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Hifi /Stereo Review of April 1968 fulStereo Review APRIL 1968 60 CENTS NINE SOLUTIONS TO THE STEREO -INSTALLATION PROBLEM WHICH RECORDINGS FOR A DESERT -ISLAND DISCOGRAPHY? *AMERICAN COMPOSERS SERIES: WALLINGFORD RIEGGER * Hifi/StereoReview APRIL 1968 VOLUME 20 NUMBER 4 THE MUSIC GIACOMO MEYERBEER'S OPERA OF THE SEVEN STARS A report on Les Huguenots and Wagner inLondon HENRY PLEASANTS 48 THE BASIC REPERTOIRE Beethoven's Symphony No. 1, in C Major MARTIN BOOKSPA 53 WALLINGFORD RI EGGER A true original among the Great American Composers RICHARD FRANKO GOLDMAN 57 DESERT -ISLAND DISCOGRAPHY One man's real -life answers to a popular speculation 68 THE BAROQUE MADE PLAIN A new Vanguard release demonstrates Baroque ornamentation IGOR KIPNIS 106 THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 22 HI-FI Q & A Answers to your technical questions LARRY KLEIN 28 AUDIO BASICS Specifications XX: Separation HANSH. FANTEL 34 TECHNICAL TALK ProductEvaluation;Hirsch -HoucklaboratoryreportsontheA ltec711stereo FM receiver, the Switchcraft 307TR studio mixer, and the Wollensah 5800 tape re- corder JULIAN D. HIRSCH 37 STEREO INGENUITY Clever and inexpensive component cabinets-a photo portfolio LARRY KLEIN 70 TAPE HORIZONS Tape and Home Movies DRUMMOND MCINNIS 127 THE REVIEWS BEST RECORDINGS OF THE MONTH 75 CLASSICAL 81 ENTERTAINMENT 109 STEREO TAPE 123 THE REGULARS EDITORIALLY SPEAKING WII.LIAM ANDERSON 4 LETTERS TO THE EDITOR 6 GOING ON RECORD JAMESGOODFRIEND 44 ADVERTISERS' INDEX; PRODUCT INDEX 130 COVER: .1. B. S. CHARDIN: STILL LIFE WITH HURDY-GURDY: PHOTO BY PETER ADEI.IIERG. EURDPF.AN ART COLOR SLIDE COMPANY, NEW YORK Copyright 1968 by Ziff -Davis Publishing Company. All rights reserved. HIFI/Stereo Review, April 1968, Volume 20, Number 4. Published monthly at307 North Michigan Ave, Chicago,Illinois 5111101.by Ziff -Davis Publishing lompany-also the publishers of Airline Management and Marketing, Boating, Business & Commercial Aviation, Car and Driver. Cycle, Electronics World, Flying. Modern Bride. Popular Electronics. Popular Photography, Skiing. Skiing Area News, and Skiing Trade News, (Travel Weekly Is published by Robinson Publications, Inc.. a subsidiary of Ziff -Davis Publishing. Company.) One year subscription rate for U.S., U.S. Possessing. and Canada. $6.00; all other countries, 57.00. Second Claes postage paid at Chicago. Illinois and at additional mailing offices. Authorised an second class itby the Post Office Department, Ottawa. Canada. and for payment of postage in cash. SUBSCRIPTION SERVICE: Forms 3579 and all subscription correspondence should be addressed Su HIF1/Stereo Review, Circulation Department. Portland Place. Boulder. Colorado 80302. Please allow at least six weeks for change of address. In- clude your old address. as well as new-enclosing if poNsibie an addressed label from a recent Issue. .4-CIRCLE NO. 103 ON READER SERVICE CARD 3 0 a, HiFi/Stereo Review presents the eleventh article in the series THE GREAT AMERICAN COMPOSERS WALLINGFORD RIEGGER "I regard Mr. Riegger as one of the true 'originals' of our musical culture and one of our most significant composers." -Leonard Bernstein By RICHARD FRANKO GOLDMAN THE CASE of Wallingford Riegger, some seven years and was, as a person, unusually modest and unaggres- after his death on April 2, 1961, shortly before sive. Public recognition of a major sort did not come to his seventy-sixth birthday, remains one of the most him until 1948, late in his career, when his Third Sym- puzzling in the annals of music in America. His music, phony unanimously won the New York Critics Circle shamefully neglected during most of his lifetime, en- Award. And this symphony, composed when he was joyed a small critical and even public vogue during the sixty-two years old, was also the first major orchestral Fifties, but is now once again much underrated and gen- commission he had ever received! erally overlooked. And yet this is the music of a man Nevertheless, Riegger was known, at least to musi- highly esteemed by most of his professional colleagues cians, as an important and striking composer as far back and rightly regarded by many as one of the most orig- as the Twenties. When I was a student in those years, inal and important composers America has produced. the name Riegger was one that was always mentioned Riegger was never very notably in the public eye. He among the members of the American avant-garde. The pursued his career quietly and independently, was never scandal produced by Stokowski's 1929 performance of associated with publicity -minded groups or institutions, Riegger's Study in Sonority was vivid. And the noise APRIL 1968 57 generated by the group known as the Pan-American As- with humor, regarded himself humbly and his art with sociation of Composers (including Ives, Varese, Cowell, humility, and was honest with himself and with others. Riegger, Slonimsky, Ruggles, and Chavez) was not in- He thought that "glamour" was rather funny. He had considerable, though of brief duration. too much humor and sense of balance ever to strike a pose One wonders what happened. Perhaps an accident of or to be impressed by a sense ofhis own impor- timing, a chain of unavoidable circumstances. Riegger tance. He had high principles and scruples, both morally was no longer a young man in the Twenties, when Ameri- and musically, and he never abandoned them. And he can music had its first explosive thrust to maturity. The never looked for an easy way of doing things, an easy generation of Copland, Harris, and Gershwin (as well avenue to success, or a compromise that might produce as rising younger men) was in the center of the stage. some passing advantage. We know thatbothVarese andRugglessuffered Itis one of the enduring peculiarities of American eclipses similar to Riegger's over a period of years, and musical life that so many of its manifestations are tied to that both of them, like Riegger, "reappeared" at a later awards, festivals, anniversaries, dedications of buildings, time, revalued and respected. and other nonessential activities that produce a flurry of That they were too "radical" when their works were promotional merchandising. And so Riegger enjoyed first heardis unquestionably true. Almost no one in brief fame when he received the award of the New York America was ready for music of such dissonance, force, Critics Circle, and basked in congratulatory messages on and novelty. But this is not the entire story. The com- the occasions of his seventieth and seventy-fifth birthdays, poser Elliott Carter,in the Bulletin of the American when, having survived, he more or less officially became Composers Alliance (1952), wrote: a "grand old man" or even a "dean." His seventy-fifth Riegger has followed the dictates of his own personality birthday, infact, brought forth exhilarating messages and musical instinct unobtrusively for years, without car- from people as diverse as William Schuman, Leopold ing whether he was or was not in step with the fashions Stokowski, Henry Cowell, Douglas Moore, and Leonard of the time,or,apparently, whether he would become Bernstein. But there were, and are, still no recordings of known or his music performed. While Riegger has been quietly writing music, a host of aggressive, younger Dichotomy, the wonderful Piano Quintet, and Study in composers has appeared, most of them more impatient Sonority, and a great deal of Riegger's other major work. than he to gain acclaim. .. So he was generally over- Riegger himself took all of the jollification with some looked in favor of composers more determined and skill- amusement, and wondered what he was supposed to fulabout personal promotion. However,anumber of wear when being presented with a citation. stillyounger musicians,feeling the need fora change from points of view prevalent inthe 1930's and 40's, have recently found him out and begun to take his music WLLINGFORD RIEGGER was born on April 29, 1885, in with the seriousness it deserves.. Albany, Georgia, into a highly literate and musical fami- My own article on Riegger, published in The Musi- ly. His father, Constantin Riegger, owned a lumber mill, cal Quarterly for January, 1950, was, rather belatedly, but was a musician at heart, and played the violin well. the first large-scale critical appreciation of this composer He was also active as a choir director. His mother, Ida to appear in any periodical, here or abroad. Even at Wallingford, was an accomplished pianist. There was that time, there was little critical material on which to always music, that of cultivated amateurs, in the home. draw-melancholy evidence of a lack of appreciation When Wallingford was three, the lumber mill burned not only on the part of the public, but also on the part down, and his parents decided to return to Indianapolis, of those critics and journalists who are supposed to lead where both had been born. There, a few years later, and enlighten the public. True, there had been honorable Wallingford began to study the violin under the tutelage exceptions, notably Paul Rosenfeld and Alfred Franken- of one Beisenherz, an elderly gentleman who claimed stein, and fellow composers John J. Becker, Henry Cow- to have been a pupil of Ludwig Spohr. Riegger said, ell, and Otto Luening, who had all on occasion called later in life, that he practiced as little as possible, but he attention to the qualities of Riegger's work. But per- was obviously musical, and was amazed to learn, at the formances continued to be few and far between, and it age of ten or thereabouts, that not everyone has perfect was not until after 1950 that Riegger's music was taken pitch. At this same time, he learned the rudiments of up enthusiastically by many. But it is pleasant to record harmony, and played the piano by ear, no doubt with that for at least a decade Riegger enjoyed the knowledge some instruction from his mother.
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