There is some- tions. The exciting virtuosity displayed positioning slide; balancing counter -weight. thing strangely fitting in the fact that Unique vertical pivot keeps stylus vertical for here gave me genuine pleasure, as did any height adjustment. Resonance well below it is named for the composer of the pres- the finely transparent reproduction of audible frequencies. Interchangeable 4 -pin ent Mass, for this music goes about its cartridge shells. Mounted on board for it. H.G. THORENS TD -124, TD-121 affairs in businesslike fashion and it too turntables. is lined with good things. The general $50.00 net tone is festive and ceremonial -the work SCHUBERT: Quartet for Strings, See and hear the THORENS TD -135 and ALL was in 1720 for a wealthy Nea- the members of the "TD" family of fine written No. 14, in D minor ( "Tod und turntables at your franchised dealer's today; politan cardinal. There are lively fugues das Mädchen ") there's one for every budget! For additional at the end of both Gloria and Credo, information, write us direct. a good deal of florid solo writing, and Fine Arts Quartet. ELPA bustling violin figures. All of this is done CONCERTDISC M 1212. LP. $4.98. with the skill of a master: the counter- CONCERTDISC CS 212. SD. $4.98. THORENS DIVISION point is smooth and rich, the instrumental ELPA MARKETING INDUSTRIES, Inc. ritornels sharply profiled à la Vivaldi. Although this is one of the more dra- In the sections where Scarlatti turns in- matic and intense of Schubert's quartets, New Hyde Ptirk, N. Y. trospective -the "Et in terra," the tragic drama and tension are not very prominent CIRCLE 99 ON READER-SERVICE CARD APRIL 1962 77

www.americanradiohistory.com in the present performance. It is clear but SCHUMANN: Quartet for Strings, fairly literal, without much imagination. No. 1, in A minor, Op. 41 These shortcomings are most apparent in -Mendelssohn: Quartet for the slow movement, from which an Strings, air No. 2, in E minor, of brooding and mystery is absent. The Op. 44 recorded sound is full and rather close - Claremont String Quartet. to. For a more felicitous, more idiomatic Music GUILD 19. LP. $4.12 to mem- account of this work, delivered with bers; $5.50 to nonmembers. greater intensity. yet with more forward Music GUILD S 19. SD. $4.87 to MUSiC flow, try the recently released disc by members; $6.50 to nonmembers. the Juilliard String Quartet on RCA Vic- tor. It also includes, as a bonus, the When wrote to Clara Quartettsatz in C minor. P.A. that he was contemplating quartets be- cause "the piano is getting too narrow SCHUBERT: Sonata for Piano, in D, for me," she was not entirely pleased: Op. 53 "Are you, then, thoroughly acquainted with the instruments?" she wondered. Artur Schnabel. piano. The answer, in truth, was no. There are ANGLL COLH 83. LP. $5.98. passages in the A minor quartet that properly belong on a keyboard, and BIGAS Schnabel recorded this Sonata in London others -in fact, much of the last move- on January 26 and 27, 1939, and (as ment-that threaten to burst the strings RCA Victor M 888) his was for a long asunder and might easily, as one observer time the only complete recorded edition has pointed out, occupy a full battery of of the music. Although the current cata- trombones. But in the end, Schumann logue lists several competitive versions, gets away with it. The very individualism including a very beautifully played one of the work is its strength, and there are pages by Sviatoslav Richter, 1 am firmly con- (the fugal opening among them) vinced that Schnabel's profound musical proper enough to have satisfied even understanding, his superior grasp of Clara. The Mendelssohn is better be- structure. and his loving attention to de- haved, and less distinctive. The two mid- tail set his rendition apart. dle movements are charming, however, This is not to say that this is the best and the scherzo in particular allows the playing Schnabel ever did for the phono- Claremont Quartet an opportunity to dis- graph. At times. his tone has a slightly play some fine dexterity and rhythmic harsh. driven quality indicating tense- precision. The performances are under- ness on the player's part. Another factor standing and spirited. though not perfect LFE that leads me to suspect that the pianist -the first violin skims the underside of was pushing ever so slightly is the evi- the pitch more than once. But the musi- Utah's dence of rushed time values and oc- cal essentials are there. the sound is good. High-Fidelity casional rhythmic exaggerations of other and stereo spaces the four instruments sorts. From the purely pianistic stand- very suitably. There are no competing point, then- Richter's lucid. perfectly versions of either work in the catalogue. CONTINENTAL and this fluent and symmetrical execution is to Claremont edition creditably be preferred. fills the gap. SHIRLEY FLEMING SPEAKERS Schnabel's over -all design. however. seems to me much grander. more far- SCHUMANN: Symphony No. 3, in reaching, revealing. and impassioned. E flat, Op. 97 ( "Rhenish ") This Sonata, as Schnabel gives it to us. shows its composer to be a master of New York Philharmonic, Leonard Bern- large- scaled utterance and a builder of stein, cond. propulsive rhythmic momentum compara- COLUMBIA ML 5694. LP. $4.98. ble to Beethoven. Heard in this reading. COLUMBIA MS 6294. SD. $5.98. it transcends Richter's more conventional portrait of Schubert as the genial, Vien- "Mr. Bernstein," says an anonymous nese melodist with a sunny smile. author in the jacket notes for this disc, The first movement, with its swirling "has faith in the rightness of Schumann's ir..petus, is especially compelling here, own instrumentation of the Rhenish and Schnabel's intense delivery of the Symphony. In this recording the listener middle part of the slow movement (he is given the unique opportunity of hear- increases the tempo here considerably) is ing the work just as Schumann left it, another successful stroke of genius. And unburdened with the usual revisions Cl2RD 12" de- WOOFER if the exaggerated reading of the scherzo signed to 'correct' the composer's reputed 2 Lb. Alnico does not wholly convince -Schnabel is deficiencies as an orchestrator." V Magnet and too zealous in his attempt to divide the Is this faith well founded? 2" Voice Coil music into paragraphs, and he overdoes George Szell, who has defended Schu- his re- creation of the accent marks which mann's gifts for instrumentation as elo- YOU GET LIFE -SIZE SOUND in every Schubert placed on the half notes quently as any of his interpreters, none- range, from 20 to 20,000 CPS, with throughout this section -he is back in theless admits the composer's "inability Utah's precision -engineered stereo/ form for a wonderfully fleet and ener- to establish proper balances. This can high-fidelity speakers. Tweeters and getic statement of the finale (though and must be helped with all means known again. one might prefer Richter's more to any professional conductor who pro- mid -range speakers feature a specially comfortable and consistent tempo for this fesses to be a cultured and style -conscious engineered horn formula to enhance movement). musician." "presence ". Each speaker has color - The engineers have done a superb job Bernstein's sound in the Rhenish is coded 4 -way terminals. with the transfer from 78s. The sound thick and (in the first movement in on this disc is fully competitive with that particular) there is little variation in en- 1124 Franklin St. Huntington on the Richter edition. 1 am eagerly semble textures. With his fast tempo and tIECTRRP Indiana looking forward to the day when Angel personal exuberance, however, Bernstein will get around to reissuing Schnabel's makes it go. Szell (Epic LC 3774 and Please mail me specifications prices, and account BC 1 130 ), in the same pages, provides performance details of your Continental lofty of the A major posthu- speaker line. mous Sonata -in my opinion, his great- a great deal of transparency in registra- est Schubert recording. H.G. tion, a variety of textures. and a con- NAME sistent subordination of accompaniments ADDRESS so that the principal thematic lines stand SCHUMANN: Camara!, Op. 9 -See out in relief. His superiority to Bernstein LCITY STATE___- J Mussorgsky: Pictures at an Exhibi- in the second and third movements is tion. based on more than textual matters. He CIRCLE 92 ON READER-SERVICE CARD 78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com chooses better tempos and avoids the Holecek (bs), Second Soldier; Theodor Now! The identical world -acknowledged fussy, sentimental mannerisms Bernstein Kirschbichler (bs), A Cappadocian; permits himself. Zenon Koznowski (bs), First Soldier; On the other hand. Bernstein's flair Max Proebstl (bs), A Jew. Vienna FAIRCHILD for sonorities (plus the resonance of Philharmonic Orchestra, Georg Solti, components are available in what I assume to be Carnegie Hall) cond. makes the scene in Cologne Cathedral LONDON A 4247. Two LP. $9.96. EASY -TO- ASSEMBLE robust tone painting. If you like your LONDON OSA 1218. Two SD. $11.96. Schumann with maximum heft, the Bern- stein will delight you. If you're not sure, For a feature review of this recording, [ITS listen first. R.C.M. see page 61. The same electro- mechanical know -how that for over a quarter century has estab- SCHUMANN: Symphony No. 4, in STRAVINSKY: Symphonies for lished FAIRCHILD as a leader in quality D minor, Op. 120-See Mendels- Wind Instruments -See Debussy: components is now available to the astute sohn: Symphony No. 4, in A, Op. Images pour orchestre. audiophile and kit builder in quality 90 ( "Italian "). controlled ready-to- assemble kits. TARTINI: Concerto for Cello and FAIRCHILD 412 -1K SHOSTAKOVICH: Age of Gold, Op. Orchestra, in D 22: Orchestral Suite -See Bartók: t Corelli: Concerto grosso in G minor, Turntable Kit Miraculous Mandarin: Orchestral op. 6, No. 8 ( "Christmas ") For the astute audiophile who dreams of Suite. tVivaldi: Sinfonia in G owning only the finest the famous FAIRCHILD 412 is now available in kit form. The in C, Vera Dénes, cello; Hungarian Chamber FAIRCHILD 412-1K is SIBELIUS: Symphony No. 7, Orchestra, Vilmas Tátrai, cond. Op. 105 -See Respighi: Feste Ro- identical as its MONITOR MC 2056. LP. $4.98. coun- mane. SD. assembled MONITOR MCS 2056. $4.98. terpart which II: "Treasures The Hungarian Chamber Orchestra, or- includes STRAUSS, JOHANN locked in of ganized in 1957, is another of the now Vienna" numerous groups specializing in baroque synchronous 331/3 Indigo (1001 Nacht): Intermezzo. Pol- and other compositions written for small speed, 8 lb. turntable and kas: Inn Krapfenwald'l, Op. 336: Leichtes orchestras. To judge by the present sam- the famous exclusive FAIRCHILD Double - Blut, Op. 319. Waltzes: Tales from the ple, it is a well -trained collection of able Belt Drive. Comes complete with mounting players, on a par with some of the better Vienna Woods, Op. 325; Emperor Waltz, board. KIT $14.95 Op. 437. Italian, American, and German ensem- bles of this type. There are more im- Assembled $95.00 Vienna Philharmonic Orchestra, Rudolf aginative recordings of the Corelli in Kempe, cond. the catalogues, and the Vivaldi, which I FAIRCHILD COMPANDER® ANGEL 35851. LP. $4.98. could not find in Pincherle's thematic ANGEL S 35851. SD. $5.98. index, sounds like an authentic but mid- Model 510K dle -grade work by that master. The chief Dynamic Realism in kit form! Through the Close, but no bull's -eyes. Kempe obvious- point of interest on this disc is the use of the ly is well versed in the finest Straussian Tartini, a very attractive work in that FAIRCHILD traditions; his program is imaginatively transitional. mid -eighteenth -century style chosen and varied; he tolerates no score which embodies some traits of the dying 11.41 you can now cuts and properly insists on a zither in baroque and others of the oncoming add Dynamic Realism to all Tales from the Vienna Woods. But he Its in Classic era. four movements are your disc and tape recordings. Acclaimed by is unrelaxedly German rather than the old slow- fast -slow -fast pattern, but the COMPANDER Austrian in too careful readings, alter- the third. a Grave, a brooding poetic music and audio experts nating between overintense vigor and reverie, points far ahead. Good sound. restores many of the dynamic values that languid lyricism, which never quite en- N.B. are necessarily controlled in recording or compass the music's essential grace and broadcast. Can also be used os a compres- humor. Then, too, Angel's boldly crisp for background music. KIT $59.95 TCHAIKOVSKY: Concerto for Vio- sor stereo recording reveals only too trans- $15.00 parently that the conductor's nervous lin and Orchestra, in D, Op. 35 Assembled tension is reflected in his players' exces- FAIRCHILD 440 -2K sively taut tonal qualities. (The LP seems David Oistrakh. violin; Philadelphia Or- tonally duller and heavier than the SD, chestra. Eugene Ormandy, cond. Turntable Kit has rougher sur- COLUMBIA ML 5698. LP. $4.98. and my review copy This Fairchild single -belt drive, two -speed faces as well as considerable background COLUMBIA MS 6298. SD. $5.98. hum or tube -"roar." which apparently turntable, 33'h and is inherent in the master recording since Of the many recordings David Oistrakh 45 rpm., has per - it is occasionally noticeable in both edi- has made of the Tchaikovsky Concerto, formance charac- tions.) Yet it is only fair to note that this must surely rank as the best. His teristics similar to despite such flaws these performances suave tone has never sounded richer, the famous FAIR- while everything is in its proper place are never lacking in dramatic interest. ' CHILD 412. This The vibrantly incisive polkas (especially interpretatively to produce a well- propor- tioned. glowing account of this lyrical robustly designed FAIRCHILD 440 -2K kit Iin Krapfenwa/d'l, with its exceptionally with fast speed change, accurate speed impudent cuckoos) are exhilarating, and masterpiece. The first movement appears even Kempe's mannerisms cannot mask to he uncut. though the usual excisions control through use of FAIRCHILD Speed the originality and seductive charm of are made in the finale. Ormandy and his Sentinel, unusual low low rumble and prac- the bonus here -Josef Strauss's I)vnami- superlative orchestra provide ideal sup- tically immeasurable wow and flutter makes den Waltz., appropriately subtitled "Mag- port. and the reproduction matches the this a desired addition to any quality netic Attractions." R.D.D. glow of the performance. P.A. component system. Comes complete with mounting board. KIT $58.00 STRAUSS, RICHARD: Salome TCHAIKOVSKY: The Nutcracker, Assembled $69.95 Op. 71 Birgit Nilsson (s). Salome; Liselotte All these FAIRCHILD KITS are available Maikl (s), A Slave: Grace Hoffman Utah Symphony Orchestra, Maurice at your audio dealer. Write for com- (ms), Herodias; Josephine Veasey (c), Abravanel. cond. plete details. Page of Herodias; Gerhard Stolze (t), VANGUARD SRV. 123/24. Two LP. Herod; Waldemar Kmentt (t). Narra- $3.96. both; Nigel Douglas (t), Second Naza- VANGUARD SRV 123/24 SD. Two rene; Kurt Equiluz (t), Aron Gestner SD. $5.96. FAIRCHILD (t). Paul Kuen (t). Stefan Schwer (t). RECORDING EQUIPMENT CORPORATION Jews; Eberhard Wächter (b), Jokanaan; Normally, after praising the gleamingly 10-40 45th Ave., Long Island City 1, N.Y. Tom Krause (b), First Nazarene; Heinz bright and clean recording here (scarcely CIRCLE 42 ON READER -SERVICE CARD APRIL 1962 79

www.americanradiohistory.com less attractive in monophony than its VIVALDI: Psalm 126, Nisi Dominus; of course even airier stereo edition), one ¡Magnificat, in G minor would assign a relatively low rank to GRANT this latest entry in the complete Nut- Emilia Cundari, Angela Vercelli, so- cracker discography. For it's impossible pranos (in the Magnificat); Annamaria JOHANN ESEN to claim that Abravanel's "concert" read- Rota, alto; Polyphonic Choir of ing approaches the balletic grace of (in the Magnificat); Angelicum Orches- PLAYS Irving's, the poetry of Rodzinski's, or tra of Milan, Carlo Felice Cillario, cond. the blazing virtuosity of Ansermet's; and Music GUILD 11. LP. $4.12 to mem- even at its best the Utah Symphony (and bers; $5.50 to nonmembers. GABRIEL Í^ University of Utah Chorus in The Waltz Music GUILD S 11. SD. $4.87 to of the Snowflakes) cannot match the members; $6.50 to nonmembers. FAURE tonal refinement and brillance of these rival conductors' forces. But Vanguard's There are somewhere between a hundred Vol. I -CR 4030 shrewdness in releasing this otherwise and two hundred instrumental works by routine album in its bargain-price "dem- Vivaldi on discs, but only four of his Vol. Il -CR 4046 onstration" series gives it a substantial sacred vocal compositions are listed in special significance in that it is sure to Schwann. This reflects the general atti- .. the music as it should be played." tempt listeners previously unfamiliar with tude towards the Red Priest: his instru- -N. Y. Times the complete score to discover how much mental works are being published and more there is in this ballet than in the discussed and analyzed, but not so his familiar suite or abridgments alone. operas and choral works. That this im- FRANCIS R.D.D. balance has been depriving us of some fine music is shown by the present disc, POULENC a first recording of the works it contains. TCHAIKOVSKY: Romeo and Juliet: The Psalm, for alto and orchestra, has CR 4042 Balcony Scene Duet -See Glinka: much of interest in it, such as the skillful Songs. writing for the voice, a darkly expressive . . this one is sheer fun to hear' da capo aria ("Cum dederit"), and an -N. Y. Herald Tribune effective use of the viola d'amore as VERDI: "Great Duets" obbligato instrument in the "Gloria Patri." But it is the Magnificat that is : Io s'erigo a domandar. Aida: Available at your dealer especially impressive: it is as fine a work Pur ti riveggo. : Vieni by this master as I have heard. As was a mirar. Un Ballo in maschera: Teco io customary in the baroque period, each or write .sto; Non sai tu. nella notte. Otello: Giù sentence is set as a separate number. Some of them are made into beautiful Eileen Farrell, soprano; Richard Tucker, arias GOLDEN CREST RECORDS tenor; Orchestra, for soprano, mezzo, or alto; the Columbia Symphony rest are Fausto Cleva, cond. choral movements, powerful and 222 Broadway dramatic when the COLUMBIA ML 5696. LP. $4.98. text invites such qual- ities ( "Fecit potentiam," "Deposuit po- Huntington Station, N. Y. COLUMBIA MS 6296. SD. $5.98. tentes"), or full of poignant harmonies ( "Et misericordia"). There is little em- Listeners who do not own satisfactory phasis on counterpoint: melody. har- CIRCLE 45 ON READER-SERVICE CARD complete editions of most of the operas mony, and rhythm are the chief elements represented here may find this disc of this expressive music. The soloists per- ROBERTS STEREO TAPE RECORDERS rewarding enough. The music is all top - form their tasks capably. the chorus is grade Verdi, and the combination of good, and the sound is quite satisfactory. Tucker's utterly reliable, resonant tenor N.B. with Farrell's sumptuous soprano means that the music is, in a general way, done justice. Still, much of Farrell's singing VIVALDI: Sinfonia in G -See Tar - LAWRENCE WELK: is on the passionless. static side, almost tini: Concerto for Cello and Or- My Roberts 1040 as if her attention were wandering. and chestra, in D. failure to do more than tape recorder is Tucker's outline a treatment of the music means that his the closest to portion of the singing is predictable and WHITNEY: Concertino recording studio not terribly varied. TKurka: Symphony No. 2, O. 24 equipment that I There are opportunities missed. Neither have seen.' artist really gets beneath the surface of Louisville Orchestra, Robert Whitney, the Don Carlos scene, which is one of cond. the most subtly painted in all Verdi. For LOUISVILLE LOU 616. LP. $5.98. some reason, Gabriele's "Cielo di stelle (Available on special order only.) orbato," which is supposed to be sung offstage at the beginning of the Boc- As conductor of the Louisville Orchestra, canegra excerpt, is barreled into the Robert Whitney has been responsible ONLY THE ROBERTS 1040 microphone as if the tenor were standing for the commissioning, first performance, stage. 4 -TRACK STEREOPHONIC TAPE RECORDER on the apron of the Cleva, whose and recording of more modern music Combines these Advanced Features: accompaniments here are never more than all the other current conductors than routinely adequate, is so insistent of American symphony orchestras rolled Unique "listen -to- yourself" feature Records new about his steady quick beat in the Ballo into one; this, however, is his first re- FM MULTIPLEX STEREO CASTS 4-track stereo duet that both singers tend to sound at cording of any of his own music. The and monaural record stereo /play 2 -track and some points like voice machines rather Concertino is a light, extremely gracious, monaural play Sound- with -sound, using either than artists. And surely a retake could piece in four movements, a little in the track as track Dual, self power basic contained have put more squarely on stereo amplifiers Dual, built -in extended range Mr. Tucker tradition of Grieg's Holberg Suite. stereo speakers . Automatic shut -off. pitch for his "Giù la pleiade ardente in Robert Kurka, whose Second Sym- $32950 mar discende" near the end of the Otello phony is on the other side, died prema- duet; in his effort to create an effect of turely in 1957. The symphony is a vivid, immobility, he manages to sing quite dis- hard -driving but finely shaped ROBERTS ELECTRONICS, INC. Dept. HF -4 -L brilliant, 5920 Bowcroft Ave., Los Angeles 16, Calif. tinctly below the tone throughout the affair. basically in the sec, neoclassical Please send me: phrase. style, but with genuflections to Copland Roberts Stereo Tape Instruction Manual contain- None of these things is a disaster in and Prokofiev by the way. The piece ing stereo and monaural applications. I enclose 25« (cash, stamps) for postage and handling. itself, but together they conspire to turn indicates that Kurka could have gone The name of my nearest dealer. what should have been an exciting record far. but its values are by no means purely Name into a collection of competently done. symptomatic; it is well worth hearing occasionally rousing scenes. The sound and treasuring for itself. The perform- Address per se is good. though there seems little ances are presumably of the highest au- City Zone State difference between the mono and stereo thority and the recordings themselves are versions. C.L.O. good. A.F. CIRCLE 72 ON READER-SERVICE C SRD 80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com these pieces, she is particularly expres- RECITALS AND sive, and produces exemplary legato scale passages as well as a strong, round high note. Long, florid phrases are smoothly MISCELLANY negotiated. Altogether an interesting and rewarding disc, well recorded. N.B. Stereo Festi- E. POWER BIGGS: "A VICTORIA DE LOS ANGELES and val of French Organ Music" DIETRICH FISCHER- DIESKAU: Widor: Organ Symphony No. 5: Toccata Vocal Duets Fantasia in E flat. in F. Saint -Saëns: wander; Lost is my quiet. Franck: Pièce héroïque. Gigout: Scherzo Purcell: Let us No. I: Haydn: Schlaf in deiner engen Kammer. in E. Vierne: Organ Symphony bella Irene. Litanies. Dupré: Varia- J. S. Bach: Ah, lamenta oh Final. Alain: Oh! Would I Were but That a Noël. Beethoven: tions on Sweet Linnet; He Promised Me at Part- ing; They Bid Me Slight My Dermot E. Power Biggs, organ. wer COLUMBIA MS 6307. SD. $5.98. Dear; The Dream. Schubert: Nur die Sehnsucht kennt. Berlioz: Le Tré- A PRECISION Der Apfel. This recording gives more of a left -right buchet. Dvofák: Möglichkeit: any other stereo Tchaikovsky: Schottische Ballade. Saint - 4 SPEED antiphonal effect than Pleurs d'or. organ disc I have ever heard. Whether Saëns: Pastorale. Fauré: ideal is arguable, or not this treatment is Victoria de los Angeles, soprano; Die- but it seems well enough suited to the baritone; Gerald to excite the trich Fischer -Dieskau, music at hand, and it is sure Moore, piano; Eduard Drolc, violin, and neophyte with brand -new twin- channel Irmgard Poppen, cello (in the Haydn and equipment. The new Möller organ in St. is ac- Beethoven). PLAYBACK UNIT, George's Church, , ANGEL 35963. LP. $4.98. and Choir -. tually three organs, the Positiv ANGEL S 35963. SD. $5.98. SECOND TO NONE divisions on the left, the Great and with Swell to the right, and a Bombarde This is a very beautiful record, if one s9950 Principals and Reeds high in a gallery will sit back and let its total effect take for only complete in the rear. The pedal stops are dis- hold. There are certain problems inher- tributed among the three sections. The ent in the De los Angeles /Fischer -Dies- for stereo exploita- resulting possibilities kau partnership. The timbre and quality For the ultimate in record tion are obvious, and Biggs takes full of each voice is quite distinct; the two advantage of them, albeit with complete singers' approaches to interpretation dif- playing togetherness, ask musical taste. The music, selected from fer, sometimes rather startlingly; and, in your dealer for the ESL Con- works of late nineteenth- and as the languages where neither of them sings unit twentieth -century French organist -com- a native, their accents are not similar. cert Series playback - posers, is mostly of a showy nature, and All these things stand in the way of what the unique, high performance and fleet - Biggs gives it bright registration we might call "perfect" duet singing. Yet. Gyro /Spension turntable, the fingered delivery. From both the sonic because each artist places the music and musical standpoint, the most inter- ahead of everything else, and because famed Super Gyro/ Balance esting of the pieces is Marcel Dupré's each of them is expert in the techniques arm and the Triumphant new Variations on a Noël where, at one point, scaling and coloring the voice, such of Redhead stereo cartridge there is a canon between the left and problems are minimized. - right organ divisions. In addition to fine What we are left with are two of the all factory assembled for separation, Columbia has provided re- richest, best-controlled voices in the your instantaneous pleasure. production that is wide in tonal and vol- world today, applied to strong expressive ume range. P.A. purpose in music which we do not often This harmoniously engi- hear. at least in duet form. The high neered combination assures point, for me, is the Bach "Ah. lamenta APRIL CANTELO: Eighteenth -Cen- oh bella Irene" -purely focused, flowing you the finest reproduction tury Shakespearean Songs bel canto singing of the finest sort. But obtainable ... just plug it in. no one will want to miss the quasi -oper- April Cantelo, soprano; Raymond Lep- atic drama of Tchaikovsky's setting of ESL -61 Concert Series harpsichord; English Chamber Or- pard, the Ballad of Edward either, or the mur- playback unit, complete, chestra, Raymond Leppard, cond. muring of the lovely Saint -Saëns Pasto- OISEAU -LYRE OL 50205. LP. $4.98. rale. The music, in fact, is all quite $99.50 V OISEAU -LYRE SOL 60036. SD. $5.98. lovely. except for a cute little horror by Berlioz called Le Trébuchet: let us hope The present disc comprises a well- chosen that these two artists will now turn their selection of fourteen songs, most of them attention to some of the Mendelssohn FOR LISTENING AT ITS BEST with texts from Shakespeare's plays. All two -part songs or to other neglected cor- the composers are English except Haydn nerstones of the literature for two voices. -Sonic (She never told her love, from Twelfth The instrumentalists' contributions are Electro Night) and John Christopher Smith, the thoroughly praiseworthy. Inc. German -born son of Handel's amanuen- Precisely because the stereo version Laboratories, sis (three songs). There is variety in does such an excellent job of distinguish- Dept H 627 Broadway New York 12, NY style and mood, and a rather high level ing among timbres -of separating the of quality. Some songs are accompanied elements, and not quite nutting them by a string orchestra (sometimes with back together -I find that the mono edi- flute), the rest by a harpsichord, tion makes pleasanter listening. C.L.O. although two of these-the Haydn and William Linley's Now the hungry lion roars-might have been done on a piano DOM JOSEPH GAJARD: Gregorian instead. Miss Cantelo reveals a wide Chant range of skills. She colors her tones nicely in accordance with the texts, sing- Choir of the Monks of L'Abbaye Saint ing with vigor in John Weldon's Take, Pierre de Solesmes, Dom Joseph Gajard, o take those lips away, with delicacy and O. S. B., cond. fancy in Smith's You spotted snakes, LONDON 5632/33. Two LP. $4.98 each. with lovely, flowing lyricism in T. A. Arne's Thou soft -flowing Avon (to a text These discs are devoted mainly to the by Garrick). and with mock sadness in Ordinary of the Mass for various oc- Smith's Sigh no more, ladies. In Arne's casions. No. 5632 offers Masses I, IX, Come away Death, one of the best of XI, XVII, and XVIII. Appended to CIRCLE 39 ON READER -SERVICE CARD APRIL 1962 81

www.americanradiohistory.com Mass I is the antiphon Vidi aquam. The William Kapell, piano; Boston Symphony listing of the contents on the sleeve of Orchestra, Serge Koussevitzky, cond. (in this record is incomplete: it omits the the Khachaturian); Robin Hood Dell Sanctus in Masses I and XI and the Ag- Orchestra, Fritz Reiner, cond. (in the nus in Mass IX, but these chants are in- Rachmaninoff). cluded on the disc (and listed on the la- RCA VICTOR LM 2588. LP. $4.98. bels). Especially striking is the Kyrie of Mass XI, with its sinuous curve and un- It seems to me that the repertory chosen common leaps. One is accustomed to for this Kapell memorial pays dubious thinking of these ancient melodies as homage to the late pianist. Kapell's mag- purely modal, yet several of them -the nificent recording of the Rachmaninoff Sanctus and Agnus of XVII, the Sanctus Rhapsody has been crying out for re- and Agnus of IX -are squarely in a issue, and why can't RCA re- release it major key. No. 5633 continues with in its entirety? Eighteenth Variation, in- Masses XII and XV and the Requiem deed! And in regard to the Khachaturian Mass. The last is rounded off by the Concerto. I submit that Victor should be an angel antiphon In paradi.sum. It seems to me have entitled the release "The Art of that Dom Gajard's finely trained choir Serge Koussevitzky," for that conductor's sings here with even more fervor and absurd posturings and interpretative pre- rhythmic and dynamic nuance than tentiousness are certainly the dominant to us in London usual. N.B. features of the performance. In an at- write tempt to endow this intentionally flashy for a free back issue of REC- concerto with "significance," the late BENIAMINO GIGLI: Operatic Re- conductor draws from his cital orchestra ORDS & RECORDING Or MUSIC weighty, -like declamations, and poor Kapell, brilliantly Leoncavallo: I Pagliacci: Vesti la giubba. though he plays, & MusicIANs -the illustrated Verdi: is all but crushed under the lugubrious Rigoletto: La donna è mobile. tonnage of the B.S.O. Aida: Celeste Aida. Puccini: Tosca: E The Mephisto and Albéniz perform- English monthly magazines lucevan le stelle. La Bohème: Che gelida ances were recorded at an early stage in manina. Donizetti: L'Elisir d'amore: Una Kapell's which are absolutely devoted furtiva tragically short career, but both lagrima. Massenet: Manon: O are excitingly rendered. The dolce incanto. Bizet: : Il fior sound of to classical records and music. the solo selections is adequate, that of che avevi a me tu dato. I Pescatori di the Khachaturian, wheezy on top, boomy perle: Mi par d'udir Agnus ancora. Dei. below. Let us hope RCA will issue a Handel: hap- Serse: Ombra niai fu. Gounod: pier sequel to this ill- judged disc. H.G. HANSOM BOOKS Faust: Salve, dimora. Beniamino Gigli, tenor; various orches- LOUIS LANE: "Music for Young 7 & 8 HOBART PLACE tras and conductors. America" ANGEL COLH 118. LP. $5.98. LONDON SWI, ENGLAND Cleveland Pops Orchestra, Louis Lane, This is an excellent representation of cond. the Gigli of the 1930s -that is, Gigli at EPIC LC 3819. LP. $4.98. CIRCLE 48 ON READER -SERVICE CARD vocal flood tide (though for some purely EPIC BC 1154. SD. $5.98. lyrical roles he was probably in his best estate during the first fifteen years of his The main thing here is the suite from lengthy career). No tenor has been more Herbert Elwell's The Happy Hypocrite. musicA generously gifted, at least in terms of This was written for the dancer, Charles voice; certainly our century has known Weidman, and anyone who ever saw his A no more beautiful sound. On the other dance composition of that title. based on ntiquA hand, few a singers are such infuriatingly story by Max Beerbohm, will never sloppy musicians, such annoyingly taste- forget it; it was one of the masterpieces 13 o hemica less interpreters. of . One good reason for Both the good and the bad are demon- its success was Elwell's delightful score, strated on this disc. On the credit side which is as clever a piece of satirical are the magnificent legato of this "E and lyric music. in a light, transparent lucevan le stelle"; the incredible sus- vein. as the American repertoire affords. tained mezza voce of this "Mi par d'udir The disc also includes Copland's well - ancora"; the sheer liquid luster of tone known Outdoor Overture, a suite from throughout the recital. On the other Menotti's Amahl and the Night Visitors. hand. there is a "Che gelida manina" Wallingford Riegger's Dance Rhythms, spiked with aspirate h's, unnecessary and Arthur Shepherd's The Old Chisholm breaks in the line, and notes slid over so Trail. All in all, a singularly bright, en- Of QecoRbe carelessly as to be almost unvoiced. The tertaining, and instructive set, beautifully ' unique collection same absurdities mar the "Flower Song" performed and recorded. A.F. mAsteRpieces (though to a lesser extent), and several of the other renditions, effective as they faom 18th centuay bohemiA are. would be still better with closer at- JAMES PELLERITE: Flute Recital tention to the composer's instructions and Poulenc: Sonata for Flute and Piano. gRzwb paix bu bisque 1 to ordinary good taste. In some ways. I Mozart: Sonata for Violin prefer the Victor collection 2337), and Piano, be l'ncnbémie ch.Rles caos, puais (LM in F, K. 13. Hüe: Fantaisie. Bournon- which represents the Gigli of a few years ville: Danse somewhat fresher -voiced. pour Katia. Paganini: Ca- made well, with earlier- some- price No. 23, in E flat. Debussy: "The recordings...were what less Chil- to the special effusive -and which includes dren's constant adaptability the magnificent Corner Suite- Le petit berger. the pieces in hand. Gigli /De Luca duets. Popp: characteristics of Angel's record includes Nachtigallen Serenade. these six records represent the handsome Altogether, informative booklet, complete with texts an admirable idea handsomely carried v lames Pellerite, flute; Ashley Miller, and translations, that is usual with out." Saturda Rec re- piano. leases in this series. C.L.O. GOLDEN CREST RE 7010. LP. $4.98. Beautifully packaged in a linen jacket with a booklet of extensive musical an- WILLIAM KAPELL: "The Unfor- This disc is one of a series of recital notations and handsome full color art gettable Kapell" records featuring various wind instru- reproductions. ments and designed with the student in Suggested list price Sti 9s per record Khachaturian: Concerto for Piano and mind. It makes for good listening by Orchestra, in D flat. Albéniz: Evocación. anyone. Especially is this true of the Exclusive Distribution by Liszt: Mephisto Waltz. Rachmaninoff: charming little Poulenc Sonata. which is ARTIA- PARLIAMENT INDUSTRIES, INC. Rhapsody on a Theme by Paganini: closely related to the composer's earlier 38 West 48th Street, N. Y. C. 36, N. Y. Variation 18. Sextet for Piano and Winds. The amaz- CIRCLE 8 ON READER -SERVICE CARD 82 HIGH FIDEI ITY MAGAZINE

www.americanradiohistory.com .1VANGUARD RECORDS Historic collaboration presents ingly chromatic Mozart Sonata, written when the composer was eight, and Hüe's A TREASURY OF EARLY ERICH KUNZ Fantaisie, a typical flutist's showpiece, MUSIC "A rousing, ribald and thoroughly are also noteworthy. FRENCH ORGAN splendid songfest." Pellerite, who served for a season as Andreas Silbermann, one of the great organ Playboy, on Vol. 1 first flutist of the Philadelphia Orches- builders of all time completed the Organ for "An unquaified triumph of the tra, is a master of his instrument. His the Abbey Church of Marmoutier, Alsace in recording art." is full and appealing in all registers, 1709. His sauve and gentle bourdons, varied tone mutations, excit- High Fidelity, on Vol. 2 his technique secure, and his interpreta- and incisive reeds, colorful ing Fourniture, Cymbale and splendid Cornet "No happier eients have occurred tions clear and straightforward. He in a 13th C. nave join and swirl about you of Viennese ebullience." sounds particularly effective in the to offer a new listening experience - The for lovers Poulenc Sonata and the unaccompanied French Baroque Organ, and its Music. Washington Star, on Vol. 3 Paganini Caprice, the latter requiring Melville Smith, awarded the 1961 Grand "WcnderfuLy iuman songs ... is Prix du Disque for his recording of the some rapid octave shifts. Miller an ex- Valois, consummate artistry." complete works of De Grigny 1 Disques on. Vol. 4 cellent sonata partner and accompanist. Paris) is, in the words of an outstanding Mrsical Courier, There is exceptional realism and equita- French critic, "a scholar completely aware of and now ble balance in the full -range, close -up the traditions of the French organ school, - recording. P.A. whose playing recreates the nobility, the GERMAN ardent zeal, and the intense vitality and inner life of this music." UNIVERSITY SONGS STEWART ROBB: Musk for Harp- Peter Bartók, Master recording engineer, takes you on a journey in time for an expe- Vol. 5 sichord and Virginal rience of tonal beauty and historic integrity. Mono and Stese() He is your link to the serious side of this Stewart Robb. harpsichord and virginal. great period so often dismissed as a comedy \1 FOLKWAYS FM 3320. LP. $5.95. of perfumed ladies and gentlemen, namely, the music of the divine service, presented at building one side of the present disc Mr. Robb, its best, in a beautiful and resonant On a superb instrument of the period. at the harpsichord, plays La Capricciosa, on a theme with thirty -one variations. This A TREASURY OF EARLY FRENCH ORGAN MUSIC Vol. I (CRS -506) Pieces from the Livre work was first published in 1942 and its d'Orgue of Nicolas de Grigny and the authorship is ascribed to Dietrich Buxte- Suites of J. F. Dandrieu: hude. Some of the variations are imagina- Vol. Il ( CRS - 507 ) The Hymn "Exsultet tive and of differing moods. others are Coelum" of Jean Titelouze, Offertoire in the whole C of François Couperin, bell pieces of rather monotonous, but on Louis Couperin and Nicolas Lebègue, the it is a very interesting set, a kind of Benedictus of Couperin, the Basse de predecessor of the Goldberg Variations, Trompette of Clèrambault, and the though there is no evidence that Bach Dialogue du Troisième Livre of Louis it. Side 2 pieces by Byrd. Marchand. knew contains FROM YOUR DEALER, or S4.98 each Bull. Gibbons. Frescobaldi, and Purcell record post -paid (mono only). all and two anonymous dances, played Songs of Revelry Riba dry and Romance on a modern virginal. Especially attrac- with chorus and orchestra of the Vienna tive among these are the songlike Pavana CAMBRIDGE RECORDS. INC. State Opera, Anton l'aulik conductor. by Byrd. and the charming anonymous 473 Washington Street, Wellesley 81, Mass. Send for free catalog. Vanguard 154 W. 14 St., N.Y.. Corranto. Except for Purcell's "Sicili- CIRCLE 23 ON READER -SERVICE CARD CIRCLE 93 ON READER- SERVICE CARD enne." where the rhythm is curiously halting, all the pieces are nicely played, and the sound is excellent. N.B.

SIR MALCOLM SARGENT: "English 1HE CYBERNETICqI), of the Twentieth Century" FNG/NF Royal Philharmonic Orchestra, Sir Mal- colm Sargent, cond. FRFO ANGEL 35889. LP. $4.98. ANGEL S 35889. SD. $5.98. Two of the three works recorded here are not ballets at all. but concert pieces reel... to which has been com- posed. They are Sir William Walton's even 1ò%" Façade, in its orchestral version, and Benjamin Britten's Simple Symphony. The third piece, Gustav Holst's The Per- fect Fool, is (or was) an opera that con- tained a ballet: the three dances presented here are pleasant but unimpressive. This release as a whole is a devastating comment on the use of British music in MIXING CONTROLS the British dance theatre. The English don't commission their best composers to 2 INPUTS EACH CHANNEL write ballet scores but take over their MONITOR WHILE concert works for the stage, and such RECORDING ballet music as they do commission is not very good. There are some excep- POINTER-TO POINTER tions to these generalizations, but on the RECORDING LEVEL METERS whole they are true. 4 DIGIT COUNTER Façade has, of course, been recorded many times. Sir Malcolm underlines its insouciant qualities very deftly, but the best thing on the disc is the delightful Symphony by Britten. This work was NEWCOMB written when its composer was nineteen years old, although some of its material They're the easiest to operate tape recorders made because they are cyber- goes back to his early childhood. It is netically engineered - tailored to intuitive operation. The natural thing to for string orchestra, and it reminds one do is the right thing to do. Furthermore, they are most gentle with tape. Tape a little of Schubert in the purity of its transport has been granted a U.S. patent.There are two models - SM-310, tunefulness and the frank simplicity of half -track; SM- 310 -4, quarter- track. Write for free catalog. its appeal. A.F. NEWCOMB AUDIO PRODUCTS CO., Dept. W-4 6824 Lexington Ave., Hollywood 38, Calif. CIRCLE 102 ON READER-SERVICE CARD APRIL 1962 83

www.americanradiohistory.com SOUND EFFECTS! .r.R.o WORKSHOP EERIER .TSRO 4444\\ \ \ \ \ \ \\ WORK.MOO EERIER 4444444444444 444444411 14\\ 44444 \4444444 14 11 44444 \1444 444 11 4 \44 \44444 INGENUITY IN .. l'f I,,.liI 1IYL', I\ "111' DUAL HAMMOND ORGAN MOO. COLO

' 191041aMLiu.u,uELauI I rl 1,,t/ii J L `

NEW PERSPECTIVES IN IINGENUITY PIANO SOUNDS... IN SOUND DAVID SWIFT B /BS 1441 ...BUDDY COLE B /BS 1442

\111\\\\\\\ 11 11 \\\\\ 11 \1111111111 \1111111111 \ \11 11 41111 \ \ \ \\ \\\\\\\1\\\\\\\\\\\\4\ \ \4 \\ \11411 DYNAMIC ADVENTURES \\\\ THE FOURTH DIMENSION IN SOUND IN SOUND

It:3V1,

NNE THE FOURTH DIMENSION DYNAMIC ADVENTURES IN SOUND... IN SOUND SHORTY ROGERS ... MEL HENKE B /BS 1443 BIBS 1447

There are all kinds of sound effects. And all kinds of sound affects! Here at Warner Bros., where recorded sound was born, we take a rather special interest in the discovery of new directions. Six months ago Warner Bros. Records assigned a task force of fine composers and arrangers and top recording engineers to produce The Stereo Workshop Series. O This creative team, while recogniz- ing that the purpose of sound recording is never to distort the music itself, maintained that audio recording techniques can enhance music presentation. Experimenting with both theory and prac- tical application, the Workshop group crystallized an exciting new concept that not only extends the frontiers of sound recording, but adds a dramatic new perspective to music itself. O Through the use of as many as six separate Ampex recording decks, overdubbing, re- recording, and absolute audio separation (sometimes by simultaneous use of two or more recording studios) composers and arrangers are given a new means of musical expression. Added to tonal, rhythmic and harmonic dimensions is a fourth -space! Result: audio adventures that explore uncharted patterns of music and sound. Listen!

the first name in sound WARNER BROS. RECORDS 4000 Warner Boulevard BURBANK, CALIFORNIA CIRCLE 103 ON READERSERVICE CARI)

} HIGH FIDELITY MAGAZINE

www.americanradiohistory.com e

POPULAR THEATRE FOLK

For Each Song,

Some Slight Personal Way i

V "Broadway's Fair Julie." Julie Andrews; Henri Rene and His Orchestra. Columbia CL 1712, $3.98 (LP); CS 8512, $4.98 (SD). Oh rare Miss Andrews.

THE "Made in America" career of England's Julie sion to be recorded by English Columbia. (I have Andrews is one of those old -time Cinderella yet to meet anyone, though, who ever heard the stories in the annals of the theatre. When Miss recording.) Three pantomimes and six years later Andrews arrived in this country in the summer of she came to New York. 1954 as a member of the cast of the American pro- On the night of September 30, 1954, she stepped duction of The Boy Friend, she was completely on stage as the blond- wigged heroine of Sandy unknown to American audiences. For that matter, Wilson's delightful spoof of the musical comedies she was almost equally unknown to London theatre- of the Twenties, giving one of the most enchanting goers, although some may have remembered her ap- performances seen in the New York theatre in years. pearance in Starlight Roof, a London revue of 1948. The show received unanimous praise, and on October In this extravaganza she had been given, at the tender 1, Julie Andrews awoke to find herself a star. If age of thirteen, a solo spot during which she sang Sandy Wilson and his director, Vida Hope, were re- "Je suis Titania" from Thomas's opera Mignon. sponsible for discovering her potentials, it was Lerner It is unlikely that her performance was compared and Loewe, however, and the late Moss Hart who to Tetrazzini's, but it evidently made enough impres- developed and fully exploited them, first in My Fair

APRIL 1962 85

www.americanradiohistory.com Lady and later in Catnelot. Yet, although her career 1 Feel Pretty, her phrasing of certain words is so has been shaped by American directors and methods, expressive that the portrait of a young girl in love she remains, au fond, a very English performer, with is literally created in front of the listener's eyes. a style and manner that seems to have strayed out of Arlen's A Sleepin' Bee, one of his most delicate and one of the better Edwardian musical comedies. inspired songs, has long been a personal favorite of Today she has become that rarity in the musical mine. I have never heard it more beautifully sung, comedy theatre-a beautiful woman with stunning or its lyrics more beautifully handled. It is a joy. stage presence, a good actress, a resourceful come- And How Are Things in Glocca Morra? -the appeal dienne, and a leading lady who can really sing. of which has eluded me all these years- becomes a Apart from her work on the original cast re- revelation. Miss Andrews brings to the questioning cordings of her three starring vehicles, Miss Andrews phrases in the lyrics a sort of youthful eagerness has not made many recordings. Two still remain which finally makes the whole song fall into place. in the catalogue, a collection of children's songs and From Kurt Weill's score for Lady in the Dark she stories (with Martyn Green) on Angel, and RCA's has chosen This Is New, a song I have always re- Rose Marie, in which I felt she was sadly miscast. garded as the personal property of the great Gertrude Her most charming recorded program, a fine collec- Lawrence. Miss Andrews sings it almost exactly tion of songs by Kern, Coward, Gershwin, and Arlen as Miss Lawrence did -the same tempo, the same (RCA Victor LPM 1681), has been deleted. But wonder in the voice; and since Miss Andrews has a wonderful as that was, it is now superseded in every more musical voice, I must, rather reluctantly, way by Columbia's new recording of outstanding give her the palm. And so it goes with the re- show tunes, which, with one exception, might all mainder of the program, each song illuminated have been written expressly for this singer. The by some slight personal way with both lyrics and exception -A Fellow Needs a Girl, from Allegro - melody, nothing out of place, everything perfection. Miss Andrews sings beautifully, but it simply isn't This sweet, lyrical voice is beautifully presented right for her or for any female vocalist. The re- in Columbia's excellent stereo sound, which also does mainder? I can only single out what seem to nie the full justice to the fine arrangements (by whom ?) finest performances in a wonderful program. which the Henri Rene Orchestra plays so hand- In an absolutely fascinating performance of somely in accompaniment. J.F.I.

Eighteen Virtuosos Who Play

"Accordiorama." Hohner Accordion Symphony Orchestra, Rudolf Wiirthner, cond. Vanguard VRS 9098, $4.98 (LP); VSD 2105, $5.95 (SD).

Conductor Rudolf IVfirthner.

THERE WAS A TIME when I shared the Common Damme, and others) but that a few exceptional supercilious inability to recognize the accordion's soloists could endow it with true artistry in more potentials as a serious musical instrument. Indeed, substantial repertories. The recorded transcription I probably would have contemptuously dismissed recitals by Mogens Ellegaard for Vox and Charles an accordion- orchestra program unheard. That time, Magnante for Award Artists, plus the older but I am glad to say, is no more. still extraordinary Angel LP of Yuri Kazakov's Enlightenment came with hearing Larry Adler performances on the bayan -a Russian variety of and John Sebastian demonstrate the unsuspected re- button -key accordion or concertina -come at once sources of another long- disdained instrument, the to mind. Probably there are others, but these alone harmonica. Then I discovered that the accordion at least prepared me for what is to be heard in too not only could be played with genuine distinc- the present release. Here some eighteen virtuoso tion in pop and jazz styles (by Jo Basile, Art Van instrumentalists (genuine musicians, who just happen

86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to play accordions), plus a highly professional per- cally expressive sonics themselves (caught to per- cussionist, are led by an electrifyingly vital conduc- fection in extremely pure and rich recording, but tor in transcriptions of familiar light symphonic most expansively and authentically so in stereo), favorites. the readings are not only in admirable taste but What the redoubtable young Rudolf Würthner are characterized throughout by rhythmic zest and and his obviously well -drilled players can do- controlled strength. and how well they meet the highest standards of There are also, to be sure, a couple of tour -de- precision, phrasing, tonal nuance, richness of sonor- force show pieces: Würthner's own Concert Etude ity, and dynamic variety -must be heard to be on Paganini's Campanella, starring Karl Perenthaler's believed. There is no suggestion here of the incredibly fleet and florid solo accordion, and wheeziness, throbs, or sonic coarseness so often Wolfgang Vogt's rearrangement of the Dinicu- characteristic of café accordionists. Often one is Heifetz Hora Staccato for solo "chromonica" (i.e., scarcely aware that normal orchestral instruments harmonica), played by Günther Wertz, with accor- are not being used; when one is, the clues are only dion- ensemble accompaniment. But flashily brilliant the novel growly timbres in the low register or a as these are, they remain exhibitionist displays, far velvety organlike quality elsewhere. less impressive in retrospect than the more straight- The selections themselves, while hardly daring, forwardly dynamic, lyrical, and dramatic standard are certainly varied and testing enough: the Johann works. It is the latter that best reveal the accordion's Strauss Perpetuum mobile, Liszt Hungarian Rhap- true capacities-and, incidentally, enable the Hohner sody No. 2, Weber Invitation to the Dance, Brahms Orchestra to honor the name of this instrument's Hungarian Dances Nos. 5 and 6, Ponchielli's Dance (and the harmonica's) best -known manufacturer: of the Hours, and -perhaps most dazzlingly effec- the firm established by Matthias Hohner over a tive of all -Rossini's William Tell Overture. Quite century ago in Trossingen, Germany, and still apart from the aurally attractive and always musi- carried on by his descendants. R.D.D.

bCarnival Time on the Rhine." RIAS "The Classic Della." Della Reese; Or- Chorus, Hans Georg Arlt, cond. RIAS chestra, Glenn Osser, cond. RCA Vic- Kammerorchester, Günter Arndt, tor LPM 2419, $3.98 (LP); LSP 2419, cond. Kapp KS 3269, $4.98 (SD). $4.98 (SD). German songs boast a convivial appeal Nobody raises an eyebrow nowadays at unequaled in the Western world. When finding the classical music of Chopin. De- the oompahs start and the singers weave bussy, or Tchaikovsky used as material their malty Gemütlichkeit, only the tone for popular songs. As long as the mel- deaf can resist raising both stein and odies are not grossly mutilated and the voice. Herr Arlt emphasizes this catchy arrangements not devoid of musical taste, charm as he leads his RIAS Chorus these creations offer a pleasant and me- through thirty -seven favorites. Here are lodic change from most of the pops songs all the schmaltzy old standbys that never being written today. Twelve such num- seem to age -Du, du, liegst mir im Herz - bers are presented by Della Reese, but in en: Ach du lieher Augustin: Muss i denn: performances that can only be called ex- Bier her, Bier her- handsomely sung by tremely affected. Miss Reese goes in very who know them, love them, Ferrante and Teicher. heavily for "style" -which here seems to enunciation, and are proselytizing for them. Excel- "Tonight." Ferrante and Teicher; Orches- mean a curiously explosive lent sound wraps up a winner. O.B.B. Artists some garbling of vowels. supercharged tra, Nick Perito, cond. United and a veneer of sophisti- UAL 3171, $3.98 (LP); UAS 6171, emotionalism, cation. Her most successful number is "The Liberty Club." Vol. $4.98 (SD). Musetta's Waltz from La Bohème, which 2, These -pianists here perform another I. with calls (Homer Garrett); Vol. duo up on this disc, as it recently did on L. of miracles in bringing fresh- turns without calls. Liberty LRP 3218/19, their minor the hit parade. as Don't You Know. The $3.98 each (Two LP). ness and sparkle to a collection of film seem merely indifferent. It's dancer myself, and show tunes. Particularly impressive remainder No square (or other) a pity the singer's performances consider- these are the first records of their kind is their ability to reilluminate the older arrange- You, The Way ably vitiate the Glenn Osser to convince me that I've been missing numbers-I'll Be Seeing ments. which are both stimulating and immense fun as well as strenuous exer- You Look Tonight, and Lili Marlene - musically interesting. J.F.I. cise. The verve of the present little en- or to take a song such as Tonight, which semble led by fiddler Gordon Terry is I have never regarded as one of Leonard infectious indeed when it is heard alone Bernstein's major inspirations. and turn "Lisboa Antiga." Fernanda Maria; Jaime in a dozen favorite dance pieces, so it into something of musical stature. Santos; Pais Da Silva. Monitor MFS brightly and cleanly recorded that every Even Moon River, which has been done R. 363, $4.98 (SD). detail of the vibrant performances is to death recently, glistens brightly in For the visitor, present -day Portugal perfectly differentiated; but when the their hands, and they provide a particu- wears a mantle of wistful tragedy. The same pieces are repeated, this time with larly lovely, lyrical performance of lowest per capita income in Europe Homer Garrett's rhythmically lilting Shalom, one of the better songs from stifles its economy, a ponderous dictator- calls, they are wholly irresistible. I can't Milk and Honey. The orchestral ar- ship smothers its liberty, and the last imagine better incentives to home or rangements. also by the pianists, are ex- remnants of its great empire -Goa, An- club dancing, yet they are almost as citing, although the performances of gola, Mozambique-slip away one by stimulating for sheer listening. One re- them are inclined to be hectic; the choral one. Even the supper clubs of Lisbon grets every time the band winds up with group, used occasionally, I could have reflect the national sense of tragedy as a flourish to Garrett's cadential "That's dispensed with; the sound is stunning night after night a handful of locally it- that's all!" R.D.D. in both mono and stereo versions. J.F.I. celebrated singers weave the darkling

APRIL 1962 87

www.americanradiohistory.com spell of Portugal's traditional and unique "The Many Voices of Miriam Makeba." or African "thumb- piano," the unac- song form, the fado. Dealing with mel- Miriam Makeba; Hugh Masekela, companied multi- dubbed Witch Doctor's ancholy and irresistible forces of fate, trumpet; Ensemble, Ralph Hunter, Song Nagula, and the naïve West Indian fados mourn lost loves, lost days, lost cond. Kapp KS 3274, $4.98 (SD). Love Tastes Like Strawberries. In many ways. Lisboa Amiga (Old Lisbon), the It's good to hear again from the gifted of these Miss Makeba shares honors title song of this release, is typical: "Old Miss Makeba, especially since this pro- with the distinctively original trumpet city of Lisbon /Filled with charm and gram includes more ethnically authentic playing of Hugh Masekela; a little en- beauty /In other times there were royal and significant materials than did her semble of two guitars, bass, and five bullfights /Fiestas, processions, cries of first release. The selections here are pri- percussion players provides vibrant ac- street vendors/That will never he again." marily from the singer's native Africa, companiments; and the stereo recording Fernanda Maria, in the forefront of of course, but also include a West In- is superbly atmospheric. R.D.D. today's fadistas, is all somber fire in this dian ballad and calypso song. the Bra- outstandingly engineered collection. She zilian Carnival song from the film Black "Linger Awhile." Vic Damone; is. in fact, the only fadista I have heard Orpheus, and a moving version of the Jack L. Marshall's who needs concede nothing to Amalia American Night Must Fall. Almost all Music. Capitol T 1646, $3.98 (LP); ST 1646, $4.98 (SD). Rodrigues, the long -time queen of the the pieces here are interesting. but I liked About a year ago the genre. Listen to Maria's deeply moving particularly the poignant Ntjilo Ntjilo Damone -Marshall combination made a Estante VelNita and Lamento Fadista (lullaby) and Thanayi, the catchy chil- recording present- ing the singer as a swinger. for perhaps the best fado available on dren's game song Umgokozo, the odd That disc I found only moderately records. O.B.B. Ngola Karim with passages for Zanza successful, but their second effort along the same lines (this time for Capitol) is completely satisfying. In fact. it may well be the finest disc Vic Damone has made. Sounding more relaxed and assured than on any of his previous records and sing- ing with unusual verve and freedom, he swings lightly through a batch of superi- or songs of the Thirties and early For- ties. His performances have unusual Jauntiness. yet they do not completely obscure the romantic side of these bal- lads. Almost every performance is a gem, although I am particularly struck by In the Still of the Night and the three Irving Berlin songs -Change Partners. Let's Face the Music and Dance, and Soft Lights and Sweet Music. Jack Marshall has provided not only superior orchestrations. featuring a light beat, but also extremely solid musical accompaniment for the vocalist. The stereo sound is comfortably spread, with a sturdy middle of strings. Damone and rhythm section in left. brass and reeds in right. the whole very nicely meshed. The mono version is. in its way, equally good, though naturally lacking in such INFINI a broad musical span. J.F.I. Spectacular production "Bud and Travis in Concert, Vol. Two." in the adventures of an Liberty LRP 3222, $3.98 (LP); LST Now... emotional play. 7222, $4.98 (SD). Vivid sound effects, and The appearance of this sequel to the ex- For the first time! colorful music providing the cellent two -disc Bud and Travis in Con- cert (Liberty LDM 11001, LP; LDS listener with exciting . Audio Master presents an amaz- 12001. SD) makes one regret more breathtaking . . . entertainment. ing record which takes you on keenly the recent dissolution of this man's first trip to the moon! A record that will be a must gifted team. Bud Dashiell and Travis Authentic sounds from Cape to every high fidelity Canaveral make listening experi- Edmonson not only boasted vocal and ences so realistic that you are enthusiast ... a real test linguistic equipment generally superior virtually carried away by your of quality reproducing sound to other groups riding the crest of the emotions . An introduction equipment. by Dr. Wehner Von Braun leads folk song wave, but they brought genu- you into a story ... a story so Reproduced for the listener ine sensitivity to their interpretations. In constructed that you the listener are the powerful addition. alone will be a passenger on the first among those who brack- rocket flight to the moon. low frequencies of the rocket et their songs with comic patter. they captured during blast off. were unfailingly original, unfailingly Your flight is conducted by witty. means of a narrator who de- Eight pages of photographs ... scribes each new experience 53 pictures bring most people This release lacks the luster of its encountered during launch and for the first time inside predecessor culled from the same live flight through space. In spite of Cape Canaveral to recital at the Santa Monica the hazards you land safely on ... see Civic Audi- the moon ... leaving the moon their rocket and many more torium in March 1960: lack of coördina- we travel further into space .. breathtaking sights. tion rears its head once or twice and a A JOURNEY TO INFINITY. few of the selections sec- Hundreds of voices and a are of only full symphony orchestra were ondary interest. But there are high used to capture with music points-Angelico. Amor de la calle. My a spectacular background for Mary-that compare with the best num- this exciting story. bers this duo has recorded. As between the LP and SD. the stereo neatly sepa- rates the singers insofar as repartee and Audio Master Recording solos are concerned but melds their voices nicely in the duets. To my ear. it is the version of choice. O.B.B.

"The Sound of the Sjolund Singers." Su- preme SS 2008. $4.98 (SD). 306 Lakeview Avenue, ./ Orlando, Florida Again Paul Mickelson's Supreme Re- cordings, Inc., distinguishes itself among CIR( I.I- 14 ON READER- .ERVICE C\1í1) 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the numerous specialists in sacred mu- ing are exploited only for plasticity and music ranging from Debussy's Clair de sic, this time by the rich sonorities of delicate nuances of tonal coloring; there lime and Chopin's Nocturne No. 2, in Paul Sjolund's thirteen -man West Coast are no mood -shattering dynamic con- E fiat to Nola and Among My Souve- male chorus (frequently starring the trasts, although the prevailing romanti- nirs. It is something of an understate- impressively robust bass solos of Paul cism (of Clair de lane, I Can't Get ment to call the arrangements lush. but Bergen) and by the warmth and natural- Started, Stella by Starlight, Poinsettia, this should not suggest that the perform- ness with which, despite extremely close etc.) is varied briefly in a bouncier ances themselves lack good taste or miking. these sonorities are captured in 'S Nice. It is a pity not to be able to musical value. They abound in both. the most broadspread and air -borne identify the pseudonymous creators of so The stereo version, the only one to stereoism. The music itself is of less delectable a half -hour of light music which I have listened. offers a rich. vel- aesthetic distinction: mostly familiar making. R.D.D. vety sound which is both well balanced spirituals and Victorian hymns, plus a and nicely dispersed. The final selec- tions side more spirited anthem, All Ye Saints Be "Living Strings Plus Two Pianos Play on each of the record showed evidence inner Joyful, by Katherine Davis. They are the Most Beautiful Music in the of groove distortion, how- sung, however, with great fervency (with World." Orchestra. Mario Ruiz Ar- ever. J.F.I. one exception unaccompanied) as well mengol, cond. RCA Camden CAS as with sonic qualities rare in this or 687, $2.98 (SD). "Ballads of the King." Johnny Mann indeed any other repertory. If not avail- Two pianos and what sounds like an Singers. Liberty LRP 3217, $3.98 (LP); able from your dealer, the record may unusually large aggregation of strings LST 7217, $4.98 (SD). be Box 352, Glendale, obtained from provide a particularly fine program of The king whom the Johnny Mann Sing- California. R.D.D.

"The Musical World of Jerome Kern." Starlight Symphony, Cyril Ornadel, cond. M -G -M E 3906. $3.98 (LP). The admiration the English have always had for the theatre music of Jerome Kern is reflected in this ex- Compare. admirably cellent recording of sixteen of the com- poser's most delightful songs, played by DAYSTROM the London -based Starlight Orchestra under Cyril Ornadel (currently conduc- STEREO /HI -FI KITS tor of the London production of My Fair Lady). The splendidly scored arrange- ments by Brian Fahey, though larger than any Kern envisioned for this music. for value are in excellent taste and show unusual respect line; and the for Kern's melodic Compare the features of this deluxe positively gleaming orchestral perform- Daystrom AM -FM Tuner: 12 -tube ances are presented in lustrous sound. Circuit, FM automatic frequency Kit DA -286 Now that this group have given us such control, flywheel tuning, separate a superb account of the more popular tuning "eyes," FM multiplex adapter 88495 Kern songs, perhaps they will turn their output jack. Compare this low price! attention to some less familiar Kern numbers. J.F.I. Listen to the solid power and fine fidelity of this stereo amplifier -pre- "Paul Taubman's Big Brass Band," Epic amp ... 36 watts (18 per channel) L BN 612, $4.98 (SD). at IHFM standards . with four stereo inputs, clutched volume con- Here we have a blazing hoedown of Kit DA -282 trols, separate ganged tone controls, marches all the accents, as the with title styled in the sparkling Daystrom *7995 proclaims. on bigness and brassiness. motif of beige vinyl -clad steel and Sometime TV conductor Paul Taubman brushed anodized aluminum. Look has obviously recruited top musicians at this low price! for this effort, and both he and they seem to be enjoying every loud but emi- Enjoy FM in Stereo with this Day. nently musical moment of it. Tradition Kit DA -330 West strom Multiplex Adapter kit ... easy and invention mix boldly. For example. $3485 Coast Stars and Stripes Forever is all blare and to build circuit complete with cabi- orices net and cables. Check this low price! slightly bluster, but Taubman cutely counter- li gner points its heroic decibel count with a gay flute solo. Entry of the Gladiators Bring the wonders of high -fidelity wraps up every grand parade in every FM radio to your home easily and circus tent that has ever been, St. Louis economically with this Daystrom FM Blues March is a scintillating romp. Yet, Tuner kit. Wide -band circuit features all is not just for fun; the concluding factory-built "front- end," multiplex Star -Spangled Banner gleams with bur- adapter output, automatic frequency control, flywheel tuning, and cabi- nished majesty. Epic's brilliant stereo Kit 05.287 value at this low price! reproduction spreads the band out to net. Extra full room size. O.B.B. 84995 for easy assembly : I .. "Soft Guitars." "Mr. Guitar"; "Mr. Y." o.,a.e ; Time S 2052, $5.98 (SD). Like Al Viola's Compare the ease of Daystrom kit meth- -I- "Guitar Lament" (World ods with any! Multi -color manuals tell Pacific), this is an almost ideal program what and how! Parts packed in order of of mood music. The playing here (by use. factory -installed hardware. two obviously skilled artists, using true rather than electronic guitars) is less languorous, more lilting than Viola's; it is sensitively accompanied by an un- for performance and commonly discreet harpsichord Compare the thrilling Daystrom Stereo' string bass; and the duo soloists make Hi -Fi performance . . . clear. quiet, and at your nearest tasteful use both of stereo antiphonal dynamic. See and hear these quality Daystrom dealer potentialities and of atmospheric spacing Components . . . between lead and accompaniment roles. Yet the resources of the full -blooded. DAYSTROM PRODUCTS CORPORATION apparently quite closely miked record- BOX 167 / ST. JOSEPH, MICHIGAN CIRCLE 30 ON READER- SERVICE CARD Arita. 1962 89

www.americanradiohistory.com ers affectionately salute in this very "Calypso Exposed." Lord Melody, Mighty "Subways Are for Sleeping." Percy Faith handsomely sung concert of romantic Cypher, Mighty Skipper, King Spar- and His Orchestra. Columbia CS 8533, ballads is none other than Frank Sina- row, Herbert Howard; Brute Force $4.98 (SD). tra. From Sinatra's huge repertoire of Steel Band. Cook 1189, $4.98 (LP). Faith's elaborate scorings and well -nigh misty -eyed numbers, the group has se- This disc gives us an off -beat -and some- symphonic performances benefit by the lected a dozen of his more memorable times faintly off -color -exploration of exhilaratingly big and open recording successes of the past twenty years. While calypso as it really is. Emory Cook here as well as by the vibrant pulse and the program relies heavily on fairly re- taped all of these entries in the West lift of Julie Styne's fine tunes from the cent hits, Sinatra's paternal paean to the Indies some years ago, but the prudish current Broadway show. Perhaps espe- charms of his daughter, Nancy (the atmosphere of regarding record cially effective are Ride through the young lady is now a recording star in contents delayed their release. (It is dif- Night, Getting Married, Comes Once in her own right), and Put Your Dreams ficult to believe that a mere ten years a Lifetime, and What Is This Feeling in Away ( which used to wind up Sinatra's ago even such innocent ballads as The the Air, although the romantic Now I stint on the Lucky Strike program dur- Foggy Dew were invariably bowdlerized Have Someone is also extremely well. if ing the war years) are also included. for vinylite.) In any case, Cook's per- more lushly, done. Occasional over - Both retain much of their original ap- formers- particularly the incomparable fanciness in the arrangements and a few peal. The nice, easygoing performances Lord Melody -are all first -rate calypsoni- moments when the high modulation are so completely satisfying that many ans, and the selections provide a true level is pushed a bit too far are more listeners will probably be scarcely aware and earthy segment of their idiom. The than compensated by the gusto of this of the program's lack of pace and sound occasionally shows its age, but high- spirited program. R.D.D. variety. J.F.I. no calypso admirer will cavil. O.B.B. "Sounds Sensational!" Chorus and Per- cussion of Keith Textor. RCA Victor LSA 2425, $5.98 (SD). Actually the sensationalism here is relatively mild for the "stereo-action" an astounding series, but both the moving sound sources and varied percussion effects are ex- new sound .. . ploited with a refreshing sense of humor and to far more musical point than usual. Particularly engaging are the self- impor- an incredible tantly chuffing little train in Down by the Station, the leader's own tenor voice new cartridge drifting across stage in It's a Lonesome Old Town, Tad Tadlock Vosburgh's deft M33 tap dancing in Tea for Two, an eerily circling carousel in Hi-Lili Hi-Lo, and the prancing snares and pipes in When Johnny Commies Marching Home. Best of all. the often wordless chorus is used An extraordinary achievement in supe- (and sings) with genuine skill and the instrumentalists (a bass clarinet player rior re- creation: especially) have an apt feeling for RESPONSE: 20 to 20,000 (conservative- rhythmic lilt and attractively nuanced clean and smooth. Goes tonal coloring. If there's nothing really ly). Singularly memorable here, it's seldom that a stereo right through the top limits of audibil- divertissement leaves one with such a ity without a hint of "break -up" prev- sense of having been wittily, and always alent in most other stereo cartridges. musically, entertained. R.D.D. COLORATION: virtually non -existent. "Sail Away." Noel Coward; Orchestra, Imparts no false sound to the music. It Peter Matz, cond. Capitol W 1667, is transparent, clear, hum -free (special $4.98 (LP); SW 1667, $5.98 (SD). Mu -metal shielding rejects electrically There are one or two rather barren spots in Noel Coward's recording of a dozen induced hum). Peak -free. songs from the score of his current COMPLIANCE: over 20x10'° cm /dyne! Broadway musical, but otherwise the rec- ord is one of the best he has given us Tracks as low as 1 gram virtually ... in years. Whether the engineers are re- eliminates record and stylus wear. Sep- sponsible or the singer himself, Coward's aration over 22.5 db. at 1000 cps. voice has a decidedly more robust quality than was formerly the case. Un- THE STYLUS: Choice of .0005" or fortunately, even this does not help him .0007" diamond tips. Exceptionally surmount some of the obstacles pre- rugged. Special plastic grip makes sty- sented by the ballads, and I found my lus changing easy as plugging in an interest sagging when he was struggling through Later Than Spring and Where electric cord. Shall I Find Her? However, these were solo PRICES: M33 -5 (with .0005" diamond) merely temporary lulls, quickly forgot- or M33 -7 (with .0007" diamond). ten when Mr. Coward got back into too high gear by way of his brightly written ago Tracks at 1 to 3 grams $36.50 net. WV, moos ... satirical numbers. It is in these songs Model M77 (for that the phenomenal Coward expertise A is at its peak. with Coward the vocalist tracking at 4 to 7 delivering, with obvious relish, every line grams) only $27.50. and rhyme that Coward the lyricist has written. In the original cast recording there was some senseless blue penciling of the lyrics of The Customer's Always Right and Why Do the Wrong People Travel? which robbed the former of some of its point and ruined a good laugh in the latter. Fortunately, no such excisions have been made here. hi fi phono cartridge The arrangements by Peter Matz are not only imaginative but perfectly at- tuned to Mr. Coward's performances, Shure Brothers, Inc., 222 Hartrey Avenue, Evanston, Illinois and the sound is excellent. J.F.I. CIRCLE 77 ON READER -SERVICE CARD 90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Eddie Heywood Plays the Greatest." formula which has made them one of level of artistry than those made before Eddie Heywood, piano; Orchestra, Bel- the most successful singing groups on a live audience. J.F.I. ford Hendricks, cond. Liberty LRP records, The Limeliters present here an- 3210, $3.98 (LP); LST 7210, $4.98 other hodgepodge of folk songs, pseudo - "Music of the Toreador." Banda Taurina, (SD). folk songs, and numbers aimed at de- Ricardo Vidal, cond. United Artists If, as I suppose, the album title's super- lighting fraternity folk. Some of the 6172, $4.98 (SD). and Pretty UAS lative is used to describe the music, then latter, particularly Jehosephat This is an uninhibited program of Span- it is rather wide of the mark -certainly Far Out, come perilously close to Frank ish bull ring music, featuring the con- some of these songs, as Love Letters, Crumit's old vaudeville songs. while ductor's own rather melodramatic Per- An Affair To Remember, and This Is Marvin, the humorous tale of a man fumes Clarelinos and -more effectively My Beloved, hardly measure up. The living on his collection of credit cards, -several spirited genre compositions by adjective is much more applicable to sounds like a good night club number. Luis Avaque: notably the tuneful Heywood's performances, a series of The boys have quite a flair for these Sangre Hispana, proclamative Crisol delicate piano portraits touched with songs, though I must say I prefer them Gitano, and siambang Tauromaquia. humor and in some cases invested with in more folklike material, where they High level, wide dynamic range, marked- a subdued jazz feeling. The latter is are often very appealing. I have in mind ly stereoistic, but extremely sharp and particularly evident in a deft perform- their gentle version of Everywhere I Look closely miked recording makes the most ance of Harry Revel's Jet. I also liked This Morning, and a poignant perform- of the band's crisp vehemence. but at the perky performance of Ruby and a ance of The Little Land. This is the the same time spares one none of its rhythmic account of Love Is a Many - trio's first studio recording for RCA frequent raucousness. R.D.D. Splendored Thing, the latter far more Victor, and I think it represents a higher intriguing than the overblown presenta- tions usually reserved for this number. The warmth of the sound on the mono- phonic versions is more attractive than the stridency characteristic of the stereo pressing. J.F.I.

"Interurban Memories." Mobile Fidelity MF 7, $3.98 ( "Stereomonic "). KEAS IT NOV.- "Steam Railroading Under Thundering Skies." Mobile Fidelity MF 8, $3.98 ( "Stereomonic "). One of the most technologically enterpris- ing of specialist recording companies, a pioneer in the adoption of the static -free "Polymax" disc materials, now advances a solution of the compatibility problem via the use of the sum -and -difference (rather than normal 45/45) disc -cutting technique. My guess is that the method used here is that suggested by Columbia before the standardization of 45/45 methodology some years ago, but at any rate it results in genuine stereoism (if perhaps somewhat more closely blended channels than usual), while the disc also can be effectively reproduced with a monophonic pickup (although of course I can't yet judge whether disc wear is greater in this mode). There is a great deal more than novel technical interest in these programs, how- ever. MF 8, starring the Baldwin loco- motives of the Bonhomie and Hatties- burg Southern Railroad Company, is particularly dramatic in its "A" -side doc- CONCERTONE 510 umentation of freight making -up and runs during the heavy storms of February the famous S505 G3EWEI2ZC ° ® °G;t1Q le 1961. The clatter of the train itself and the banshee whistling virtuosity of En- gineer A. J. Lee are enhanced by some with built -in stereo speakers of the most startlingly realistic rain, thunder, and lightning ever captured on What more could you want than Concertone's S505? Here's discs. MF 7, starring on one side the what - the new Concertone 510! It's the S505 with inte- big red "blimps" of Pacific Electric's grated stereo speakers. Concertone engineers equipped the Long Beach line and on the other the famous S505 stereo recorder with a pair of built -in electroliners and steeple -cab freight loco- matched amplifiers and speakers with sound -directing motives of the Chicago, North Shore, panels. Unlimited flexibility of stereo recording and play- and Milwaukee Skokie Valley line, is one back in one self-contained stereo system - permits imme- of -if not the -first sonic tributes to the diate monitoring of the recorded signal. Luxurious simu- onetime great interurban electric rail- portable case. That's the new Concertone 510. roads. The highlights here are the long lated leather bands devoted to complete runs (re- Now- stereo sound plus corded from the trains themselves) be- tween Los Angeles and Watts, and all these famous S505 features! between Skokie and Edison Court. Wau- Exclusive Reverse -O -Matie feature plays 4- tracks from kegan. The latter, at speeds exceeding end -to -end and back again without interruption Profes- 75 mph and with only one stop (in sional quality, with brushed stainless faceplate 3 Hys- contrast with the many stops on the Watts teresis Motors, including hysteresis synchronous drive 4 Local run), is exceptionally exciting. individual heads, no compromise 2 calibrated Reference R.D.D. Meters Flutter filter, usually found only on $1000 tape- recorders Automatic Tape- lifters. "Sing Out." The Limeliters. RCA Victor LPM 2445, $3.98 (LP); LSP 2445, AMERICAN CONCERTONE, INC. $4.98 (SD). A DIVISION OF ASTRO-SCIENCE CORPORATION Apparently loath to discard a program 9449 WEST JEFFERSON BOULEVARD CULVER CITY, CALIFORNIA CIRCLE S ON READER -SERVICE CARD APRIL 1962 91

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www.americanradiohistory.com Shorty Baker and Doc Cheatham: strongly present, but Shifrin has con- ful jazz. The ensembles and solos are . 2 "Shorty and Doc." Prestige /Swingville trived some fascinating uses for them as remarkably clean -lined, and bristling with 2021, $4.98 (LP). a driving rhythmic undercarriage -with vitality. Gillespie, who is at the very Baker and Cheatham are two of an un- bass, and with bass and piccolo. He has peak of his form, makes a fascinating fortunately large group of middle -aged shown ingenuity, too, in his adaptation remold of Ellington's highly individual jazzmen of unusual talent who are being of Big Noise from Winnetka (once a The Mooche, creating a valid projection allowed to waste some of their best years bass and drum novelty in Bob Crosby's of his own musical personality. with no adequate outlet for their play- band), and in his ensemble use of trom- ing. Both are trumpeters -Baker an old bone. tenor and baritone saxophones, Ellington hand, Cheatham an alumnus and flute. This collection mixes imagina- Franz Jackson Original Jass All Stars: of McKinney's Cotton Pickers, Chick tion and propulsion in equal propor- "No Saints." Pinnacle 102, $4.98 (LP). Webb, Benny Carter, and other bands tions, and is full of rousing excitement. This high- spirited traditional jazz is more of the '30s and '40s. Both have an im- Two superb bassists -Milt Hinton and consistently exuberant than Franz Jack- maculate, warmly glowing style. Backed George Duvivier -serve extremely well, son's previous Pinnacle release (Night at by a strong rhythm section (Walter Jimmy Cleveland suggests that he may Red Arrois , Pinnacle 103). This collec- Bishop, Jr., piano; Wendell Marshall, be retrieving some of the fluid brilliance tion actually preceded Night at Red Ar- bass; J. C. Heard, drums), they blow he once had, and an unbilled reed man, row; it was originally released on the skillfully through six loosely organized, tripling on tenor saxophone, flute, and Replica label, then repackaged by Pin- pleasantly casual unpretentious pieces. piccolo, plays with enormous verve. nacle. This is the first time it has come The one drawback here is the lack of my way. The foundation of Jackson's is indication as to which trumpeter is doing group a rhythm section which gains Paul Desmond: "Desmond Blue." RCA power from a tuba and a banjo without what; since they are stylistically very Victor LPM 2438, $3.98 (LP); LSP similar, it is frequently difficult to dis- seeming ponderous. Above it are the tinguish between them. 2438, $4.98 (SD). crisply biting trumpet of Bob Shoffner Coming right on the heels of Stan Getz's and the broad -toned trombone of Al adventurous work with strings (Focus, Wynn, and both men steam into their Brun Campbell -Dank Johnson: "The Pro- Verve 8412), Paul Desmond's initial ef- solos with tremendous enthusiasm. Jack- fessors." Euphonic 1201, $5.00 (LP). fort for Victor, with somewhat similar son is a bubbling, decorative clarinetist Campbell and Johnson (both now dead) backing. seems relatively uninspired. Bob who is not prepossessing as a soloist. are almost completely undocumented pi- Prince has written some pleasant back- although he fills in the ensembles ca- anists, although Campbell was known grounds, using strings, woodwinds. harp. pably. The players are a closely knit somewhat for his writing on ragtime. He and rhythm section -but this is. roughly. group, and their knowledge of each was a friend and student of Scott Joplin the customary soloist- and -strings arrange- other enables the ensembles to drive in Joplin's Sedalia days, and his perform- ment already used time and again. But ahead with sure -footed, unruffled confi- ance of Joplin's Maple Leaf Rag on this Desmond is not, of course, the customary dence. These are extremely knowledge- disc is, one assumes, as definitive as jazz soloist. His airily swirling alto saxo- able jazz musicians playing in their nat- anything one may hear. Campbell fol- phone lines have been a saving grace ural idiom, a circumstance that distin- lowed the advice of ragtime composers of the Dave Brubeck Quartet since its guishes their work from the performances in playing their pieces at moderate tem- inception. He is not lacking in style here, of those stolid revivalists who have tried pos, and in his hands this deliberately but his individual tone blends fuzzily with so little success to recapture this paced Maple Leaf builds into a force- with the strings. There is a hint of what delightfully lighthearted form of jazz. fully moving performance. The remain- Desmond might have done on I've Got ing ten tracks by Campbell, some very You Under My Skin, in which he is brief, are all his own compositions, most happily free from the obtrusive strings Quincy Jones and His Orchestra: "At of them melodic and lilting, some airy most of the time. But his saxophone is Newport '61." Mercury 20653, $3.98 and gay. miked so closely on some numbers that (LP); 60653, $4.98 (SD). Johnson was a pianist and singer with what should emerge as a smooth. silken A potentially good showcasing of Quincy much of Fats Waller's ebullience, and a tone is turned to rasping breathiness. Jones's exciting band is destroyed by the distinct tinge of Jelly Roll Morton's Jim Hall pops up for occasional brief muffled, thin recorded sound of these piano style (he was Morton's brother - guitar solos, very welcome and all too performances at last year's Newport jazz in -law). He hums, sings, and shouts infrequent. festival. Despite this. occasional sugges- along with his piano solos at times, gen- tions of the merit of this band force their erating a tremendous amount of zest. way through the dismal murk that hovers Dizzy Gillespie Quintet: "An Electrify- over everything- notably Joe Newman's One can only be amazed that he lived ing Verve 8401, $4.98 (LP); out his career in obscurity. The record- Evening." magnificent shouting, growling trumpet 68401, $5.98 (SD). work over the band's rocking riffs on ing is not high -fidelity -Campbell's se- The electricity on the evening under con- lections were cut on acetate discs in Boy in the Tree (a performance by solo- the middle sideration, at a concert at the Museum ist and ensemble worthy of the Ellington Forties, and Johnson's on in New York, was sup- early tape at about the same time. Yet of Modern Art band in its halcyon days), and the gor- plied not by Gillespie alone (although geous saxophone ensemble rising out of this is a fascinating recording, with both glowed intrinsic interest and historical value. his incandescence has rarely more Jones's dashing attack on Air Mail Spe- luminously) but by his entire group. Only cial. But the recording is so bad, son- four of the selections played at the ically, as to be scarcely worth the agony Candido: "Conga Soul." Roulette 52078, Museum -Kush. Salt Peanuts, Night in of trying to sit through it. L $3.98 (LP); S 52078, $4.98 (SD). Tunisia, and The Mooche -have been The prospect of an album by a conga fitted into this LP, but they constitute drummer may well stir some listeners one of the most consistently stimulating f Tommy Ladnier: "Blues and Stomps." to anticipatory ennui. But this set owes jazz programs yet committed to a single J\ Riverside 154. $4.98 (LP). more to the brilliant Brazilian composer - disc. All the participants play with that Although Ladnier was almost the only pianist, Lalo Shifrin, than to Candido's blend of easy relaxation and roaring in- cornetist who could challenge Louis conga drumming. The congas are tensity which is the essence of success- Armstrong in the '20s, he slipped through

A PRtt, 1962 93

www.americanradiohistory.com the meshes of jazz history without gain- ing much attention. He died at the age YOU ALWAYS GET THE of thirty -nine in 1939 after a decade of relative inactivity. Aside from a few records made for Bluebird just before his death, almost all that we know of BEST for LISTENING him comes from recordings made in the '20s; this present collection was made be- tween 1923 and 1926. With one excep- TONIGHT plus other Motion Picture & Broad- tion the pieces were all recorded by way Hits -as played by Ferrante & Teicher. small groups led by the South Side Chi- UAL 3171 UAS 6171 (Stereo) cago pianist, . Half of them are by a trio: Miss Austin, Ladnier on cornet, and clarinetist STANDING ROOM ONLY - The Highwaymen Jimmy O'Bryant present their authentic folk songs. (with the occasional addition of an un- UAL 3168 UAS 6168 (Stereo) known drummer). The acoustical re- cording tends to dim the piano, but WE REMEMBER TOMMY DORSEY, TOO -Great Ladnier and O'Bryant come through Dorsey songs sung by the Modernaires. clearly and cleanly and their playing is WWR 3524 WWS 8524 (Stereo) consistently brilliant. In such a small KOO group, there is no laying out while STII4D\NG somebody else solos. Ladnier and O'Bry- ant are working almost all the time, play- tHEGHwE ing as an ensemble, taking breaks. or ` providing support for each other. O'Bryant is another musician who has rarely received much notice. but he plays with soaring excitement. He is absent from two selections, but is replaced by nothing but the best -Jimmie Noone and Johnny Dodds. In addition. there are four blues sung by Edmondia Hen- derson. an adequate singer, with ac- companiment by the trio. But the real meat -and fine meat at that -is the eight instrumental selections, all of them refreshing and exhilarating examples of unstereotyped small group performances. THE PROUDEST NAME IN ENTERTAINMENT Henry Mancini and His Orchestra: "Combo!" RCA Victor LPM 2258, $3.98 (LP); LSP 2258, $4.98 (SD). Recorded in June 1960, between Man - CIRCLE 89 ON READER -SERVICE CARD cini's Peter Gunn period and his more recent success with Afoon River, this is a carefully manufactured set of pieces played by eleven good studio men who There are are only mildly effective as jazz soloists. The sole exceptions are Art Pepper, play- headphones... ing clarinet, and occasionally Larry stir Bunker. on vibes. There is. moreover, and then there are something perverse in Mancini's attempt to make an eleven -piece group sound Superex like a small combo; eleven pieces once constituted a big band -and sounded Stereo /Phones. like one.

Gerry Mulligan and The Concert Jazz ONLY SUPEIIEX STEREO/PHONES HAVE BOTH A Band: "On Tour." Verve 8438, $4.98 \! (LP); 68438, $5.98 (SD). WOOFER AND A TWEETER IN EACH EAItI'IECE. The two special merits of this set, re- corded in Now you can enjoy a new level of perfection in stereo high fidelity listening. Superex Stereo/ at concerts Milan. Berlin, and Santa Monica, are the presence of Zoot Phones provide matchless sound by utilizing a high quality, precisely engineered, ceramic Sims as guest soloist on all seven tracks, tweeter and dynamic woofer in each earpiece. Frequency response is 20 to 20,000 cps; and the superbly relaxed quality of the reproduction exceeds anything you have ever heard before. No wonder that this new develop- Mulligan band. Sims's pliant. swinging ment has been editorially acclaimed as one of the most important advances in high fidelity strength surges throughout, stimulating technology and listening pleasure. Mulligan to some fine solo spots of his With these phones, distracting room noises can't bother you. The problems of room own. The material is standard matter muddle and bounce are gone. You listen, with volume as high as you want, in complete privacy. from the Mulligan repertory-Come Superex Stereo /Phones are lightweight, padded, and shaped for complete comfort. They Rain or Come Shine, The Red Door, Apple Core. and two pieces Want are manufactured in the U.S.A. of finest materials for long listening from / pleasure. To Live-plus Ben Webster's Go Home, Your dealer will let you test these amazing new headphones. Try them. 3 minutes of heard in two different treatments. Un- listening will prove that these phones offer a differently beautiful music experience. fortunately, the three selections taped in Milan are heavily laden with tape hiss SEND FOIL TECHNICAL and consequent distortion. But Go Home Two models. ST -M, 8.16 ohms... ST -6111, 15,000 ohms... S29.9S; $31.95. DATA AND and Sims's dazzling Apple Core are so Complete with crossover networks, built -in overload protection, monaural TIIE NAME OF ('Oulu good that a willing listener can adjust adapter, connecting cobles, and simple instructions. NEAREST DEALER his ears to the sonic shortcomings.

Red Norvo: "Mainstream Jazz." Conti- l., nental 16005, $4.98 (LP). Superex Stereo /Phones Recorded in the middle '40s, this set catches Norvo at one of the brightest periods of his career. His group includes SUPEREX ELECTRONICS CORPORATION 4 -6 RADFORD PUCE, YONKERS, N. Y. the Basie- and Waller- influenced piano CIRCLE 83 ON READER-SERVICE C tRD 94 HIGH Ft!lw! 1TY MAGAZINE

www.americanradiohistory.com of Johnny Guarnieri, Slam Stewart's in blasting the foundation loose -the potent bass (and his bowing -humming tape has a tendency to tremble, particu- duets with himself which, unfortunately, larly during piano solos. turn up on almost every selection), Morey Feld on drums, and either Bill de Arango or Chuck Wayne on guitar. The group Doc Souchon and His Milenburg Boys. swings along with a lighthearted atti- Southland 231, $4.98 (LP). tude all but lost to jazz since the war. Dr. Edmond Souchon. a New Orleans These pieces are delightful reminders of surgeon by trade and a jazz guitarist at a central area of jazz that is neither too heart. leads two slightly different New old- fashioned nor too modern, but re- Orleans groups through warmly swing- mains warm, spirited, and sparkling no ing treatments of staples from latter -day matter what the changes in superficial traditional jazz ( Smiles, Angry, How tastes. Come You Do Me Like You Do). Although both groups play with relish and gusto. that on Side One has a slight Anita O'Day: "All the Sad Young Men." edge in these respects. along with a Verve 8442, $4.98 (LP); 68442, $5.98 warmth and polish that mark it as at (SD). least the equal of any group playing in The notice served by Gary McFarland this vein today. The front line men are (in his Jazz Version of "How To Succeed Mike Lala, a clean, driving lead in Business Without Really Trying ") that trumpeter; Jack Delaney. who has ab- a young man had finally arrived to sorbed both the trombone and vocal blast away the stodginess afflicting big - styles of Jack Teagarden: and the band arranging for too, too many years. highly individualistic clarinetist. Raymond is reiterated in remarkable fashion here. Burke. With Armand Hug's piano lead- This time, in contrast to the all- instru- ing the accompaniment, these men can mental How To Succeed set, he is writ- even make originals like Yoiu Cooked ing for a vocalist- another field where Your Goose with Me and That's Why I big -band arrangers have been sadly re- Like New Orleans sound interesting. This miss, with orchestrations which either meeting of the New Orleans and swing ignored the singer or drowned him styles retains the best of both. (her), or both. And always there were the clichés to follow. McFarland's lively imagination and Roosevelt (The Honeydripper) Sykes: his guiding good taste keep the purpose "Blues." Folkways FS 3827, $5.95 the of these arrangements in focus and in- (LP). fuse them with stimulating ideas. But L Sykes is a delightfully extroverted singer Concord possibly the most amazing aspect of this and pianist who charges through this record is what he has done for Anita blues -based program in a spirit of ex- 880 O'Day. When she was only a sprite, Miss hilarated gaiety. He favors boogie - O'Day was a wonderfully natural jazz woogie figures on the piano at rollicking is for singer. After a period of personal tribu- tempos and also for slow blues. and this lations, she made a comeback in which adds to the enlivening party spirit. The connoisseurs she has sung with occasional suggestions sociological branch of jazz musicology of that early ease, along with manner- would be hard- pressed to find anything isms often exasperatingly coy or gro- of great significance in Sykes's songs. but tesque. Much of this was quite obviously no matter how trivial their content he due to the fact that she could rarely throws himself into them with vigor. count on any help from her accompani- He has a very natural. person -to- person ment. manner of performing; it may well be After all these trials. she settles into that the presence of Memphis Slim. an- McFarland's arrangements with comfort, other pianist -blues singer as a & r man and once again is the vibrant, sensitive on the date may have contributed to the singer one always hoped for. The pro- easy atmosphere of this album. gram is adventurous: new approaches I to familiar pieces such as Boogie Blues and You Came a Long Way from St. Lester Young and The Kansas City Five. Louis, and several attractive new songs Commodore 30014. $4.98 (LP). 4 (three by McFarland). My only quibble Lester Young's two Kansas City Five sessions is the tempo taken on Willard Robison's for Commodore in 1938 and lovely A Woman Alone with the Blues. 1944 produced a group of classic per- Otherwise -viva O'Day and the solos by formances which have not dimmed in Phil Woods. Bob Brookmeyer, Willie the slightest since then. If anything, one Dennis. and Zoot Sims. And especially, appreciates them more than ever, now viva McFarland! that this type of airily swinging ensem- ble has virtually disappeared from jazz. Eight of these twelve selections were Dick Ruedebusch and The Underprivi- made at the earlier date by five Basie leged Five: "Meet i Mr. Trumpet." men still in the first flush of their suc- Jubilee JGM 5008, $4.98 (LP); JGS cess -Buck Clayton, Eddie Durham. Wal- 5008. $5.98 (SD). ter Page. Jo Jones. and Young. Besides Ruedebusch is a trumpeter from Mil- lyrically graceful tenor saxophone work sOuna, con:p.uwn u t rcnunl. audi 'cU waukee whose facility is sometimes by Young and rare examples of the alarming. His group plays such pieces clean. silvery tone of his clarinet play- as Panama, Limehouse Blues, and Tiger ing. there are a number of Clayton's Rag at a furious rate and yet without most poignant solos. both muted and ü ir v ,u.tn. any signs of desperation. Far from being open. and several electric guitar solos a showoff, Ruedebusch is inclined to stay by Eddie Durham that reveal how much in the middle range on these rapid ex- he was already implying the direction cursions. letting go with fireworks only Charlie Christian was to take with this as a climax. At more moderate tempos, instrument. The 1944 selections. on which he finds a dark, lustrous depth in his Young is joined by Bill Coleman. Dicky he Facts." Pr c -c u l,cr $100. horn reminiscent of Bunny Berigan. The Wells. Joe Bushkin. John Simmons. and individual musicians, aside from trom- Jo Jones, are rather thinly recorded. bonist Sunny Sievert. do not stand out, but they include beautiful passages by but they manage to keep up with Ruede- Young (on tenor only). Coleman, and busch's These CONCORD 880 ideas. performances were Wells. This collection belongs on that -ICONCORD ELECTFON CS CORPORATION recorded in the Tunnel Inn, Ruedebusch's small shelf reserved for really essential home base. Apparently he has succeeded jazz LPs. JOHN S. WILSON 809B N. Cahuenga Blvd., Los Angeles 38, Calif. CIRCLE 98 ON READER- SERVICE CARD APRIL 1962 95

www.americanradiohistory.com i1PEX.

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Now, for those who insist upon he very finest in 4 -track recording: the new Fine Line Ampex 1200. This precision recorder completely eliminates cross -talk common among ordinary 4 -track machines. And gives you studio quality performance in your home. The reason: the Ampex 1200 is built to professional standards -with over 170 engi- neering advances. The first three advances: three new heads to permit precise narrow track recording, playback and erasing. (They're made like those in Ampex professional and scientific recorders.) Fourth advance: a new tape guidance system to keep the tape in precision alignment from supply reel to take -up reel. We call this: fine line alignment. lt prevents cross -talk and gives you full frequency response. (lt can't be jarred away, either. Both system and heads are mounted on a micro -milled die cast frame to insure stability for the long life of the machine.) Advancement five: low signal -to -noise ratio. Comparable to broadcast recorders. These -and other advances - are the many reasons why the Fine Line Ampex 1200 is your best buy among 4 -track recorders today. See and hear it at your local Ampex dealer. Prices start at $499.50. Ampex Corporation, 934 Charter St., Redwood City, Calif.

CONSERVATIVE SPECIFICATIONS: Records 4 -track stereophonic 4 -track with tapes recorded to maximum normal recording level. Frequency re. monophonic. Plays 4 -track stereophonic, 2.track stereophonic (optional), sponse: 50. 15,000 cps ± 2 db at 71/2 ips; 50 -8,000 cps ± 2 db at 334 ips. 4 -track monophonic. Speeds: records and plays at 33/4 and 71/4 ips with Signal -to -noise ratio: better than 55 db at 71/2 ips; better than 50 db at up to 8 hrs. 32 mins. of monophonic recording or playing. Recording in- 33/4 ips. Flutter and wow: under 0.2% rms at 71/2 ips; under 0.3% ems at puts: high impedance inputs (radio -phono -TV- auxiliary) approx. 0.25 volts AMPEX 334 ips. (Measured according to American Standards Assoc.) Timing ac- rms for maximum normal recording level; high impedance microphone ,uracy: perfection of pitch to within 1/3 of a half -tone. Models: 1250 - inputs. Playback outputs: approx. 0.75 volts ems from cathode follower without case, 1260 - portable, 1270 - portable, built -in amplifier -speakers. CIRCLE 6 ON READER -SERVICE. C 'OW 96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com b Tape Deck

Reviewed by R. D. DARRELL

The following reviews are of 4 -track language Columbia 78s featuring the cannot respond with more enthusiasm to 7.5 -ips stereo tapes in normal reel form. then obscure names of Madeleine Grey so generally admirable a performance of and Jean Canteloube. The later meta- music which normally holds me spell- morphoses of those Songs of the Au- bound; but something essential for com- BEETHOVEN: Concerto for Piano vergne went on to make discographic plete dramatic conviction seems lacking and Orchestra, No. 5, in E flat, history. and even now continue to win here.

II op. 73 ("Emperor ") new devotees in their latest Electrola- Odeon LP reissue. No one has ever Leon Fleisher, piano; Cleveland Or- succeeded in matching Miss Grey's pecul- MUSSORGSKY: Pictures at an Ex- chestra, George Szell, cond. iar and quite unique magic. and Miss hibition (orch. Ravel) EPIC EC 817. 38 min. $7.95. Davrath wisely makes no imitative at- tempt to do so. Yet her sweeter and Orchestre de la Société des Concerts du more delicately controlled voice. her less Conservatoire de Paris, André Vander- CHOPIN: Concerto for Piano and lusty but scarcely less poignant readings, noot. cond. Orchestra, No. 1, in E minor, provide new illuminations on ten of the COMMAND CC 4T 11003. 30 min. Op. 11 eleven songs recorded by Grey (includ- $7.95. ing the heart- wrenching Brezairola, Bail - Artur Rubinstein, piano; New Symphony ero, and Passo del Prat). In addition, Orchestra of London, Stanislaw Skrowac- Miss Davrath introduces us to five more RAVEL: Daphnis et Chloé: Suite No. zewski. cond. of the still incompletely represented 2. Miroirs: No. 4, Alborado del RCA VtcroR FTC 2088. 40 min. Canteloube series. Best of all, of course, gracioso; La Valse $8.95. the exquisite transparence of modern stereo lends atmospheric enhancements Chorus (in the Suite), Orchestre des It's a rare month that brings us two to the music. and enables us to hear in Concerts Colonne, Pierre Dervaux, such outstanding concerto releases as far better detail (and with more authentic tond. these: the first fully satisfactory Em- timbre nuance) the piquant effects of COMMAND CC 4T 11005. 38 min. peror on tape. and a Chopin First that the small orchestra scoring. This reel can- $7.95. comes as close to the definitive as any not supersede the well -worn Grey discs; individual approach to a masterwork can win a worthy place beside but it should RIMSKY -KORSAKOV: es- come. Both are nearly as notable, too, those incomparable jewels. Capriccio for their recording as for their perform- pagnol, op. 34 ance qualities, and except for slight ini- tTchaikovsky: Capriccio italien, Op. tial preëchoes they are excellently proc- MUSSORGSKY: Boris Godunov (ex- 45 essed. The stereo itself is extremely full - cerpts) blooded and broadspread in each. yet Orchestre de la Prologue and Coronation Scene: 'l Have Société des Concerts du the somewhat closer miking in the Em- Conservatoire de Attained the Highest Power ": Boris- .Slut- Paris. André Vander- peror appropriately sharpens its sinewy, noot. cond. (in the Rimsky -Korsakov); heroic impact, while in the Chopin. the isky Dialogue and Clock Scene; Fare- well and Death. Orchestre des Concerts Colonne, Pierre rich, even more floating sonics enhance Dervaux, cond. (in the Tchaikovsky). that work's romantic lyricism no less Mildred Allen (s), Feodor; Stanley COMMAND CC 4T 11004. 31 min. appropriately. Kolk (t), Boyar; Howard Fried (t), $7.95. There are many attractions in the Shuisky; George London (b). Boris 4 -track by Backhaus earlier Emperors Godunov. Columbia Symphony Orches- Command's 35 -mm recordings made in Fleisher -Szell and Cliburn. but the new tra and Chorus. Thomas Schippers. cond. the Salle Wagram in Paris are techno- reading has more gusto and bite than the COLUMBIA MQ 418. 39 min. $7.95. logically the peers of those originating former, more dramatic point and per- in the Pittsburgh Soldiers and Sailors sonal conviction than the latter. Ex- The first tape representation of Boris, Auditorium (reviewed in March), but a slight stiffness in the rhythmic cept for while regrettably incomplete. does in- unfortunately neither Vandernoot nor in the finale, is one articulation this of clude the great scenes dominated by its Dervaux can match Steinberg in inter- the most impressive modern perform- protagonist. It has the distinctive merit pretative or executant excellence. Ex- ances the work. not only the pi- of for of being sung in Russian. and the more cept for a notably snappy and zestful anism but the superbly for controlled dubious one of employing the familiar Limoges section. Vandernoot's Pictures accompaniment. least orchestral At one Rimsky -Korsakov scoring rather than are quite routinely and often coarsely orchestral detail somberly eloquent -the the original. And while London is not played, and his Capriccio espagnol not timpani passage just before the end - the most dramatic of Borises. he does only is slapdash. but reveals the multi - has never been brought out so effectively sing magnificently, albeit with more care miking technology too explicitly in the in previous recordings. Rubinstein's and refinement than can lend complete tendency of some featured solo instru- Chopin simply beggars description. One verisimilitude to a portrayal of the ments to jump out of the orchestral tex- can only acknowledge that it represents crazed Czar. Apart from a perhaps tures. Dervaux's Capriccio italien also him at the height his powers of and slightly too small chorus and an occa- is coarse -grained and heavy- handed. but poetic eloquence. sional ragged entrance, the supporting while his Ravel performances are some- forces sing and play well under Schip- what erratic (with occasional overspot- CANTELOUBE: Chants d'Auvergne per's somewhat overcareful direction. lighted solo passages), they are generally (15) The stereo recording is broadspread and more effective and, at their best. elec- powerful, with its very wide dynamic trifyingly exciting -due in part to the Netania Davrath, soprano; Orchestra, range captured in the tape processing ultrabrilliant engineering. At any rate, Pierre de la Roche, cond. without preëcho or spill -over (although from the standpoint of sound this is a VANGUARD VTC 1636. 45 min. there is some slight ripply tape noise truly sensational recording. and on tape $7.95. which I've never encountered before and it sounds less sharp -edged than in its which may well be an idiosyncrasy of disc edition, though no less glittering. The happiest discovery I ever stumbled the individual reel I received). Perhaps on, back in 1931 -33, was a trio of foreign it is also a personal idiosyncrasy that I Continued on next page

APRIL 1962 97

www.americanradiohistory.com THE TAPE DECK WAGNER: Tristan and Isolde Hard to Continued from preceding page Birgit Nilsson (s), Isolde; Regina Resnik get...you bet!..but (ms), Brangäne; Fritz Uhl (t), Tristan; Ernst Kozub (t), Melot; Waldemar STRAVINSKY: Jeu de cartes Kmentt (t), Young sailor; Peter Klein -Poulenc: Concerto for Organ, (t), Shepherd; Thomas Krause (b), Kur- Strings, and Timpani wenal; Arnold van Mill (bs), King ORTH Marke; Theodor Kirschbichler (bs), Berj Zamkochian. organ; Everett Firth, Steersman. Singverein der Gesellschaft WAITIN FOR! timpani (in the Poulenc); Boston Sym- der Musikfreunde; Vienna Philharmonic phony Orchestra, Charles Munch, cond. Orchestra, Georg Solti, cond. the Viking RCA VtcroR FTC 2077. 44 min. LONDON LOY 90034. Three reels: $8.95. approx. 82, 79, 79 min. $33.95.

86 STEREO -COMPACT Munch's lucid, unexpectedly humorous The rapidly expanding repertory of large - reading of Card Game reminds us how scale works on tape is crowned here by It's selling so fast dealers are unjustified is the neglect of this ballet. the most substantial release to date -one constantly out of stock. We're Surely Stravinsky has never been more fortunately no less impressive for its mu- sorry for the delay in getting de- gleeful and infectiously sparkling. and sical and technical merits than for its livery on enough 86 Stereo -Com- his bubbling. small orchestra score is a sheer size and cost. Few if any multi -reel pacts, how good this delight throughout, in this spicily piquant 4 -track releases have been as consistently but that's Bostonian performance. well processed with minimal surface new all -in -one component re- The Poulenc Concerto (anticipated by noise (especially important here where corder is. Capitol last December as a reel the ultrawiderange recording embraces The 86 Stereo -Compact will "first," coupled with his Gloria) is the softest of pianissimos as well as the likely continue to be in short particularly valuable for its proof that most robust fortissimos) and complete supply through the next few Zamkochian's fine organ playing in the freedom from preëcho and spill -over. months. We hope you will be Saint -Saëns Symphony No. 3 was no This is the only Tristan on tape, and is willing to wait the necessary two flash in the pan. His is a more incisively likely to remain without competition for to three weeks for delivery of forceful reading than that by the ex- some time to come. this year's hottest stereo product. pansive Duruflé. but one feels no neces- The recording here has been unani- We promise you the ultimate sity here to judge one performance su- mously praised. Not every opera fan, of in performance; a carefully -built, perior to the other. There is fascination course, will agree with London's choice quality -built stereo recorder, un- enough in comparing the distinctive ton- of balance, in which the soloists seem matched in the current market. al qualities of the instruments of Sym- located slightly above and well back of phony Hall and St. Etienne du Mont, the orchestra rather than spotlighted in and in noting the difference in the front of it. Even Nilsson's clarion fortis- acoustical ambiences of the Boston con- simos are integrated with, rather than cert hall and the Paris church -mark- projected over, those of the orchestra, edly unalike, but each ideal of its kind. yet the effect not only is closer than that I give an edge of superiority in record- of older operatic recordings to the sound ing and processing to the Victor reel, but in the opera house itself, but it vitally a choice between the performances must enhances the over -all impression of the depend on individual taste. work as a protean tone poem for orches- tra with voices, rather than a stage piece for voices with orchestral accompani- TCHAIKOVSKY: Concerto for Vio- ment. lin and Orchestra, in D, Op. 35 Listeners may vary considerably in tDvoiák: Concerto for Violin and their judgment of individual perform- Orchestra, in A minor, Op. 53 ances, but few of them can deny the magnificence of Nilsson's Isolde, whether Ruggiero Ricci. violin: London Sym- or not it is compared with Flagstad's (in phony Orchestra, Sir Malcolm Sargent, the old monophonic disc version). The cond. rest of the cast strikes me as only rou- LONDON LCL 80080. 65 min. $7.95. tinely competent, except for Uhl's Tris- Check these quality and perform- tan, which, while it lacks the impact of ance features of the 86 Stereo - From the first bars. Ricci's astonishingly a true Heldentenor, achieves genuine Compact. assured combination of virtuosity and dramatic conviction in the fevered so- sensibility erased my forebodings 25- 18,000 cps ± 3 db two poetic liloquies of Act III. four combina- in regard to "another" Tchaikovsky Vio- In any case, the whole here is markedly track, track and and me a state of its the tion models Auto -Equalized lin Concerto. held in greater than the sum of parts: admiration throughout a score which concentrated magic of Solti's symphonic - Recording/Playback Built -in seems. here. so fresh and vivacious that poem reading. perhaps even more than Playback Equalization Re- it might have just been composed -and Nilsson's outstanding performance or cording Interlock Multiplex - specifically for Ricci himself. His un- the superbly evocative recording itself, Ability for FM Stereo Recording. canny technical security has never been gives this Tristan and Isolde a spellbind- AUDIOPHILE NET $297.50 more electrifyingly demonstrated. (The ing power throughout its inordinate performance as a whole is in marked length, and makes it an experience unique See your Viking Dealer or send today contrast to the only other 4 -track taping in home listening. for FREE detailed technical catalog. of the work -the almost chamber -scaled, gypsily romantic Morini -Rodzinski ver- sion for Westminster.) Ricci is sure -

f g O F MINNEAPOLIS, INC. handed, too, in the less familiar Dvoïák Concerto (in its first appearance on ERNEST ANSERMET: French Over- tape), but here. alas, he is interpreta- tively far less persuasive. In both sides, tures HF -a Viking of Minneapolis the uncommonly transparent, delicately Lalo: Le Roi d'Ys. Auber: Le Domino 9600 Aldrich Ave. So., Minneapolis 20. Minn. differentiated stereoism (and immacu- noir; Fra Diavolo. Hérold: Zampa. Please send technical catalog on late processing, free even from pre - Offenbach: La belle Hélène (arr. makes the most of the soloist's L 86 StereoCompact 76 Stereo .Com pact echoes) Haensch); Orphée aux Enfers (arr. Karl silken, varicolored tonal qualities; it Binder). NAME_ also reveals unmistakably that Sargent and the London Symphony players them- Orchestre de la Suisse Romande, Ernest ADDRESS selves a: much more at home in the Ansermet, cond. CITY___ Tchaikovsky than in the Dvofák -they LONDON LCL 80064. 42 min. $7.95. are a bit stiff and heavy- handed in the STATE_ latter, in contrast to their lyrical grace Ansermet seems almost sulkily disin- L J in the Tchaikovsky. terested here, as he goes through the CIRCLE 94 ON READER -SERVICE CARD MAGAZINE 98 HIGH FIDELITY

www.americanradiohistory.com r. -- motions of leading his deft orchestra through these familiar scores. The men themselves play expertly, as always, and are well recorded in smoothly spread stereoism, but the music's lilt and verve are scarcely even suggested. No great loss in the serious Lalo overture, this leaves the Auber, Hérold, and THE WORLD'S FIRST especially the Offenbach works mere empty shells. (AND STILL THE FINEST) ANTONIO JANIGRO: "The Vir- AUTOMATIC / MANUAL tuoso Trumpet" TURNTABLE TURNTABLE Helmut Wobisch. Adolph Holler, Josef Hell, Gerald Conrath, trumpets; Anton Heiler, harpsichord and organ; I Solisti di , Antonio Janigro. cond. VANGUARD VTC 1637. 46 min. $7.95.

Having recently reviewed the stereo disc edition of this program. there is no need to repeat my encomiums of its extraor- dinary musical and executant attractions. It is sufficient to note that while the two arrangements (the Clarke voluntary and Stanley tune) sound impressively cere- monial. the original baroque concertos and sonatas for one, two, and four trumpets (by Vivaldi. Torelli. Corelli, Gabrieli, Purcell, and the hitherto un- recorded Giocomo Perti ) sound even more exhilarating. Technically, the recording again strikes me as superlative. and compari- sons prove the ultrabrilliant high fre- quency and transient responses of the `- two media to be indistinguishable (at least to my ears). I must give the disc a fractional margin of superiority, how ever. since the tape is processed at a considerably lower modulation level. and & RECORD CHANGER! when it is reproduced at the same con- cert hall loudness level as the disc it then betrays a few whispers of spill -over be- tween some selections, as well as a shade more surface noise and preëcho. These are relatively small points. however; most listeners are sure to be delighted by this program in either medium.

"Banjos Back in Town." The Banjo Bar- ons, Jimmy Carroll. cond. Columbia CO 405, 30 min., $6.95. It's good to find that the rattling gusto of these divertissements -dominated by banjo. xylophone. tuba, and trumpet - sound here. if cornier than ever. still just as much fun as they did in the original SD release of nearly a year ago. To be sure, the electronic organ seems even more prominent and anachronistic, but all timbres are better differentiated, and the bold stereoistic recording demon- THE DUAL-1006 CUSTOM strates even more dramatically on tape We consider the Dual -1006 CUSTOM its mastery of the most explosive of to compare more than favorably with transients. any other record player now on the market. So much so that we submitted "Bing and Satchmo." Bing Crosby and it for testing to a completely impartial ; Orchestra, Billy authority. A copy of this report is now May, cond. M -G -M STC 3882, 35 available upon request. It contains the min.. $7.95. facts to be familiar with before con- This old- timers' reunion is not entirely sidering any purchase free from synthetic camaraderie. but it of record play- is redeemed by the casual zest of the ing equipent.m For your copy write: soloists, especially in Sugar, Muskrat Dept. A -4, Ramble, 'Way Down Yonder in New Orleans, and other apt materials. Bing is in surprisingly good voice, and if Louis united u lidio is hoarser than ever (and his trumpet WIGO PRODUCTS OF DISTINCTION DUAL solos only caricatures of their onetime 12 -14 W. 18th Street, New York 11, N. Y. virtuosity), his unique power of per- CIRCLE 35 ON READER- SERVICE CARD APRII. 1962 99

www.americanradiohistory.com THE TAPE DECK

agnecord Continued from preceding page for t sonality is unimpaired. May's appropri- ately unfancy and buoyant accompani- UNFORGETTABLE PERFORMANCES ments contribute to the fun of the whole. The King of Swing Chose "Dream Dancing in Stereo." Ray An- Magnecord for the World's thony and His Orchestra. Capitol ZT First Stereo Tape Recording 723, 34 min.. $6.98. The recording here sounds much too of Popular Jazz broad and rich to date back to 1958 or 1957 when this program (or a predeces- Blue Note -1951) (Chicago's sor, "Dream Dancing ") first appeared on LP. At any rate, new old, a real pro to stand the or the sonics It takes are fine and the usually colorless An- test of time . . . a musician like thony band contributes lushly attractive Benny Goodman . .. a tape recorder performances of the title tune "original" like Magnecord, the choice of pro- and such other terpsichorean hyp.lotics the one most widely used as This Lote of Mine, Embraceable You, fessionals, Stars Fell on Alabama, etc. in the sound and broadcast industry. Don't settle for less your home ... "Folk Songs." Tony Mottola, guitar, and deserves the best! For incomparable His Ensemble. Command RS 4T 823, Stereo, you'll want the Magnecord 32 min., $7.95. Olympian ... it's perfect! Has every- Mottolá s deft arrangements and per- thing you've wanted including full formances seem every bit as imagina- tive and effective as they struck me 4 and record. fidelity -track play when I first encountered the disc edi- write for additional information and In his New York apartment, Benny Goodman tion. Indeed, I relish more than ever to his Professional with the piquancies name of your nearest Magnecord dealer listens Magnecord Martin of the lively pieces (Skip Betton, factory sales representative. to My Lou, Oh Susanna) and the poign- ant lyricism of the slower ones (He's Gone Away, String Low). Stanley SALES DEPARTMENT Webb's versatile contributions (on re- agnecord corders, flutes, piccolo, and bass clari- t net) prove to be genuine tours de force. MIDWESTERN INSTRUMENTS, INC. manufacturers of electronic data acquisition instruments "How To Succeed in Business Without Really Trying." Original Cast Record- P. O. BOX 7509 TULSA 35, OKLAHOMA ing. Elliot Lawrence, cond. RCA Victor CIRCLE 104 ON READER-SERVIICE CARD FTO 5011, 49 min., $8.95. "Milk and Honey." Original Cast Record- ing, Max Goberman, cond. RCA Vic- An Important Announcement to High Fidelity tor FTO 4010, 42 min., $8.95. These two show programs have more in common than Broadway success: dif- Readers who want to BUY, SELL or SWAP ferent as they may be in many respects, they both have the rare power of de- So many of you are in the market to buy, sell or swap used equipment and lighting home listeners almost as much records that we've been swamped with listings for Trader's Marketplace. This as theatre audiences. This is more sur- prising in the case of How To Succeed, section can't begin to accommodate the many classified ads we receive from which has been most praised for its readers each month. It was therefore discontinued with the March issue. clever book and its antic acting, but the Loesser music stands up nobly on its To give everybody a chance to reach HIGH FIDELITY'S interested readers, own; and if star Robert Morse has even we're starting publication immediately of a monthly Buy, Sell or Swap News- less singing voice than Rex Harrison or letter. Subscriptions will be accepted at a nominal charge of $1.00 per year to Robert Preston, he is in their class as cover part of our printing and mailing costs. an entertainer. I relished every minute of it (above all. the incomparable ode Classified listings of used equipment and /or records will be available at $1.00 to self- faith, I Believe in You), and so per advertisement. Messages will be limited to 30 words, including name and ad- has everyone else I've played it to. Jerry Herman's Milk and Honey score ads can be accepted. Publishers cannot guarantee the accuracy dress. No dealer is less excitingly novel, except for the of statements or condition of merchandise advertised. occasional mild Israeli spicings; its ef- the fine in used equipment or recordings, fill in and fectiveness in recording rests on So, if you're looking for bargains voices of Weede, Benzell, and Rall, and mail the coupon below with your check or money -order for $1.00. We'll start especially on Max Goberman's spirited your Newsletter subscription with the first issue. If you're looking for a buyer handling of the fine chorus and orches- for your used equipment or records, send an additional dollar for a 30-word tra. But it is not without humor, either: listing. There's space on the coupon to type or print your message. witness Molly Picon's show -stealing Chin Up, Ladies and Hymn to Hymie. Both reels are technically first -rate, but the HIGH FIDELITY, Dept. CE Enclosed is my payment for S rich and live recording of Milk and Mass. Great Barrington, Insert the following 30 -word advertise- Honey, with its vivid close -up miking of Buy, Sell ment (including name and address) in the the soloists and its ingenious exploita- Start my subscription to your calls for or Swap Newsletter with the first issue. first issue of the Newsletter. (Type or print tions of stereo potentialities, ($II plainly.) ($11 special praise.

Name "In a Latin Bag." Carl Tjader and His Sextet. Verve VSTC 261, 33 min., Address $7.95. My first hearing of Tjader's distinctive City State blend of cool jazz and Latin idioms con- J firms what I've read in praise of his

100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com rrgt

varied skills as a composer (exemplified parently and authentically recorded. toned orchestra proves to be one of the in Triste and Pauneto's Point) and as What gives this tape distinction. how- most aurally attractive of its kind, and vibraharpist. Yet what impresses me ever, is the ten -minute divertissement on its varicolored sonorities are entrancingly most is his ability as a small group lead- the main theme from Exodus. with its recorded. Curiously, though, the lush er and his ear for consistently delicate scherzo -fugal (indeed quite Bachian!) film theme program, while headed surely and bewitching percussion timbres. The contrasting passages. which are in- for best -seller -dom, is much less immedi- highly imaginative treatments of Green geniously combined with the theme in ately pleasing than the lighter and more Dolphin Street, Speak Low, and Half an elaborate working up to the final zestful treatments of varied European and Half have the intimate charm and apotheosis. Both Greeley and Slatkin's hits on the bargain- priced Richmond intricacy of chamber music, beautifully orchestra play it very impressviely. reel: a buoyant pops version of the captured with all their antiphonal in- Swedish Rhapsody, a catchy Wonderful terplays, in pellucid stereo. , an atmospheric Wonder- j "Romantic Europe." Frank Chacksfield land by Night, among others. Mando- ,\ and His Orchestra. Richmond RPE 45028, min., $4.95. lins, accordion, oboe, and cellos all get "I Remember Tommy." Frank Sinatra 34 a chance to co-star with the singing with Orchestra, Sy Oliver, cond. Re- "Theme Music from `King of Kings' and Spectaculars." strings, but it's the unnamed horn player prise RSL 1707, 38 min., $7.95. Other Film Frank who bewitches my ears most often. Frankie's tribute to the late great Tommy Chacksfield and His Orchestra. Lon- Dorsey has a few sticky moments, but he don LPM 70050, 38 min.. $6.95. brings characteristic bounce to Polka Again Chacksfield's skilled and rich- Continued on next page Dots and Moonbeams, The One I Love, and Without a Song, as well as persuasive fervency to There Are Such Things, and It Started All Over Again. Fine recording centers the soloist in front of a wide- spread orchestra, and although the lat- ter is occasionally a bit raucous, its ac- companiments are generally more suavely RPM THIS SYMBOL suitable than those of other recent Si- natra releases. IDENTIFIES

"Kenton's West Side Story." Stan Kenton TRUE L. and His Orchestra. Capitol ZT 1609, MASTER 39 min., $6.98. TAPE Kenton's twenty- five -man band. with its G4RANTE'G\O currently featured mellophonium quartet. SOUND has its best materials in years in Johnny Richards' evocative arrangements of the on 12" L.P. STEREO RECORDS familiar Bernstein score. There are the It has never before been possible for you to hear the thrilling usual outbursts of brassy raucousness, of course, but much of the music is sur- sound of a master tape - the special tape from which records prisingly warm and expressive-not ex- are reproduced. by Kenton's own cluding that contributed Now you can enjoy this sound on Quarante- Cinq Records. lyrical piano soliloquies. And while the exciting recording is exaggeratedly stereoistic, it does full justice to the richness and sheer HOW HAS THIS BEEN MADE POSSIBLE ? power of these well- varied and controlled The increased rotational speed used on Quarante -Cinq Records means that performances. wave -lengths corresponding to even the highest frequencies will be traced by the playback stylus separately and distinctly. This cannot be done at "Phase 4: "Exotic Percussion" and "Per- recording speeds which cause these wave-lengths to become less than the cussive Moods." Stanley Black and His Orchestra; Johnny Keating's radius of the stylus. These losses, normally most pronounced in the inner Kombo. London LPL 74004/05, 37 grooves, are greatly reduced at our higher speed. and 32 min., $7.95 each. Eliminating these conditions gives rise to cleaner highs and superior transient I'm afraid these can be graded only as response. The latter is especially important because the sounds which are of "also -rans" in the Phase -4 sweepstakes. a sudden transient character give us much of our awareness of three - The Keating program is as synthetic and dimensional sound. ugly as the name of Kombo would sug- gest; and while Black can always be Quarante -Cinq clean sound reproduction resulting from these factors main- relied upon to do well with quasi- exotic tains the dynamic range and frequency response found on the master tapes. materials, his present examples (Jungle Electronic Engineers have long been aware of the theory involved in produc- Drums, By the Waters of Minnetonka, ing records of this caliber. But it was necessary to conduct extensive research Hymn to the Sun, etc.) are so overladen and tests to make this dream become a realistic fact. with "angelic" wordless voices and the

excessive clatter of meaningless percus- PLAYING TIME OF QUARANTECINQ 45 RPM RECORDS IS AS LONG OR LONGER THAN MOST STEREO DISCS. sion that the fine straight orchestral qual- ities are never given a fair chance to be itself, of course, Quarante -Cinq Records (Audio Reproductions, Inc.) heard. The recording FIRST RELEASES AVAILABLE only is as ultrabrilliant and the stereoistic Records available direct. Fill in coupon and mail. effects as melodramatically vivid as AT INTRODUCTORY PRICE ever, but the acoustical ambience is un- QUARANTE-CINQ RECORDS naturally dry- except at times in the CHABRIER: (45001 stereo) 333 Sixth Avenue New York 14. N. Y. Black program when there are arbitrary Fete Polonaise, Espana, March Please send me: injections of what sounds like highly Joyeuse Chabrier - $3.00 each(plus 300 postage) artificial reverberation. Weber - Invitation to the Bravo! Toro -- $3.00 each(plus 300 postage) Dance "Popular Piano Concertos of Famous Adam Si jetais Roi am enclosing $ (Records available in stereo only) Film Themes." George Greeley, piano; Pierre Dervaux, Orchestre des Felix Slat - Warner Brothers Orchestra, Concerts Colonne kin, cond. Warner Brothers WSTC Name 1427, 39 min., $7.95. BRAVO! TORO . . . (45002 stereo) Exciting bullfight Ordinarily no admirer of Greeley's "con- Address certo" inflations of a basically cocktail music hour pianism, I have to concede that Estaban Valdez, Banda de City State the present program has considerably Corrida de Cadiz more lyrical attractiveness than most of New York City Residents add 3% Sales Tax his long series; and surely none of the earlier releases has been more trans- IRcI.E 97 ON READER-SERVICE CARD

APRIL 1962 Inl

www.americanradiohistory.com THE TAPE DECK living room, can hardly please the dev- mized (the remaining traces are obviously otees of his television programs more inherent in the recording itself) and Continued from preceding page than those who have never fully real- there are no preëchoes or spill -overs. No ized before the solid grounds for the processing. however, can temper the fan- "Sing to Me, Mr. C." Perry Como with immense popularity which this singer has ciness of the scorings here or the emo- Mitchell Ayres and His Orchestra. achieved. tionalism of the playing throughout. RCA Victor FTP 1090, 44 min., $7.95. If this ingratiating program is as charac- "Songs of Praise." Mantovani and His "Sound 35 /MM." Enoch Light and His teristic of Como's TV appearances as it Orchestra, Chorus, and Organ. London Orchestra. Command RS 4T 826, 38 purports to be. with the Ray Charles LPM 70048, 47 min., $6.95. min., $7.95. Chorus "theme" introductions, Tony As I suspected. in my January review of I don't envy the processors who had to Mottola's deft guitar doodlings and this symphonic -hymn program in its LP transfer this sensationally acclaimed catchy beat, Ayres' warmly expressive version, even the most broadspread of technological showpiece to tape: only accompaniments, and above all with stereoism can add relatively little further the elusive preecho problem seems to Mr. C's genial vocalizations of pop opulence to the extravagant lusciousness have baffled them. The extremely standards, I've been missing a good deal of these ultra -Mantovanian performances. marked channel differentiations are, if of extremely attractive and unpreten- Although the tape is modulated at a con- anything. even more cleanly preserved tious music making. The present well - siderably lower level than the disc, it is here than in the disc edition, yet the sep- recorded stereo tape, which brings the processed so well that the latter's back- aration effect never seems as extreme as never overlifesize soloist right into one's ground noise and hum are greatly mini- it did in earlier Command spectaculars, thanks to the natural big reverberance of Carnegie Hall. Light's arrangements, too, are less often overfancy, yet no less ingenious -especially those of You Do l'iese,'re the Genius of the Musters Something to Me, Lore for Sale, and Someone. High on the disc best -seller lists for several months now, this pro- gram can hardly miss a similar popular success on tape.

"Spanish Songs and Dances in Motion." José Greco and His Dance Company; Orquesta de Conciertos de Madrid. Roger Machado, cond. Columbia MQ 416, 50 min.. $7.95. One of the best introductions to the "typical" music of Spain. this festive pro- gram displays the varied facets of the art of , not only in solo and ensemble guitar playing and in dancing (italicized with heel stamping, hand slapping, and the incisive clatter of cas- tanets), but also in vocalism ranging from wild gypsy rhapsodies to Moorish ballads. In some pieces Greco's own group is augmented by an intensely ener- getic orchestra. Extremely vivid and stereoistic recording enhances the fas- cinating timbre contrasts, wide stage frith 11110 spread, antiphonies, and interplays. Par- ticularly memorable are the haunting RE melodiousness of Romance Andaluz., the Nat. Ural Sound of andber 9 sombre impressiveness of La Petenera, and the seemingly inexhaustible 3 SPEED 4 TRACK rhythmic MODEL 6 inventiveness of La Molinera Caprichosa. STEREO RECORD /PLAYBACK TAPE DECK The remarkable features of this superb "TV Sing -Along with Mitch and the unit speak for themselves - records 4 Gang." Columbia CQ 384, 32 min., track; plays back 2 and 4 track stereo $6.95. and mono; records /plays back FM As long as the available supply of parlor Multiplex Stereocast with magnificent and back -porch song favorites holds out clarity, even at 33/ ips. Permits sound - (the present sixteen run from California on- sound, track adding, direct monitor Here / Come to Auf Wiedersehen My from source or tape; has push button Dear), this best -selling series should go controls, three separate Tandberg en- on forever. What's perhaps most re- gineered precision laminated heads, markable about it is that neither Miller hysteresis synchronous motor; installs himself nor his lusty choristers seem to into HI -F1 system. Price $498. Remote lose any of their zest, and that the cur- control "F" model also available. rent full -blooded recordings of their per- formances are still just as much fun to listen to as they are to participate in. MODEL 65 3 SPEED 4 TRACK STEREO PLAYBACK TAPE DECK "The Vamp of the Roaring Twenties." Another Tandberg triumph - for pure Dorothy "Pinky" Provine, with Trio, playback of 2 and 4 track stereo and Chorus. and Playboys, Sandy Courage, mono tapes with finest frequency re- cond. Warner Brothers WSTC 1419, sponse. Extremely versatile; facilities 33 min., $7.95. for adding erase and record heads. Like most sequels, the second installment Price $199.50. of TV- resuscitated songs and styles of the now fabulous era isn't quite as elec- /99.50 Tandberg remains unchallenged for - trifying as Volume I. Yet it. too. should clear, crisp, natural sound! \Ì beguile old- timers into chortling and weeping into their (no longer near) beer; pETnndberg OF AMERICA. INC., 8 THIRD AVENUE, PELHAM, NEW YORK while youngsters surely will relish the unflagging gusto of Miss Provine and her collaborators, quite unaware that they CIRCLE 85 ON READER- SERVICE CARD 102 Tlli lI FIDELITY MAGAZINE

www.americanradiohistory.com never can fully appreciate how brilliantly eliminate its prevalent preëchoes. The De Curtis' 'A Canzone 'e Napule and these performances echo -and transcend terrifyingly realistic sea and battle Ti voglio tanto ben. He is well accom- -their original models. The eight long sound effects, together with Bennett's panied, too, by a small but warm en- medleys include some thirty period inspired orchestral scorings, not only semble, and both soloist and orchestra pieces, and fine as "Pinky" is in such help to conceal the relative paucity of the are richly recorded. solos as California Here I Come, The best Rodgers tunes (although the hits of Man I Love. Somebody Loves Me, etc., Volumes 1 and 2 are briefly reprised "Zungo! Afro -Percussion." Olatunji and it's when the tough -baby gals of the here in the closing "Symphonic Sce- His Ensemble and Chorus. Columbia they provide ma- L- chorus line strut their stuff (in such nario"). but do potent CQ 392, 41 min., $6.95. Meisterwerke as Mama Goes Where Papa terials for what is essentially a sonic Although the most vivid and normally my threshold of Goes, Ain't We Got Fun, Freddy the spectacular -one of tolerance for primitive chanting is low, Freshman, and many others) that the breath -taking in the current repertory. the passionate fervor of Olatunji and his whole period. so often sentimentalized, thirteen -voice choir impressed me speaks with its authentically vulgar, in- "La Voce d'Italia." Giuseppe Di Stefano strongly in the original disc release of comparably salty voice. with Orchestra. Dino Olivieri, cond. this well -diversified program, and it does London LOL 90037, 42 min., $7.95. so again here. Yet, apart from the in- "Victory at Sea," Vol. 3. Orchestra, If you're susceptible to Neapolitan songs fectious singing in Jolly Mensah, the Robert Russell Bennett, cond. RCA and uninhibited Italianate singing, you'll most arresting feature of the program Victor FTC 2079, 46 min., $8.95. find this program one of the finest of its remains its fantastic variety and intricacy This reel, well processed at a more kind ever made. Di Stefano is in mag- of now vibrantly catchy, now thunderous moderate modulation level than its re- nificent voice (not excluding a remarka- drumming -the full impact and detail cent disc predecessor, does even better ble command of pure and accurate of which are of course far better justice to the kaleidoscopic glitter and falsetto) and he sings his heart out here, captured in stereo than in the mono disc bold stereoism of the original recording, most effectively of all in Addio Sogni di edition. There is breadth and power in although no way has been found to Gloria, Come è bello far l'amore, and this admirably processed tape.

KLH MODEL TEN - 23 5/32H x 11 25/32W x 8 3/4D. Operates with 12 watt amplifier (up to 60 watts). In five finishes from $86 to $94. Available in matched stereo pairs. Hand Made pe aker-circa 1962 OM 0010000000 00.00000000002001080001

The speaker system you buy, no matter how well it was designed, is only as good as the hands which produce it. These two hands are attaching the coil of a Model Ten tweeter to its cone. The metal hand was invented at KLH - steadier and more precise than any human hand. :IiIIIIIIIIIl1iiIIliNiiiIlllllfllillÍ The human hand provides craftsmanship. They work together to make every Model Ten match every other ELI( Rf:ftr.ARI11 A\O OI'.\'Y.IA,1' IY.YT 1'ORIYIRATIOY Clnnti STREET. t'.A\IRRI01:1: :1?, \IA\.AI'lll'öETT$ Model Ten, octave by octave and note by note, 30 within ±1 % db. Descriptive literature, with the name of your nearest franchised KLH dealer, is available on request.

CIRCLE 53 ON READER -SERVICE CARD APRIL 1962 103

www.americanradiohistory.com New Features NOW Iii The New 1962 DICO RP100 A great tape recorder made greater: 1. New professional studio recording hysteresis- synchronous capstan motor: 24 stator slots for ultra- smooth drive, ultra -quiet and vibrationless professional bearing system. Transistorized 2. Two new take -up and rewind reel motors, both extra -powered for effortless operation. 3. New cored -out steel capstan flywheel with all the mass concentrated at the rim for improved flutter filtering. Stereo I Mono 4. New optimally designed capstan drive belt brings wow down to negligibility. 5. New relay provides instantaneous extra power to the take -up reel motor at start to mini- mize tape bounce. Provides near -perfect stop- and -go operation and eliminates any risk of 4-Track tape spillage when starting with a nearly full take -up reel. 6. New automatic end -of -tape stop switch cuts off take -up reel motor power. Also permits professional editing techniques, whereby tape being edited out runs off the machine while Tape Deck you are listening to it. 7. Playback preamps remain "on"during stop- standby mode to permit cueing. Semikit: Tape transport 8. Recording level adjustment during stop- standby. assembled and tested; 9. Shock -absorbent helical spring tape lifters practically eliminate tape bounce at start of fast electronics in kit form $299.95 winding. Factory -assembled: Handwired throughout by skilled And All These AVell- kIIOvVll 1'P -100 Feuitires: American craftsmen $399.95 Separate stereo 1/4 track record and playback heads permitting off -the -tape monitor and true An original, exclusive FICO sound -on -sound recording; separate transistor stereo record and stereo playback amplifiers product designed and meeting true high fidelity standards; 4 monaural recording on tracks; digital turns counter; manufactured in the U.S.A. electrodynamic braking (no mechanical brakes to wear out or loosen); all- electric push- (Patents Pending) button transport control (separate solenoids actuate pinch -roller and tape lifters); unequalled electronic control facilities such as mixing mic and line controls, two recording level meters, Carrying Case $29.95 sound -on -sound recording selected on panel, playback mode selector, etc. Modular plug -in Rack Mount $9.95 construction.

Wow and flutter: under 0.15% RMS at 71/2 IPS; under 0.23/4 RMS at 33/4 IPS. Timing Accuracy: ± 0.153/4 ( ±3 seconds in 30 minutes). Frequency Response: ± 2db 30- 15,000 cps at 71/2 IPS, 55db signal -to -noise ratio ±;2db 30- 10,000 cps at 33/4 IPS, 50db signal -to -noise ratio. Line Inputs Sensitivity: 100mv. Mike Inputs Sensitivity: 0.Smv.

FM MULTIPLEX AUTODAPTOR MX99 (Patent Pending) ÁS1962 EICO Electronic Instrument Co. Inc. Kit $39.95 Wired $64.95 Cover Optional $2.95 3300 Northern Boulevard. L. I. C.. I. N. Y.

s. An original EICO contribution to the art of FM- Multiplex a0 .i. reception EICO, 3300 N. Blvd., L.I.C. 1, N.Y. HF -4 FM -AM Stereo Tuner ST96 The MX -99 employs the EICO-originated method of zero phase -shift filterless Kit $59.95 Wired $129.95 detection of FM Stereo signals (patent pending) described in the January 1962 Send free 32 -page catalog & Includes Metal Cover and FET issue of AUDIO Magazine (reprints available). This method prevents loss of channel dealer's name separation due to phase shift of the L -R sub -channel before detection and matrix. Send new 36 -page Guidebook to ing with the L +R channel signal. In addition, the oscillator synchronizing circuit HIFI for which I enclose 250 is phase -locked at all amplitudes of incoming 19kc pilot carrier, as well as ex- for postage & handling. tremely sensitive for fringe -area reception. This circuit also operates a neon lamp indicator, whenever pilot carrier is present, to indicate that a stereo program is Name #44,r in progress. The type of detection employed inherently 1 :i . i prevents SCA background music interference or any significant amount of 38kc carrier from appearing in the Address 70 -Watt Integrated output. However, very sharp L -C low pass filters are provided in the cathode -fol- Stereo Amplifier ST70 lower audio output circuit to reduce to practical extinction any 19kc pilot carrier, City 'one -State Kit $94.95 Wired $149.95 any slight amounts of 38kc sub -carrier or harmonics thereof, and any undesired Includes Metal Cover detection products. This can prove very important when tape recording stereo L 40 -Watt Integrated broadcasts. The MX -99 is self -powered and is completely factory pre -aligned. A Stereo Amplifier ST40 very high quality printed board is provided to assure laboratory performance from Over 2 MILLION EICO Instruments In use. Kit $79.95 Wired $129.95 every kit. The MX -99 is designed for all EICO FM equipment (ST96, HFT90, HFT92) Most EICO Dealers offer budget terms. Includes Metal Cover and component quality, wide -band FM equipment. Add 51/4 In West. Listen to the EICO Your. WABC -FM, N. Y. 95.5 MC, Mon. -Fri.. 1:15e8 P.M. Export Dept., Roburn Agencies Inc.. 431 Greenwich St., New York 13 CIRCLE 37 ON READER- SF:RVICF CARI)

104 HIGH Fli)E I FLY NI NG VINE

www.americanradiohistory.com High Fidelity Newsfronts

Return of the 45. Professional recordist For its records, which it claims have to high- fidelity- minded listeners, FM- Ted Ratnoff -a man who manages to the frequency response and dynamic and particularly stereo FM -with arti- look neat while lugging around 150 -watt range of I5 -ips master tapes, Quarante- cles covering both its cultural and tech- amplifiers, outsize turntables, and pock- Cinq anticipates a market among "qual- nical aspects. ets full of cartridges -has come up with ity- minded music lovers." What about an idea for commercial records that, at those who don't own a player with the Project Beep. In the meantime, one rea- the very least. will provide new fare for 45 -rpm speed? "We judge," says Rat- son to pre -celebrate National Radio the connoisseur and may conceivably noff. "that most record collectors do own Month is the demise of a new bug shake things more than just a bit in a turntable which plays at that speed. threatening home tape recordists which the recording field. Reasoning that the However, the single -speed 331/2-rpm reared its head in Texas recently only faster a record spins the greater is the player can be modified to handle 45 to fall flat on its tail. We first learned fidelity of reproduction, but aware also rpm very simply, by the addition of a of this menace from several letters sent that any decrease in playing time from new puck in the drive system. This is with news clippings by readers who were the standard set by the 3312 -rpm disc something many can do themselves, or aroused over reports that station KTOD would represent something less than real have done at a service shop. Actually, in Corpus Christi was injecting a super- progress. Ratnoff and his associates we don't consider it a serious problem." sonic signal into its broadcasts. A press have developed a 12 -inch. 45 -rpm rec- Nor does Quarante -Cinq anticipate wire service had the story which also ord that provides the same playing time anything like the "war of speeds" which found its way into our own local paper as a regular LP. confused record buyers and threatened in these Northern hills. It told of a The new venture is appropriately the industry in the early days of micro- tone, inaudible when listening to pro- called "Quarante -Cinq" and is set up groove records. "It's not a matter of grams with a receiver, but which would as a branch of its parent recording speed, as such," Ratnoff points out, "but intrude into any off-the -air recording company, Audio Reproductions, Inc., of rather of playing time and of compati- and thus spoil the tape. Thus alerted, New York. Music by Chabrier, a stereo bility for use on existing equipment. we made inquiries, and started a file Carmen, and Bravo! Toro are the first Our record is, in fact, a long- playing named "Project Beep" (for "Bad Effort announced releases. More will follow. record and not a 'doughnut.' It fits on to End Playback" or "Beastly Effort to Ratnoff explains that the "first of our a standard turntable and can be played Exceed Preemphasis "). As might be ex- 45ers were an experiment, produced with standard pickups. Actually, we ex- pected, tape enthusiasts were up in solely to demonstrate equipment at the pect other record companies to issue arms. The general attitude was: they last New York High Fidelity Show. Peo- their own 45 -rpm 12- inchers as a prestige can't do this; besides, if they do, we'll ple liked them so well. we decided to line, and we also expect that many of fight back. Superscope president Joe launch 'Quarante -Cinq' as a new label." them will come to us to do their mas- Tushinsky, for instance, told us that it The faster speed, says Ratnoff, means tering. At least, we hope so." is possible to build a network into a better transient response from a record Whether or not any lines form to the tape recorder, or else provide instruc- as well as consistently smoother high right remains to be seen. We have. in tions for recorder owners to build their frequency response "right down to the the meantime, been playing a few ad- own, which could easily frustrate this record label." What's more, Quarante- vance pressings of the new releases. They attempt at "adulteration of a broadcast Cinq is using a cutting technique "which are characterized by full, brilliant tone, signal." Tushinsky, by the way, recalls would improve even 33s, and therefore with a high degree of definition and that a similar attempt about twenty -five makes our 45s better than they normally "air" about the instruments which is years ago to put AM radio on a sub- would be. The cutter, developed in held from the deepest bass to the highest scription basis (nonsubscribers would Europe, has literally nonmeasurable dis- treble. Channel separation is excellent, have been subjected to a "pig whistle" tortion, and its resonances are inaudible, and the dynamic range is quite impres- tone) never got off the ground. being well above the audio range." sive. With records such as these, it may Apparently, neither will Project Beep. "How," we wanted to know, "do you come to pass that when a fidelitarian is According to an FCC official, the use of manage to get 45s to have the same asked to demonstrate his sound system such a signal by a station simply is playing time as 33s ?" he will simply reach for his 45. not permitted. The latest word, from "Playing time," says Ratnoff, "is trade sources, has it that the story re- regulated by guiding the pitch and depth Maytime, 1962. The radio broadcasting leased to the wire service was solely the of the cutter, according to a 'preview industry will take a long look at itself work of the device's inventor and further, signal' fed to the cutting lathe. It's ac- next month when it observes National that the Texas station involved never had tually a kind of servo system which Radio Month, a time set aside by the any intention of using it and actually makes the cutter self -regulating so that National Association of Broadcasters to has been the "innocent victim" of ill - the groove at any point along the rec- examine the contributions made by in- advised publicity. The whole thing now ord is as wide as it should be for the dividual stations in terms of program- seems like a tempest in a teapot, but signal. We call it an advanced form of ming and civic responsibilities. Coin- a tempest that could have fractured the variable groove spacing in which both cidental with this observance, the FCC teapot if allowed to go unchecked. The the lateral and vertical dimensions of is planning a series of informal hearings alertness of tape enthusiasts, the firm the groove are automatically controlled. on the program sources used by broad- stand by the industry and the FCC, and With this technique, it is possible to cut casters, and on existing standards for the forthright disavowal by station up to 25 minutes of playing time, at licensee qualifications. For our part, KTOD all are very creditable. And so, 45 rpm, on a 12 -inch record -and with this journal next month will examine let's see-the Boston Symphony is on superior fidelity." that area of broadcasting most important stereo this Saturday night... .

APRIL 1962 105

www.americanradiohistory.com THE MET section with a headline reminding readers that seasons had been cancelled and PURCHASING Continued from page 41 reinstated before. Mayor Wagner, who A HI -FI had enough trouble already with a orchestra after a Reiner or a Szell said schools scandal in the middle of a SYSTEM? he wasn't -but there was no Reiner or primary campaign, brought the parties TIME PAYMENTS AVAILABLE Szell or simulacrum on the Met's side together again. though Bing kept pro- Up to 2 years to pay! of the argument. One cannot wholly claiming that a season was now impos- Jim Lansing' blame the musicians in the orchestra sible because so many artists had Altec Lansing for feeling that their judgment of a made other arrangements. Here and Send Us Electrovoice Jensen Hallicraf ter man's competence was as good as that there. artists who had not in fact made Hartley' Gonset of a top management team which did other arrangements did the Met manage- USL Citizen Band Your List of Texas Crystals not command the continuing services of ment a favor by announcing that they Internat'I Crystals a single professional musician. had. Most artists screamed that the University Acoustic Research management was lying. On August 17, Components Janszen Viking the Metropolitan Board broke off all Wharfedale EXCLI'T for the question of why Bing Concert one and Anthony Bliss (president of negotiations on the grounds that the For A Bell G.E. loss of singers and valuable preparation Weathers liie Metropolitan Opera Association) Harman- Kardon thought they could get away with it, time had made a 1961 -62 season "no Eico Pilot most of the mystery has now cleared longer a possibility." Package Sherwood' Led by the New York Herald Tribune's Tend berg' away from the attempted cancellation ESL Frazier of the current season. In 1958-59 editorialist and Irving Kolodin of the Superscope - Saturday Reviese, whose column carried Quotation Dual Changer after picking up payments from Knabe RCA the headline "Bing Fires the Public," AIREX WON'T Bogen for the right to advertise itself as the Dynakit Fisher the press furiously attacked the Met- BE UNDERSOLD H. H. Scott Met's piano. from Texaco for broad- Thorens' casts, from Sherry's for the restaurant, ropolitan management for its irresponsi- All merchandise TEC Roberts bility. President Kennedy asked Secretary is brand new, De Wald National from the hat -check department. from Sony Challenger of Labor Goldberg to intervene. Bing factory fresh & the fund raisers, from the tour guaran- guaranteed. Wollensak tors, from Sol Hurok for rental of the said Goldberg's intervention would not Garrard help "a bit." Bliss knew better, and FREE Hi Fi Miracard auditorium and assorted retailers for flew Catalog Avail- Glasees- Steers rental of store fronts, from recording to Denver on August 20 to confer with able on Request Rek -O -Kut Polytronics royalties, etc.-the Met wound up about Goldberg. Norelco Conrac By August 21 the Metropolitan Board Fairchild $3.000 ahead on its year's work. In AIREX Pickering Sonar 1959 -60. ticket sales plus all the sub- was in full retreat. Chairman Lauder Audio Tape sidiary income left a loss of $40,547. Greenway said of Goldberg's interven- Magnecord is a I RADIO Rockford Cabinets In 1960 -61, despite a $300,000 increase tion, "This splendid thing. am CORPORATION Fair Traded in revenue from ticket sales, the deficit wholeheartedly behind it -and so are 85 -HF Cortland St., N. Y. 7, WO 4 -1820 was tip to $72,140 after total contribu- many members of the board who have tions of some $800.000 from charitable been told of it." (The others presumably CIRCLE 2 ON READER -SERVICE CARD individuals. institutions, and the public. would continue unenlightened unless the butler read them the newspapers.) From HERE'S Looking forward to 1961 -62, with singers' fees rising and raises due to the Italian Alps, still blithely unconscious roll ALWAYS GET all the unions that work in the house, of the knife in his back. Bing reported Bing and Bliss foresaw a deficit of at to the press that the whole foofaraw Rock -Bottom Prices least a quarter of a million dollars, and was meaningless, it was "too late." Two WITH CONVENIENT TIME PAYMENTS AT perhaps more than half a million dol- days later, without the participation of lars. They could not face it. Most people Mr. Bing. who was still abroad, the in a position to know believe that in parties had agreed to let Goldberg ar- March 1961, before the musicians' union bitrate the issues, and to proceed as had .submitted its demands, Bing and scheduled with the Met season. The - SINCE 1905 Bliss had decided that there was to be very minimal award Goldberg later fi no 1961 -62 season, assuming that the handed down -$10 a week for the cur- O rent season, plus a better per diem ex- i shock of cancellation would produce a flood of donations and perhaps federal pense allowance on tour -has led some _. L:l µl - to speculate that Bliss and Goldberg aid to assure the reopening of the house Unless you're a multi -millionaire get our quote, the next year. The musicians' union decided on more than procedure at their like these shrewd buyers did! Denver meeting. These excerpts from letters in our files are unwittingly played along with the game proof positive that RABSONS PRICES ARE ROCK by making demands which Bing accu- Yet Goldberg could not have given BOTTOM! Your purchase backed by our reputa- the union more, for the Met's financial tion for 56 years of RELIABILITY! PLUS our rately described as "fantastic." six (6` months guarantee, instead of the usual By May it was widely known around condition is truly desperate. Even with 90 days. STANDARD NAME BRAND LINES. town that the Met was not planning the minimal award. the deficit from From "B.M." North Carolina- a season. Farcical negotiations with the 1961 -62 may run considerably over "I was pleased with your quotation on my pro- union dragged on (the Met offered before $250.000, and the ten per cent increase posed Hi -Fi set, as it was $30.00 less than the July 12 not a penny of wage increase in ticket prices announced for next next lowest bid of over ten." for the first season under the new con- season (to an $11 top) will probably From "W.W.B." California - tract. and the union insisted on about not bring a balanced budget. "Your package quote was best I received." $100 a week, plus fringes, atop the ex- Lincoln Center exacerbates the prob- From "J.K.B ' New York State- isting base salary of $170). No work s "Yours was the lowest of six quotations." was done toward the new season, and From "G.E.M." Ohio - dismissal notices were sent to employees. "Your quotation was prompt and I was in- Singers' contracts automatically lapsed fluenced by the six months warranty offer." on July 30, and on August 7 the Met- ropolitan Board announced cancellation. FREE- With our quote on the equipment or sys- tem of your choice we will include a E1 Bing went abroad to make a grand tour genuine Miracle Record Cleaning Cloth. of Europe and see what might be around for a 1962 -63 season. absons-57 ST., Inc.Dept.24 People still refused to believe the 119 West 57 St., New York 19, N. Y. evidence of their senses. The New York (Diagonally opposite Carnegie Hall) Times placed the story in its second CIRCLE 96 ON READER -SERVICE CARD 106 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com lem. Met musicians who make less than $10.000 a year are inevitably infuriated New society for by the fact that New Yorkers are willing to spend more than $140,000,000 for buildings to house the performing arts at the same time that they plead abso- kit enthusiasts passes lute poverty before the performers them- selves. At least one more contract will have to be negotiated with orchestra, mark chorus. and weekly -fee singers in the 6,000 membership old house. The opening of the new Met at Lincoln Center is now officially R A ' E Society now ready with first issue of quarterly Journal postponed until the fall of 1965, and is not really likely to occur before the Announcements of the RAE Society have methods; and how -to articles on improving fall of 1967. Meanwhile, the money to brought an overwhelming response from performance from records, tape, multiplex FM, build the house is still not pledged -at kit enthusiasts all over the Country. Member- and TV sound. the most liberal estimate of funds in ship has passed 6,000 and applications are The Journal includes a regular "I Think" hand and the most conservative estimate pouring in daily from hobbyists interested in department where members air their opinions of cost of construction, there is still assemblying radio, audio, and electronic kits. about what they like or don't like in available circuits, and assembly methods. $19,000,000 to go, and many competent KIT ENTHUSIASTS PRAISE kit designs, and critical views of subjects related to observers would out the actual gap RAE SOCIETY PURPOSES News radio, audio and electronics are covered by closer to $30.000.000- especially con- applications Letters accompanying membership "Notes and Comments". A "Buy, Sell and sidering the extra costs which may be in- this Society fills a long - make it quite clear that Swap" section is available to members without volved in doing something about the felt need for a national organization to repre- underground river which has recently charge. In short, the Journal contains a wealth sent and advance the interests of kit -builders. authoritative, and reliable in- been discovered at the site. advantages of informative, Applicants are outspoken about the formation not available from any other single Nor is a new house guaranteed to One letter they will have from membership. source. Its contents are refreshing, stimulating, bring economies of operation. Greater with: This looks like the summed it all up and provocative. storage space, more efficient stage ma- best Sr investment I ever made." chinery and the like (assuming no ob- Most often mentioned as reasons for seek- R-A-E MEMBERS TO SERVE ON jection from the stagehands, who have ing membership: ADVANCE -TEST PANELS not yet been consulted) could save The RAE Quarterly Journal available to This is one of the most original ideas ever several hundred thousand dollars a year. Society members only - the first and only adopted for pre -testing new products. Designs The trucking bill alone ran $158.000 publication devoted to kits and kit building. intended for kit builders will now reflect the in the 1960 -61 season. and would (No music articles, no record reviews) kit builders' point of view, and will be based be virtually eliminated by the below - The RAE Advance -Test Panels comprised on actual kit- building experience. stage storage facilities planned for the of members who will pre -test newly de- Before any new RAE kit is released, ro new house. But the Met, as a part of signed RAE Kits before they are marketed, prototypes will be tested by an Advance -Test Lincoln Center, would have to pick up and who will then keep the finished kits as Panel comprising If) Society members. Each certain new housekeeping bills. which their own equipment - without any cost. will receive a kit to assemble, and will report might eat up as much as half the savings. The "Members' Roundtable" and other fea- his findings to the Society. The completed kit (These bills cover the costs of air con- tures of the Quarterly Journal where mem- will then become his property at no cost to ditioning, however, offering the Met the bers offer their ideas and experiences, views him. A new Panel will be chosen for each new possibility of revenue from rental of and opinions, hints and recommendations kit; no member will serve twice. Any Society the house over the summer.) There will in an exchange of helpful information about member may qualify to serve on the Advance- be no greater income from the sale of kits and complete systems. Test Panels. READY tickets. unless prices are boosted sub- RAE JOURNAL NOW RUSH YOUR MEMBERSHIP APPLICATION TODAY! stantially. Members of the RAE Society are now receiv- Just Sr pays for your first year's dues in the Everything considered, past and future, ing their copies of the eagerly- awaited first Society, and entitles you to all benefits one must admire Bing's RAF courage in issue of the Society's unique Quarterly Journal. of membership, including four issues of the planning a 1962 -63 season with twenty - A limited number of extra copies has been set quarterly Journal. It qualifies you to be chosen six weeks in New York. the longest run aside to take care of new -member requirements. to serve on an Advance -Test Panel, and to the Met has ever attempted. and with By acting now, you can be sure to receive this participate in many other activities to be an- five new productions (all of them al- "first- edition" issue as part of your regular nounced in the Journal from time to time. By ready sponsored as to basic costs. how- membership privileges. acting now, you can still receive a copy of the ever. by various charitable individuals This issue previews the first kits ever de- first issue of the Journal, and you will be and institutions). All five are ambitious signed by kit -builders. Among the equipment eligible to serve on the first Advance -Test operas- Tehaldi's Adriana Lecouvreur, articles are: Panels. and Sutherland's Sonnombnla, in addi- NEW: Modular Stereo FM Tuner Use Coupon Below or Your Own Stationery. tion Oteno, Meistersinger, to and NEW: Electronic Crossover Network Read the UNCONDITIONAL MONEY -BACK A riadne aid Naxos, the last never done NEW: Mono Preamp can be Converted to GUARANTEE in the Coupon. Act today! at the house before. though the Met in Stereo recent years has put its superbest into NEW: 36 Plans for High -Quality Strauss. The conductor problem will be Installations tackled head -on. with Ansermet making PLUS: New concepts of kit design. RAE SOCIETY his debut at the house Pelléas et (sponsored by RA E for YOU CAN'T BUY COPIES OF THE JOURNAL RAE Mtgisande, Solti returning for Otello Equipment, Inc.) Copies of RAE Journal are available ONLY Savings Bank Building and Tristan, Varviso SOCIETY and (who came to members of the RAE Society. The Sr Great Barrington, Mass. with Sutherland this year and made a annual membership dues entitle you to four Yes, I want to participate in the RAE Society's good impression) tackling Adriana as issues as one of the benefits of membership activities. I enclose S1 as my membership dues - for one year. I understand that I will receive a well as his sponsor's opera. Orchestral free of charge. No copies can be bought any- Membership Card, the Quarterly Journal issues rehearsal time will have to rise con- where. for one year, and will qualify to serve on the siderably from this year's 230 hours. Advance -Test Panel. MORE ABOUT THE QUARTERLY JOURNAL and choral expenses will be up con- Name ... . siderably. Milton B. Sleeper, noted figure in electronics Street ..... This is a fighting season for a man and Chairman of the RAE Society, heads the who might have been expected to pull editorial staff of the Society's Journal. The City & Zone ...... State ... Journal is devoted exclusively to subjects of I understand that I am not required to purchase interest to kit builders newly developed any RAE kits to enjoy membership privileges. - I am a Beginner Experienced kit -builder Continued on next page RAE kit designs, Advance -Test Panel reports; Professional high -quality mono and stereo installations UNCONDITIONAL MONEY -BACK GUARANTEE If I am not completely satisfied after I receive from the simplest to the most complete; record- and examine my first issue of the Quarterly ing techniques; testing and maintenance Journal, my money will be refunded promptly on request. No extra charge outside the USA. CIRCLE 68 ON READER -SERVICE CARD

www.americanradiohistory.com THE M ET Thomas performed with a kind of per- Now... build your fection, and it is necessary to restore the Continued from preceding page balance at this point by saying so. He brought to them a saturated pantheism own TOP QUALITY in his horns. Though only one member not untouched by deep human compas- of the Met's board -Mrs. August Bel- sion that the overripeness of his last TELEVISION SET mont. who was an actress before her years dulled but could not destroy. They marriage and is the only artist present meet with precision Sir Thomas' own -voted against canceling the season, epicurean Englishness. But there are there is no question that many members other aspects of Delius' work that either were queasy about the matter and are transcend. or are strangely different from more than a little annoyed with Bing this one, and in order to see him whole fol the embarrassment he caused them. we must take them into account. Some Last fall, Bliss looked very much like The of them have been discussed above. Then Vicar of Bray. and Bing's resignation there is a massive grandeur, of a kind Beecham was rumored on odd Tuesdays through- could not always bring off (in his odd readings of Beethoven, out the first months of the season. No- for instance), as in the opening of A Mass body expected Bing to risk the largest of Life, music which one has actually number of new productions he has ever heard better done by far inferior con- attempted. In the past. Bing has had a ductors; disquieting bitterness, as in An bad name for arrogance ( people say Arabesque (Delius the man could be that singers know how to handle him, very bitter sometimes); and something Save money as you enjoy constructing rather than that he knows how to akin to mystic vision (how he would your own fine table -model TV set. Any- handle singers) and for petulance (it have hated the description!) seen in A Song of the High Hills and one can build it -no technical knowledge has been absolutely impossible to keep in the wonderful last act of A Village Romeo. or skill needed. The "Custom 70" is Per- him from shooting violent letters off NRI top Exquisite though many of Sir Thomas' formance Guaranteed by -the to the press the moment anything at name in Electronic training for nearly 50 performances of Delius were, he had not the Met is criticized ). His willingness years. Picture tube has 206 sq. in. of view- such a monopoly of the composer that now to fight for his job. and his ad- ing area. All- American parts. Quality we may say the works will die with their mission that perhaps he made a mistake "slim- line" cabinet. Everything included greatest interpreter. There were even one low price. payment plan. in his handling of the cancellation at Package aspects of Delius that may come into Tear out this ad, write your name and ad- question, make him a far more attrac- their own in the hands of other, even dress in margin and mail. Conar will rush tive figure. For all his reliance on star lesser, men. Some Delians even now pre- pictures and facts on the "Custom 70." sopranos. his inability to get along with fer the readings, on very old records, A Division of National Radio Institute. strong conductors. his infatuation with of Francis Toye, and even if we do not DG 2C Broadway. and his tolerance for certain share this view (1 do not) it proves musical barbarities ( the butchered re- instruments that there have always been other in- COMA organization of Verdi's Forza. the clod- Wisconsin Ave., Washington D.C. terpreters of this music. 3939 16, dish reorchestration of Offenbach's CIRCLE 100 ON READER-SERVICE CARI) Delius was a whole man. He was , the Met a Pc richole) he has made not a simple hedonistic dreamer at the which most people functioning theatre. sunset of romanticism, but a composer of TOP ALLOWANCE as under would have regarded impossible majestic strength, compassion, strange and New York conditions before he came. FOR YOUR USED COMPONENTS sometimes eerie insight. He was a poet is a And great opera. after all. only of the human heart as well as the moods AT functioning theatre in a state of grace. of nature, and he interpreted the one in the light of the other. Above all, he was audio exchange the ecstatic singer. not of the unattain- able past. but of the marvelous mo- WHEN YOU PURCHASE ment. In Delius we have a complete man, and a complete music-a great The SHERWOOD S -3000 IV music that will outlive fashion and will FM MX STEREO TUNER NO FUNERAL TAPS triumph over misconception. This is not with "Acro- Beam" Tuning FOR DELI['S the work of a weak dreamer but of a Features 7" expanded slide -rule tuning scale. man who saw the world whole, saw it Automatic Frequency Scale, special inter- channel Continued from page 48 clearly and loved what he saw, and died, hush system which eliminates noisy "hash" between FM channels. after a long and painful illness. having of Sea Drift is one of the greatest uses summed it up by saying: "I have had of modulation in all music. a wonderful life." Although Delius was cosmopolitan. Sir Thomas deserves our affectionate there was something about him that re- thanks for all he did for Delius, but he flected his boyhood in Yorkshire and that would he the first to say that the creator was distinctively English. Compare is greater than the performer. Although Shakespeare with Racine: the Frenchman perhaps there were things in Delius' TRADE 4 WAYS is formal. ordered. measured. objective: music that even Sir Thomas never quite TRADE Hi -fi for hi -fi the Englishman "simple. sensuous, and brought out fully, he often remarked on TRADE Amateur radio* for hi -fi its wide emotional range and scope. TRADE Hi -fi for amateur radio passionate " -formless. subjective, pas- TRADE Amateur radio* for amateur radio* sionately concerned with passion and the Actually there are many reasons. in- Includes HAM; SWL; Citizen's Band; Test Equipment human person. So also is Delius. Delius cluding economic ones, why it is pre- AUDIO EXCHANGE EXCLUSIVES: may well he compared with Keats. who cisely the greatest works, the rugged Trade -Back Plan New Equipment from over 100 in the direct line Shake- imaginative things far removed from the manufacturers Used Equipment sold on 10-day un- was himself of conditional money-back guarantee ... plus 90 -day serv- speare. One thing more reflecting Delius' lotus- eating legend, that are the most Custom Instal ice warranty Special GE Credit plan there is a certain kind of free seldom performed. The music of Delius lation for stereo and monaural equipment. Hi Fi Englishry: service laboratory. variation form found in early English is not the last monument of roman- Get more! Pay less when you trade at C music and nowhere else. except in the ticism. but an eternal mirror of the music of Delius and Arnold Bax. It is whole richness of human experience, the audio exchange the form of Brigg Fair. the first Dance glory of the dear earth, not remem- For Trading info., write dept. HA Rhapsody, Appalachia, and other Delius bered in regret. but experienced anew PLEASE MAIL ALL ORDERS AND INQUIRIES TO JAMAICA 153 .21 Hillside Are., Jamaica 32, N. Y. ARM 7.7577 works. with rapture. poignance, and an imme- WHITE PLAINS. N. Y. BROOKLYN. N. Y. MANHASSET, N. Y. These are, of course, the works Sir diate impact of glory. 203 Mamaroneck Ave. 1065 Rlatbush Ave. 451 Plandome Rd. CIRCLE 12 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IMPROVEMENTS IN ARMS The improvement in sound quality made by the new arms depends on cir- Continued from page 45 cumstances. Installation of a new arm in an existing system may yield no sig- SAVE0'4OT HNFI nism that takes the arm off its resting nificant performance improvement unless months to pay post, moves it over the record, and sets the present tone arm does not provide USE OUR EASY-PAY-PLAN Up to 24 the stylus down in the lead -in groove, all optimum tracking and adjustments or 2418/Bell 30 Watt Stereo Amp 5109.95 in one easy motion. Rek -O -Kut has in- unless you have a pickup permitting RC88 /11 Garrard 4 /Speed Stereo changer 59.50 troduced a motor -driven device called a low needle pressure of 2 grams or 108 -Audio Empire Diam. Stereo Cart 35.00 "Auto- Poise," which automatically sets less. Most of the older pickups require 2- Famous make 3 -way speakers mounted in walnut bookshelf cabinets 119.90 the arm over the record and lifts it more than 2 grams of pressure and thus All Interconn. Cables 8 Inst 4.50 off at the end of the record. The latest work quite adequately with the older type Catalog Price.. 5328.85 Empire arm has a tiny magnetic catch of tone arm. While a new arm might Send for FREE YOUR COST.... 195.00 that lifts the arm off the record at the coax a little more performance from Quotations on end of play. In the new AR turntable and an older pickup, it is rather doubtful Your Package or You Save arm combination viscous damping is that the improvement would justify the Single Components Over 40 %.... 133.85 used to offer some amount of friction cost. Replacing both arm and pickup as long as the arm is off the record; offers a far better possibility of improve- BEFORE YOU BUY HI -FI write for no obligation guar- the new pickups quotation on your Hi -Fi requirements. We once the stylus touches the groove, ment. Assuming one of antee. We Will Not Be Undersold." FREE the friction is removed. In somewhat with compliances of 6 x 10-6 or better, the WHOLESALE CATALOG. like manner, the new Neumann inte- new arm should provide good tracking grated turntable and arm boasts an air - at pressures between 1 and 2 grams and ELECTRONIC WORLD HI -FI RECORDING TAPE compression system which lowers the allow the use of a 0.5 -mil stylus. Record 7" Spools Splice Free Freq Resp 30 15KC pickup when actuated by a remote lever. wear may be minimized since with pres- 3-11 12 -23 24 -100 The mechanism disengages itself from sures of 2 grams or less the stylus loses 12A 1200' Acetate 51.29 51.17 S 99 the arm when the stylus is in the record its tendency to deform the record. Wear 18A 1800' Acetate 1 79 1.59 1 45 groove. caused by rubbing should become in- 18M 1800' Mylar 2.09 1.99 1.85 24M 2400' Mylar 2.69 2.59 2.49 significant, not only because the rubbing Any assortment permitted for quantity discount. IF it remains a tossup as to whether force is reduced. but also because the Add 15c per spool postage. 10c 24 or more. needle itself will not develop "flats " the best performance can be achieved -a ALL MDSE. SOLD ON 15-DAY with an integrated arm and pickup or great cause of record deterioration. And MONEY -BACK GUARANTEE. with a "universal" arm designed to ac- while audible improvement may not be cept any number of pickups, it seems very dramatic, there may be some re- equally open to question as to whether duction of distortion in peak passages, the tone arm should be integrated in highs may be smoother. and transient HI-FIDELITY another direction -that is to say, with response significantly better. CEIJTER the the turntable. There are strong argu- The new tone arms. along with "The Houe Of Low Low Prices ments in favor of such integration, re- new high compliance pickups which they St., New York 10, N. Y. gardless of what happens at the pickup complement (and current refinements 220 -A East 23rd end of the chain. For one thing, as in turntables), today afford records the CIRCLE 51 ON READER-SERVICE CARD pointed out earlier, the resonance of best ride they have ever enjoyed in the the arm should be adapted to the rum- history of sound reproduction. ble frequency of the turntable so that it helps to cancel, rather than to rein- force, it. There are other important fac- tors to be considered in the relation of arm and turntable if rumble, as well as instability. are to be minimized. Although arm manufacturers strive for an arm de- sign which will work well with most turntables. it is obviously easier to build one which works best with a given turn- table. The growing tendency towards THE BIG BANDS such integration is fairly apparent, with the same manufacturer offering both an Continued from page 51 arm and a turntable for use together. In the record changer. of course, the stituting a reed section using written arm must of necessity be integrated with parts instead of the single improvising the turntable. At one time, the arms of clarinet of his earlier music. The sound most automatic players were primitive of the older style could be retained by and crude as compared with the best having the sax players frequently double separate tone arms. They had to operate on clarinets and take clarinet solos. Oli- at higher pressures. loaded the stylus ver profited by Redman's example (and more heavily, had fairly large tracking he used an arranger named Billy Paige, to deliver whom Redman had worked in Pitts- errors, and generally failed for 3 position Switch permits play the performance possible with a good burgh) but only as a guide to expanding through 2 pairs of Stereo tone arm and turntable combination. what he already had. To hear the most at the same time. More recently, however, some changer interesting evidence of the evolution of Speakers designers have corrected this disparity this style, compare Oliver's 1923 River- with conspicuous success. The Garrard side Blues with the 1936 Crosby band's Now you can listen to Stereo n any room in selec- "Type A" and the new Studio series from Dixieland Shuffle, obviously inspired by your home. Quality tap switch permits of main speakers, remo e speakers or Miracord, for example, use arms which Riverside. tion both sets at the same time. look, and behave, like good independent Duke Ellington learned from Redman Simple installation. Mounts on wall or cabinet. Screw tone arms. They employ many of the and Henderson too (indeed some of his terminols. principles discussed here, making possi- early recordings are virtually imitations) Part No. 670. U.S.A. List Price 56.25 Contact your dealer or write for name of deafer ble the use of high compliance pickups but he abandoned the dance band idea nearest you. and fairly low tracking pressures. Im- and started all over again for himself - proved motors, more sophisticated me- and his conception proved to be the chanical designs, and lower rumble lev- els also characterize the new changers. Continued on next page 5539 N. Elston Ave., Chicago 30, Ill. CIRCLE: 84 ON READER-SERVICE CARD APRIL 1962 109

www.americanradiohistory.com PROFESSIONAL DIRECTORY

ARIZONA CALIFORNIA QUICK -SEE THE BIG BANDS WESTERN HI FI FANS ALBUM FILE ARE YOU INTERESTED IN PRICES? Eliminates bottom jacket wear. Rolls Continued from preceding page WRITE FOR QUOTATION forward for front - view, flip- through AUTHORIZED DISTRIBUTORS selection. 9 models most brilliant and durable of all. SCOTT -JENSEN and OTHERS MAJOR LINES fit any cabinet, closet or shelf. Ellington has been a major jazzman $7.95 up. Also for over thirty years, and his achieve- Hi -Fi Sales Company available with cab- any 735 West Main Street inet shown. Deal- ments are large enough to cut across Phone 969 -3191 Mesa, Arizona ers, inquire. considerations of period or style. But it KERSTING MANUFACTURING COMPANY 504 S. was precisely at the height of the swing CIRCLE; 52 ON READER- SERVICE CARD Date Street, Alhambra, California craze that he was doing some of his CIRCLE 55 ON READER- SERVICE CARD greatest work, and his was one of the that had a few groups of this period that the work of all but the very best big jazz. really original approach to big -band bands was done. By the late Thirties, the orchestra was In 1927, Ellington's swing style had made a musical summary hired by the Cotton Club to provide synthesis fifteen years of jazz. and of Over 2000 different albums All Labels music for elaborately staged and lurid Great numbers of bands had spread the 2 -track and 4-track floor shows. Acts by talented singers news and popularized the music. Artis- by No deposit on tapes rented and dancers would be separated wildly tically, it was time for something new, absurd production numbers in which and that something new eventually came Postpaid to and from your home heir- sheiks abducted innocent American from individual improvisers working in BROCHURE esses. or "white goddesses" ruled native small groups. Only the most truly cre- stereo tribes with bullwhips. Here El- -parti African ative bands of the Forties could endure 311 -A CENTINELA AVE., INGLEW00D, soon lington's talent was released, and he both the artistic impact of "modern" CIRCLE 82 ON READER -SERVICE CARD found himself with a new sort of band. jazz and the spiraling expense of keeping DISTRICT OF COLUMBIA he a or show or- In effect, converted pit so many men together. Save 30 %, 4.Track r'-r.:"+y chestra into a jazz group. The emphasis Today. Henderson is dead. but Good- Stereo Music on Tape fell on refinement in orchestration, on man periodically gets out the old book Empty 3" Plastic Reels, lc ea. the integration of solo and group. and on Bargain Prices! Send for :,'- and forms a new band to play it again. our Recorder blank p re- creating varied sounds and textures. recorded tape catalog 11.1. Don Redman's chief occupation is writ- NORELCO SPEAKER Ellington led the band. but everyone ing arrangements for Pearl Bailey. And Famous AD3800M, twin cone 8" As he later commented: (75- 19,000 cycles) discontinued contributed. Ellington? Well, of course, he still leads model, former list 16.00, usual "The music's mostly written down, be- net 9.90 going at 4.99 plus post- the best big band in jazz. age (2 for 9.00). Other Norelco cause it saves time. It's written down if speaker sizes at bargain prtces- SEND FOR SPEAKER SPECI- it's only a basis for a change. There's FICATION SHEET. no set system. Most times I write it BARITONE TAPE SALES (Div. of Commissioned and arrange it. Sometimes I write it. and SOME of the performances mentioned Electronics, Inc.) \-' 1776 Columbia Rd., Wash., D. C. the band 'and I collaborate on the ar- in this article have been reissued on CIRCLE 29 ON READER- SERVICE CARD rangement. Sometimes Billy Strayhorn, microgroove recordings. as follows: my staff arranger. does the arrangement. Columbia's Henderson anthology When we're all working together, a guy "Fletcher Henderson: A Study in Frus- may have an idea and he plays it on his tration" (C4LI9)- beginning with Dirty horn. Another guy may add to it and Blues and including two versions of make something out of it." Sugarfoot Stomp (one with Armstrong). Ellington's whole career is full of ex- the remarkable Stampede by the Hen- cellences, but between 1938 -40 he pro- derson trumpeters, Henderson Stomp, record after an- King Porter duced one exceptional early and late versions of MAIN STORE: other. Rumpus in Richmond. Ko Ko, Stomp, Honeysuckle Rose, Blue Lou. 509 11TH ST, N.W.,WASH., D.C. Harlem Air Shaft. Sepia Panorama, Bo- Christopher Columbus, Stealin' Apples- jangles, Concerto for Cootie, Across-the- presents sixty -four titles from all periods. Track Blues, In a Mellotone, Jack the Other early Henderson (and early El- Bear-these are surely the jazz master- lington) is on Riverside 12129. CIRCLE 64 ON READER- SERVICE CARD pieces of their time. and in them the Goodman versions of Sometimes I'm ILLINOIS composer. the solo improviser. and the Happy are on both RCA Victor LPM group form an emotional and musical 1239 and Columbia CL 818. Also on whole which surpasses the sum of its LPM 1239 are Big John Special, Sugar- record index parts. Ellington has influenced every- foot Stomp, and Wrappin' Il Up: and one (including such acknowledged fol- RCA Victor LPM 1099 has Down South reco ca rds lowers as Charlie Barnet. to whom he Stomp, Camp Meeting, King Porter and Designed for collections of 150 up. once even loaned his library of arrange- Sing. Sing. Sing. Alternate "concert" Send for brochure, sample record index but he has had very few success- ments). versions of most of the same pieces ap- cards, sample index guides by composer. ful imitators. 818 and 820. A pear on Columbia CL Recocards One other band that was inspiring Henderson arrangements. collection of (H 2) 503 Hyde Park Bank Building musicians in 1939 was Count Basie's, played by the Goodman band on Colum- 1525 East 53rd St., Chicago 15, Illinois and it gave the Goodman orchestra such bia CL 524, includes Honeysuckle Rose, pieces as One O'Clock hump, Sent for Stealin' Apples, Henderson Stomp. etc. CIRCLE 69 ON READER- SERVICE CARD You Yesterday, and hunpin' at The The Crosby band is on Coral 57005, MARYLAND Woodside. But in Basie's orchestra -with which includes Dixieland Shuffle. This its special kind of light swing and the disc and Decca 8061 cover the Crosby DIXIE revolutionary ideas of some of nearly repertory very well. The Oliver Riverside HIGH FIDELITY WHOLESALERS its soloists. particularly the brilliant tenor Blues (with Louis Armstrong in the Largest discount High Fidelity dis- saxophonist Lester Young -we hear the band) is on Riverside 122. component tributors in the South. Wholesale prices on beginning of a new kind of music which The Ellington pieces mentioned in this package or individual components. Latest mod- a few years later was to become "modern be heard article can on RCA Victor CPM els in factory sealed cartons. jazz." 1364 and LPM 1715. The former has The innovations in the Basie band were In a Mellotone, Rumpus in Richmond, Are prices too high ? -Write: the handwriting on the wall for the big Sepia Panorama, and Cotton Tail: the DIXIE HI -FI swing bands, it seems to me. Their latter, Jack the Bear, Concerto for 12402 Connecticut Ave., Silver Spring, Md. demise has often been attributed to eco- Cootie, Harlem Air Shaft, Across -the- nomics, but I think the real reason is Track Blutes, and Ko Ko. CIRCLE 32 ON READER -SERVICE CARD

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NEW JERSEY MAIL ORDER HI -FI Recorders Components Tapes WRITE FOR QUOTATION at wholesale prices on all your Stereo ON HI -FI COMPONENTS Reliable, Prompt Delivery needs. Recorders, (Free Catalogue) Tuners, Amplifiers, Turntables, etc. We'll Air -Mail SOUND we can supply low quotes on your packaged hi -fi LET US PROVE that INC. your requirements PROMPTLY AT REPRODUCTION, LOWEST COST. FREE CATALOG. tuiie6, 34 New Street, Newark 2, N. J. CAR5TON 125 -D, E. 88 St. New York 28, N. Y. STEREO COMPONENT Supply Co., Dept. F Mitchell 2 -6816 148.25 - 12th AVE., FLUSHING 57, N. Y. CIRCLE 25 ON READER- SERVICE CARD CIRCLE 81 ON READER- SERVICE CARD CIRCLE: 80 ON READER -SERVICE CARI) RECORDS AT COST... ONLY RECORD CLUB OF ITS KIND Through Our Special Membership Plon SAVEMONEY offers you EVERYTHINGI Regular High Fidelity and Stereo HighcFodelity Hits ALL Hi -Fi and Stereo Records Classical -Popular -Jazz -Show -Folk fc. Equipment no to pur- A unique kind of record club - "agree Ni 1 -Fi antl Buy 2-Get FREE chase" obligations no "selected" record list Stereo alt 50% DIV IDENMoms, - New, fugy first on to choose from - no "list price" purchases - service guaranteedui This after good every you buy n no "division" requirements. on all inquiries.ol Write for full details and new 750 -pare catalog - Simply, Citadel club members can purchase virtu- Write to Arthur 35c coin. deductible from lint order. Records guar- ally any record or album, by any artist, on any Knight anteed factory -Irish. Shipped immediately at regular label for cost price. Yearly membership $3.00. catalog prices. Small handling & mailing charge. ELECTRONICS, Inc. Write for free details .. . TERMINAL -HUDSON CITADEL RECORD CLUB 236 West 17th St., N. Y. 11, N. Y. Dept HF 54S Fifth Ave. Dept. H. New York 17, N. Y. Box 1111C, Mountainside, N. J. CIRCLE 87 ON READER- SERVICE CARD CIRCLE 26 ON READER- SERVICE CARD CIRCLE 90 ON READER -SERVICE CARD PENNSYLVANIA

NEW YORK "FRED MILES PRESENTS" Records For Jazz Fans USED HI -FI BOUGHT -SOLD FOR THE TOPS IN VALUE TOP CASH PRICES PAID AND THE BEST TRADE -IN ON All Equipment Guaranteed FIDELITY EQUIPMENT HIGH EXPERT REPAIR SERVICE, Check with Arrow! KITS WIRED. "Always A Bargain" At ARROW/ ELECTRONICS, INC. DOUGLAS RADIO BARGAIN BASEMENT 128 Greenwich St., New York 6, N.Y. 65 Cortlandt St., New York 7, N. Y. WOrth 4 -0470 4.0471 Dlgby 9 -4730 525 Jericho Turnpike, Mineola, N. Y. CARD Pioneer 6 -8686 CIRCLE. 33 ON READER -SERVICE CARD CIRCLE 62 ON READER- SERVICE CIRCLE 7 ON READER -SERVICE CARD WASHINGTON TAPE RECORDERS willLESLEEP HI -FI Components 7.7 Specializes in SAVING YOU MONEY r Headquarters LEARN Experiment in this fascinating, M ERITAPE SLEEP 4- FACTORY FRESH COMPONENTS educational new field. Use your Low cost. KITS phonograph. recorder or amazing new 'Elec- LOWEST POSSIBLE QUOTATIONS high quality endless tape recorder. We r eeording tronic Educator" for standard I.- FAST DELIVERY Unusual carry a full line of endless tapes tape, In boxes Values recorders. plus timers, pillow speakers and com- We are FRANCHISED DEALERS for most Hi -Fi or cans. plete outfits. Also 200 unusual educational and FREE courses on tape and record for sleep - lines. Most orders SHIPPED PROMPTLY from 1962 Catalog self -help experimenters. Write stock. RECORDING TAPE at LOWEST PRICES. learning and self- hypnosis 1523 FA Jericho Turnpike, free 300 -Item catalog and full details. FREE -95 -PAGE STEREO CATALOG. for Association DRESSN ER New Hyde Park, New York Sleep -Learning Research 190 -F Les. Ave., Cor. 32 P. 0. Box 24 -F, Olympia, Washington Visit 34 CARI) St., New York 16, N. Y. Our Showroi CIRCLE ON READER -SERVICE CIRCI.E 78 ON READER- SERVICE CARD CIRCLE 15 ON READER -SERVICE CARD ENGLAND UP TO 40% on X:oli 3Df ? SAVE SPACk HI -FI COMPONENTS You bet we'd be..... we were to tell you 15 -Day Money -Back Guarantee If . to write to us and we will All about AUDION's EASY PAY PLAN -24 MOS. TO PAY show you how to keen your "Out of this World'. WILL NOT BE HI -FI COSTS LOW! WE GUARANTEE WE BRITISH EQUIPMENT Hi Fi Values. UNDERSOLD Amplifiers, Tuners, Speakers, catalog. Mot or s. Pick -Ups from the Write for free Please write for FREE return mail quota- United Kingdom. Hi -Hi Mail tion, and wholesale catalog. Also pre- Order Specialists. c a r e f u l l y recorded tape catalog packed. insured and shipped on request. pr C. audin Cm Goodwin (Saes) Ltd. 25-HF Oxford Rood HI- FIDELITY 220-HP East 23rd St. (Dept. H) New York 10, N. Y. 7, The Broadway, Wood Green Massapequa, New York London N. 22, England CARD CIRCLE 16 ON READER -SERVICE CARD CIRCLE 51 ON READER- SERVICE CARD CIRCLE 46 ON READER- SERVICE

www.americanradiohistory.com ADVERTISING INDEX THE NEW Key No. Page Key No. Page

1 Acoustic Research, Inc. 9 53 KLH Research & 2 Airex Radio Corp. 106 Development Corp. 103 LAFAYETTE i Allied Radio 32 55 Kersting Mfg. Co. 110 4 Altec Lansing Corp. 29 56 Key Electronics 111 5 American Concertone 91 57 Koss, Inc. 14 6 Ampex Corporation 96 58 Lafayette Radio 4, 112 7 .. Arrow Electronics 111 101 Leak, H. J. & Co., Ltd. 92 8 Artia Records 82 59 London Records 73 9 Audax 17 104 Magnecord 100 11 . Audio Devices 5 60 McIntosh Laboratory, 10 19 Audio Dynamics 18, Inc. 27 12 108 Audio Exchange 61 Mercury Records 69 13 Audio Fidelity 60 62 Miles, Fred I 1 1 14 Audio Master Recording 88 63 Minnesota Mining & Mfg. Co. 26 LT -200 UNIVERSAL 15 Audio Unlimited 111 64 Myer's Emco 110 MULTIPLEX ADAPTER 16 Audion 111 102 Newcomb Audio 83 achieves the finest stereo 17 Bell Sound 21 18 Benjamin Electronic 65 .. PACO 8 performance from your Sound Corp. 33 66... Pickering & Co. 2 tuner. 19 Bozak, R. T., Co. 24 67... Pilot Radio 20 British Industries Corp. 36 Inside Front Cover NO MONEY DOWN 21 Brown, L. M., Sales Professional Corp. 111 Directory 110, 111 Made In U.S.A. 97.. Quarante -Cinq 101 35 db Stereo Separation (at 400 cps) 22 Cabinart Acoustical Matches With Virtually All Recent Dev. Corp. . 76 68 RAE Society 107 Model Wide -Band Tuners Equipped With MPX Output Jacks 23 Cambridge Records 83 96 Rabson's -57 St., Inc 106 Less Than 1 ;'o Harmonic Distortion 25 Carston Studios 111 69... Recocards 110 From 50 to 15,000 CPS 26 Citadel Record Club 111 Hum Level Better Than 60 db At 60 70 . Reeves Soundcraft 25 cps For 1 Volt Signal Input 27 Columbia Records 58 71 .. Rek -O -Kut 23 Self Powered 28 .. Command Records 67 As Easy To Connect As Were Your 72 Roberts Electronics 80 Original Components 29 Commissioned Features Include: Notch Filter For Electronics 110 73 ... Sarkes- Tarzian, Inc. 34 38KC; Low Impedance Plate Follower Output; Matched Diodes For Optimum 100 Conar Instruments . 108 29 ... Saxitone 110 Separation 98 Concord Electronics 95 74 .. Schober Organ 28 Complete With Enclosure & All Neces- sary Connecting Cables 75 Scott, H. H., Inc. 6, 7 30 Daystrom 89 ... 76 Sherwood Electronics 31 Deutsche Grammophon Back Cover Keep Your Gesellschaft 65 77 Shure Bros. 90 ¡.M,. 4 Components 32 .. Dixie Hi -Fi 110 Operating 33 Douglas Radio Supply 111 78 Sleep Learning Research ,_ - . .f. Association 111 AT Peak 34 Dressner 111 Performance 35 Dual 99 79 Sony Corporation 30 - with the 80 ...Sound Reproduction 111 LAFAYETTE 37... EICO 104 81 Stereo Component 38 .. Electro- Acoustic Supply Co. 111 TE -15 TUBE TESTER Products 16 82 Stereo -Parti 110 COMPLETELY 39. Electro -Sonic Labs., Inc. 81 WIRED 83 . Superex 94 - 40 Electro- Voice, Inc. . 22 NOT A KIT 84 .. Switchcraft 109 41 .. EMPIRE 1 Accurately Checks Over 1000 Different Tubes 101 .. Ercona Corp. 92 85 .. Tandberg 102 Tests for Cathode Emission, Leakage 86 ... Taylor, Robert S. 111 and Shorts plus Filament Continuity 42 Fairchild Recording f Completely Portable -Weighs Only 6 87 .... Terminal- Hudson 111 lbs. Equip. 79 and Measures 93/4Wx8 + /eDx23/e "H 99 .. Thorens 77 43 Fisher Radio J FREE 340-page Corp. 11 -13, 15 88... Transvision 72 NEW 1962 Catalog 620 89.... United Artists 94 LAFAYETTE RADIO ELECTRONICS 20 Garrard Sales 36 35 .. United Audio 99 Dept. WD2 -2, P. O. Box 10 44 General Electric Co. 20 Syosset. L. I., N. Y. 45 Golden Crest Records 80 90 Universal Record Club 111 LT -200 Multiplex Adapter TE15 Tube Tester 46 .. Goodwin, C. C. 111 91 University Loudspeakers, Inc. Inside Back Cover s enclosed 47 ... Grado Labs., Inc. 10 92 Utah Electronics 78 NAME 48 Hansom Books 82 93 ...Vanguard Recording 83 ADDRESS 49... Harman- Kardon, Inc. 31 94 Viking of Minneapolis 98 50 Heath Co. 35 CITY ZONE STATE 52 Hi -Fi Sales 110 103 .. Warner Bros. 84

CIRCLE 58 ON READER -SERVICE CARD 51 ... Hi- Fidelity Center . 109, 111 95 .... Westminster 71

112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Summing up his report for HI -FI STEREO REVIEW, Julian D. Hirsch wrote:

"hi 111 .1 01)11110 11, ilic' C'.A /I :/../T )' CZ_ I.SSIC .1/..l Rh /l is one of u //owed Lrnu /i n/ sneukcv'c in ii /iic'h l t rc' cnt JULIAN D. HIRSCH "oulJ - . -Houck 'uiyuulilircl topnotch - of Hirsch Laboratories rulin

"Despite the popularity of bookshelf-size speaker systems, the big speaker system is far from extinct. There is still a great deal to be said for the sound quality of a really good -"',- large speaker system, one of which is University's new Classic Mark II. In operation, the Classic Mark II handles low frequencies up to 150 cps through a 15- inch high -compliance woofer that is installed in a ducted -port cabinet. The bulk of musical program content, however, is handled by an -..,.y,. 8 -inch mid -range speaker, which covers from F. Al 150 to 3,000 cps. Above 3,000 cps, a Sphericon super tweeter takes over. The measured indoor frequency response of the Classic Mark II was remarkably uni- form. As a rule, such response curves are so far from flat that I do not attempt to correct them for the slight irregularities of the micro- another flawless phone's response. However, the measurements for the Classic Mark II prompted me to plot of the microphone response also. This further combination 1 emphasizes the uniformity of the system's form & function frequency response. A 5 -db increase in the TI IF setting of the tweeter -level control would probably have brought the range above 3,000 cps into nearly exact conformity with the microphone -calibration curve. The low -frequency distortion of the woofer, even at a 10-watt input level, was very low, and it actually decreased at 20 cps, where the output was beginning to rise ... Any good CIASSId amplifier of 10 watts rating or better should ;, be able to drive it satisfactorily. In listening tests, the Classic Mark II sounded very clean ... there was an under- current of bass, more often felt than heard, that was completely lacking in some other quite good speaker systems that I compared MARK II to the Classic Mark II. The speaker sounded at its best (to my ears) at moderate listening levels. At high levels the bass tended to be by UNIVERSITY overpowering. A different listening room, of course, could easily alter this situation com- pletely. Over -all, the sound was beautifully balanced, with wide dispersion and a feeling of exceptional ease. There was never a hint that three separate speakers were operating; the sound seemed to emanate from a large, unified source. In my opinion the University Classic Mark II justifies the substantial claims that its man- ufacturer has made for it. It is one of a limited group of speakers to which I would give an unqualified topnotch rating. Anyone who is in a position to consider a system of its size and price would be well advised to hear it. The price of the system is $295.00."

WRITE TODAY FOR THE COMPLETE HIRSCH- HOUCK /HI -FI STEREO REVIEW REPORT on the new CLASSIC, as well as the documented CLASSIC brochure and "Informal Guide Component Stereo High Fidelity." Simply write: Desk P -4, University Loudspeak- ers, 80 S. Kensico Ave., UNIVERSITY.. W hite Plains, New York. I I/.1...un I. mg tern.°. l- ought. In,.

CIRCLE 91 ON READER -SERVICE CARI)

www.americanradiohistory.com DO YOU LIVE NEAR

ONE OF THESE STEREO -FM CITIES?

Aril Phoenn KEPI, KNIX Calif 11ew KCIB. KXQR Los Angeres KFMU, KMLA Oceanside KUDE Sacramento KSFM Santa Barbara KMUZ San Diego KGB. KLRO KPRI San Francisco KPEN, KBAY San lose KM Visalia KONG Woodland. KATT Conn Newton: WGHF

Dela . Wilmington WAR"

Fla , Miami Beach WAEI. WVCG Orlando WHOO Sarasota WYAK Ga., Columbus: WRBL III., Chicago WEFM WFMT, WKFM Rock Island WHBF

Ind . Evansville WIKY Indianapolis. WFMS. WISH Iowa Des Moines KOMI Kans Lawrence KANU Wichita KCMB

Md , Towson WAQE Mass. Boston (Waltham): WCRB Lynn WUPY

Mich . Detroit WDTM, WGPR. WLDM East Lansing WSWM Grand Rapids WJEF. WOOD Minn Minneapolis. WAYL. KWFM

Mo , Kansas City KCMG St louis. KCFM, KSHE, KWIX Nebr_ Omaha KQAI Nev.. Las Vegas KORK NJ . Dover WDHA Long Branch WRLB N.Y.. Garden City WLIR New York WQXR WTFM Schenectady WGFM Syracuse: WSYR Westbury WGFM N.C., Burlington WBBB Ohio. Akron. WDBN Cleveland. WNOB Columbus WBNS Middletown WPFB Ore., Eugene. KFMY Portland KPFM Penn Johnstown WJAC Norristown WIFI Philadelphia WELN, WHAT, WQAL Pittsburgh. WKJF Wilkes- Barre. WYZZ R.I , Providence WPFM S C. Spartanburg. WSPA 16% s a' la' d.ep. Texas. Dallas KIXL, KSFM X299.50 Houston KODA. KFMK, KGHM Wichita Falls KNTO Revinia Modal SR3 3 -wey Sneaker System Va., Richmond: WFMV 26'1 IS'a l3V5deep. $13.50 (Hand rubbed walnut) Wash., Seattle: KISW. KLSN Wisc., Milwaukee: WFMR. WMKE. WTMI Canada. Oshawa: CRIB Toronto: CFRB. CHFI

Steraoc sts use Sherwood -built FM MX equipment

If so, see your Sherwood dealer right away! The FM stations listed above are now -or soon will be- broadcasting in Stereo. To enjoy fully this thrilling new experience, you need the incomparable Sherwood S -8000 FM- Stereo Receiver and a pair of Sherwood SR3 "Ravinia" Loudspeakers. See and hear these superb stereo starters at your Sherwood dealer. Sherwood Electronic laboratories, Inc., 4300 N. California Ave., Chicago 18, Illinois. For details, write Dept. H4

SHERUUD, only for those who want the ultimate

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