High Fidelity 1968 01

HIGH Ft 0 E LITIF
STEREO EQUIPMENT RECORDS MUSIC JANUARY 1968 60//
PHONO CARTRIDGES:WHAT'S NEW?

ELECTRONIC -AGE IMPRESARIOS
THE DISREPUTABLE ROMANTICS
www.americanradiohistory.com
X00 -T
The new Fisher 550 -T
egular reader of this
Some people still believe that The Fisher 700 -T
undoubtedly read
ransistorized Fisher high fidelity equipment like the 550 -T The 700 -T is the finest, most ver-
Est widely acclaimed AM -FM stereo receiver shouldn't have satile and powerful FM- stereo receiver
'M- stereo receiver. AM at all. They think AM broadcasts you can own.
it are favorable re- can't sound nearly as good as FM mono. With 120 watts music power
f the most respected
They haven't heard the 550-T. (IHF), it can drive any speaker sys-
elity. It sounds great on AM. It sounds tems. The FM tuner section picks up
ty the 500 -T has re- great on FM. And it sounds great on even the weakest of signals. And the
by its performance. FM- stereo. receiver is virtually distortion -free.
tusk power (IHF)- 90 watts music power (IHF) has The 700 -T is completely transis-
virtually all speaker a lot to do with the way the 550 -T per- torized. It features Fisher's Super Sÿn-
lume without distor- forms. It's enough power to drive vir- chrodeTM front end with 3 FET's. It
tually all speaker systems. Without has L8 Av sensitivity. 4 IF stages. And
mer section features strain. it's equipped with Fisher's patented
)deTM front end which Lack of distortion is another im- Stereo Beacon* which signals the pres-
nsitivity. It brings in portant factor. The amplifier's har- ence of stereo stations and automat-
stations with equal monic distortion is under 0.8% at full ically switches to the stereo mode.
output. Power bandwidth is 20- 24,000 We've protected the amplifier
tlso includes many of Hz. from accidental overload with our
es which make the The 550 -T, fully transistorized, Transist -O- GardTM circuit. And we've
eceiver you can own. also includes Fisher's patented Stereo loaded the 700 -T with jacks, switches
,ur patented Stereo Beacon* and our Transist -O- GardTM and controls for every imaginable
r exclusive Transist - overload protection circuit. It has an function.
td protection circuit. IF section with three FM limiters and The front panel is a gold -plated
500 -T provides the seven Integrated Circuits. casting with contrasting walnut -tex-
'Id switches to make And sensitivity is L8 µv -the re- tured and anodized panel sections. In
versatile instrument ceiver can pull in distant stations and appearance as well as performance. it
nuch about. make them sound great as well. sets the standard for all other receivers.
$399.50. 1 Cabinet The price: 5449.95. (Cabinet 'The price: $199.50. (Cabinet
$24.95.) $24.95. I
lus our new table radio

The new Fisher 100, FM Table Radio'
It's a little misleading to call our new table model a
radio. You don't expect a radio to have an 1HF sensitivity
of 2.5 µv. You wouldn't guess that hum and noise are 90 db
down.
And you might not predict that the 51/4 -inch wide -
range speaker, completely sealed in its own box, has a
mammoth 2 -lb. magnet. It produces an amazingly deep,
satisfying bass comparable with much larger hi -fi systems.
Unlike most radios, the Fisher 100 has five separate
tuning dials, each with a corresponding pushbutton below
it. You can pretune your favorite stations and hear them
instantly by pressing the appropriate button.
By now you may be wondering why we modestly
called the Fisher 100 a radio instead of a high fidelity system.
The cost had something to do with it. It's priced like
a radio, at $99.95. It's our Little Giant.®
Also available, the S -30 extension speaker for $29.95.
It's the same size as the Fisher 100, and matches the per-
formance of the 100 in every respect. Use it in a large
room to add depth to the sound. or place it in an adjoining
room. Either way, it's a nice accessory to the Fisher 100
Y. 11101 U.S. PATENT NUMBER 3290443 FM table radio.
CIRCLE 35 ON READER -SERVICE CARD
The Fisher 5-
The new Fisher 200 -T If you're at
Buy the new Fisher 200 -T FM-
The Fisher 220 -T magazine, you've
stereo receiver for less than $300. The Fisher 220 -T fully transis- about the fully t-
Hook it up to 2 good speakers torized AM -FM stereo receiver is de- 500-T. It's our m
(like the Fisher XP- 6B'sl. With 70 signed for music lovers requiring and best -selling F
watts music power (IHF), it can also outstanding high fidelity sound repro- To its cred
drive low -efficiency speaker systems. duction at a moderate price. views by some o
Tune across the FM band. No- It has much of the versatility and names in high fid
tice that Fisher's patented Stereo Bea- sophistication of the 550 -T left), while
I The publici
con* signals the presence of stereo it costs $120 less. ceived is justified
stations and switches to stereo auto- The 220-T has 55 watts music It has 90 watts n
matically. power (IHF). It can drive most enough to drive
Count the stations you pick up. speaker systems. Like all Fisher re- systems at full vc
(You'll be surprised at how many there ceivers, it is virtually distortion -free. tion.
are.) The 200 -T with its FET front The FM tuner section with our The FM tt
end has 2.0 µv sensitivity-even weak Neo- SynchrodeTM front end has 2.5 µv our Super Synchr.
stations come in strong and clear. sensitivity- enough to bring in even achieves 1.8 µv se
Take special notice of the lack of weak stations and make them sound weak and strong
distortion. The amplifier section has strong and clear. FM stereo separation clarity.
less than 0.8% harmonic distortion at is 35 db or greater. The 500 -T
full output. The power bandwidth is The AM tuner section makes AM the same featur
22 to 30,000 Hz. sound hi -fi enough to satisfy any audi- 700 -T the finest r
And don't worry about overload- ophile. These include c
ing the amplifier should you accident- And the receiver includes Fish- Beacon* and ou-
ally cross the speaker leads. The Tran- er's patented Stereo Beacon* and our O- GardTM overloi
sist -O- GardTM circuit protects against exclusive Transist -O- GardTM overload The Fisher
that. protection circuit. controls, jacks a
You can pay a lot more for a re- The Fisher 220 -T is a medium - it the flexible anc
ceiver. But if you don't want to, you priced receiver which delivers faithful you've heard so
don't have to. $299.95. (Cabinet reproduction of all program sources. The price:
$24.95.) $329.50. (Cabinet $24.95.) $24.95.)
Five Fisher receivers p
Mail this coupon for your free copy of

The New Fisher Handbook, 1968 Edition.
This 80 -page reference guide to hi -fi and
stereo also includes detailed information
on all Fisher components.
Fisher Radio Corporation
45th Road
11 -34
Long Island City, N.Y. 11101
Name
Addre.,
City State Zip The Fisher

OVERSEAS AND CANADIAN RESIDENTS 'LEASE WRITE TO FISHER RADIO INTERNATIONAL, INC.. LONG ISLAND CITY, N
What has
430 watts, 11 channels,
195 transistors, 11 FET's,
costs about $2150
and isvirtually free
of distortion?
000
. Dynamic Coupling Factor and DCF are service marks of Pickering a Co.
The X factor in the new Pickering XV-15.
The X in the new Pickering XV -15 stands for the the egg, the end result can be presented quite simply.
numerical solution for correct "Engineered Appli- So can the superior performance of the XV -15 series.
cation." We call it the Dynamic Coupling Factor Its linear response assures 100% music power at all
(DCF).Sm frequencies.
DCF is an index of maximum stylus performance Lab measurements aside, this means all your favor-
when a cartridge is related to a particular type of ite records, not just test records, will sound much
playback equipment. This resultant number is de- cleaner and more open than ever before.
rived from a Dimensional Analysis of all the param- All five DCF -rated XV -15 models include the pat-
eters involved. ented V -Guard stylus assembly and the Dustamatic
For an ordinary record changer, the DCF is 100. brush.
For a transcription quality tonearm the DCF is 400. For free literature, write to Pickering & Co., Plain-
Like other complex engineering problems, such as view, L.I., N.Y.
HIGH FIDELITY MAGAZINE
HIGH FIDELITY VOL. 18 NO. 1 JANUARY 1968
MUSIC AND MUSICIANS
OUR CORRESPONDENTS REPORT FROM LONDON, PRAGUE, AND NEW YORK l2
THE RECORD PRODUCERS Peter G. Davis

What sort of man does it take to tell a prima donna she's out of tune' 38
THE DISREPUTABLE ROMANTICS Frank Cooper

Some once famous names you can drop before they become well known again 48
WELL, MAN, THAT'S PROGRESS: A SCENARIO Gene Lees

Scene: Basement kitchen of Le Château. Time: Today. Roll 'ettt! 96
AUDIO AND VIDEO
NEWS & VIEWS A first -hand report from the Tokyo high fidelity show 30
EQUIPMENT IN THE NEWS The latest in quality components 32
VTR TOPICS Norman Eisenberg Whatever happened to those innovations? 36
WHAT'S NEW IN PHONO CARTRIDGES? Robert Angus

A comprehensive report on the new generation of pickups 44
STEREO BOOKSHELF Norman Eisenberg

Brief reviews of books for the audiophile. 51
EQUIPMENT REPORTS 55
Scott 2502 and 2503; S -14 and S -10 A brace of modular systems; a choice of speakers
Acoustic Research AR -3A A good speaker system has been improved
Sony TA -1080 No TA -1120, but still a good integrated amp
RECORDINGS
REPEAT PERFORMANCE Hobson's choice: Toscanini and Walter in the Brahms Symphonies. 26
FEATURE REVIEWS 63
Handel's Giulio -a
great musical drama and a glowing performance
Cesare
Rarities from Veritas reveal five golden age pianists at their pulsating best
OTHER CLASSICAL REVIEWS 67
THE LIGHTER SIDE Lana Cantrell ... Jimmy Durante ... Arlo Guthrie 98
JAZZ John Klemmer . . . Pee Wee Russell . . . Martial Solal 104
FOLK Yu/ Brynner ... Music from Arabia ... Big Bill Broonzy 108
THEATRE AND FILM Camelot . . . Michel Legrand 110
THE TAPE DECK Prokofiev from Russia with love.. 1 I3
Published at Great Barrington, Mass. 0123O by Billboard Publications, Inc. Copyright ill 1967 by Billboard Publications, Inc. The design and contents of High Fidelity Magazine are fully protected
by copyright and must not be reproduced in any manner. Second-class postage paid at Great Barrington and at dditional mailing offices. Authorized as second -class mail by the Post Office
Department, Ottawa and for payment of postage in cash. High Fidelity /Musical America Edition is published monthly. aSubscription in the U.S.A. and is, Possessions, $12; elsewhere, $13. Subscription
including Concert Artist Directory published in December, SI7, in the U.S.A. and its Possessions; elsewhere, SIB. Regular issues 75d a copy. National and other editions published monthly. Subscription
in the U.S.A. and its Possessions, 87; elsewhere, $8. Regular issues 60d a copy. Indexed in the Readers Guide to Periodical Literature. Change of address notices and undelivered copies ( Fern
3$73) timid be addressed to Nigh Fidelity, Sobscripfiepartment,
w D 2160 Patten.. Street, Clecipeafi, Ohio 45514. Please state bath add and new addresses when reguestine a thong..
JANUARY 1968 3
Coming Next Month In NR6R ROlLIRY
11111014 FIIIDELITY
Cover by:
Roy Lindstrom
STEREO RECEIVERS: THE ROLAND GELAIT
BEST-SELLING COMPONENTS Editor and Associate Publisher
LEONARD MARCUS
Are even the top receivers as good as separate ampli- Managing Editor
fiers, preamplifiers, and tuners? Or are some of them
even better? How can you get the most value for your JOAN GRIFFITHS
money? What should you look for when shopping for Senior Editor
a receiver? And what do those specifications mean? NORMAN EISENBERG

These and other questions are answered next month. Audio -Video Editor
PETER G. DAVIS
Music Editor
SHIRLEY FLEMING
HOW COLUMBIA MANAGED Editor
Musical America Section
THE INVASION OF SAN MARCO ROY LINDSTROM
Record producer John McClure wittily recounts the Art Director

harrowing escapades he and his recording team had RUTH W. DUNTON
to perform-smuggling, impersonations, misrepresenta- Production Editor
tion-in order to tape the music of Venetian composer
NATHAN BRODER
Giovanni Gabrieli in the setting he originally wrote it for.
R. D. DARRELL
ALFRED FRANKENSTEIN
BERNARD JACOBSON
GENE LEES
CONRAD L OSBORNE
TOSCANINI VS. Contributing Editors
FURTWAENGLER CLAIRE N. EDDINGS

Director of Advertising Sales
With the recent reissues of both Arturo Toscanini's
WALTER F. GRUENINGER
and Wilhelm Furtwängler's recordings of the Beethoven
Circulation Director
symphonies, an old controversy has been revived: who
conducted Beethoven better, the German or the Italian? WARREN B. SYER
Publisher
A D V E R T I S I N G
UPDATING ON DOWNLEAD Main Office: Claire N. Eddings, The Publishing
House, Great Barrington, Moss. 01230. Tele-
phone:413 -528 -1300
We'll bet you never gave much thought to that piece of
wire that connects your antenna to your stereo system. New York: 165 W. 46th St., New York, N. Y.
10036. Telephone: 212 -757 -2800. Seymour
Yet, if you have reception difficulties, that "downlead" Resnick, Andrew Spanberger
may be both the cause of and solution to the problem. Chicago: Billboard Publications, Inc., 188 W.
Randolph St., Chicago, Ill. 60601. Telephone:
312- 236 -9818. Classified Adv. Dept.: same
address. Richard Wilson, Allan Nolan.
Los Angeles: Billboard Publications, Inc., 9000
Sunset Blvd., Suite 710, Los Angeles, Calif.
90069. Telephone: 213 -273 -1555. Pete Heine,
Dick Blase
Plus Nashville: Billboard Publications, Inc., Baker
Building, Room 710, 110 21st Avenue S., Nash-
Record Reviews ville, Tenn. 37203. Telephone: 615- 244 -1836.
Robert Kendall
Laboratory Reports on New Equipment
London: 7 Welbeck St., London W.I. Telephone:
Reports from Here and Abroad Hunter 5971. Andre de Vekey
Our Usual Columns Tokyo: Japan Trade Service, Ltd., 2 -1 -408,
-Chome Otsuka, Bunkyo -ku, Tokyo, Japon.
Telephone: 944 -0805. Kanji Suzuki
4 CIRCLE 103 ON READER -SERVICE CARD --3.
What we learned
from the public at the
high fidelity shows
Before we unveiled the new synchronous And their questions showed that they ciple) on the SL 95 and SL 75
Garrards at the New York and Los An- understood the admittedly technical fea- which does what the inverted um-
geles High Fidelity Shows, there were tures of the brella spindle was supposed to do,
certain considerations in our own minds. Synchro -Lab but does it better and far more
One was whether people would grasp the Motor, with safely. This new spindle works in
special importance of synchronous speed its two rotor combination with a record safety
in automatic turntables... the improve- sections that platform, and we showed how, for
ment it can make in performance. Then, combine true manual play, the platform disap-
we wondered whether even the knowl- synchronous pears into the unit, leaving the turn-
edgeable men and women who come to speed with table surface free and uncluttered,
high fidelity shows would understand the high torque, but ready to be released with the
new Synchro -Lab MotorTM, which is instant power and freedom from rumble. touch of a button. It holds the rec-
not only synchronous, but has certain What about the other new features? ords absolutely steady and safe at
desirable features of the induction type, Some were apparent at a glance -the two points, each record falling
in addition. We also asked ourselves highly refined, ultra -low mass tonearm straight down on a micro-cushion
whether, in the big news about the on the SL 95, for example, with its Afror- of air. They liked the new highly
motor, people might not overlook many mosia wood inset, its gyroscopically gim- simplified controls, and we
other significant advancements incorpo- balled needle pivots for minimal friction, learned that interest in cue-
rated in the new Synchro -Lab SeriesTM. its new anti -skating ing is still
We knew that the Garrard models repre- control with patented very high.
sented a major forward step in automatic sliding weight design, Incidentally, it seems
turntable performance. Would visitors its calibrated stylus worthwhile to men-
to the shows realize it? pressure gauge with tion that Garrard's
We are precision Vs gram cueing controls, on all
happy to re- click settings. its new models, can
port that they Other features be used whether rec-
did. We found needed demonstra- ords are being played
they were quick tion. which, we are pleased to say, drew manually or automatically.
to appreciate favorable response from most. For in- Were you at one of the Shows? If so,
the advantages stance, the new automatic spindle (based thank you for visiting us, and for your
of a synchro- upon Garrard's traditional "pusher" prin- appreciation of the new units. For those
nous turntable who could not attend, we have the same
motor that delivers a guaranteed con- 20-page full color Comparator Guide
stant speed, regardless of changes in vol- we gave visitors, illustrating the entire
tage, record load, stylus pressure or Garrard line from $37.50 to $129.50.
temperature. Many of them were sur- For complimentary copy. write: Garrard,
prised, and expressed their pleasure, at Dept. AA -2, Westbury, N.Y. 11590.
learning that the new motor is avail-
able not only in our top model, but
in a complete range of prices.
SOUND LETTERS
SENSE Broadcasting and recording studios throughout

the world know that their efforts will be judged
Will Success Spoil Rock?
SIR:
My compliments on your successful ex-
by millions of listeners and they take care cursion through the controversial topic
that their own monitoring and listening rooms of rock [November 1967]. Mr. Lees's
article marked a turning point in the as-
use the hest equipment available. It is not sessment of this type of music because
surprising that the more discerning listeners he actually helped guide those who were
use the same equipment in their own homes. ignorant or skeptical about the signifi-
cance of today's rock -and -roll. Without
being the least bit condescending, he
gave the older generation exactly the
right sort of introduction to rock. I hope
many people take his advice and listen
selectively to this music.
Anne Corey
New York, N.Y.
SIR:
I was delighted to see HIGH FIDELITY
devote an issue to pop music and it was
with great anticipation that I glanced
through Glenn Gould's article, "The
Search for Petula Clark." Disappointed
with the content but thinking that I had
perhaps missed something, I re -read it.
With my third reading I came to the con-
clusion that Mr. Gould doesn't know
what he's talking about.
Mr. Gould states: " 'Who Am 1 ?' was
the fourth in a remarkable series of songs
which established the American career
of Petula Clark." As any teeny bopper
could have told him, "Who Am 1 ?" was
Petula Clark's eighth single and eighth
hit in the States. Mr. Gould was right in
naming "Downtown" as Miss Clark's first
U.S. success, but it was followed not by
"My Love" as he implies, but by "I Know
The new Listening and Demonstration Room of the BBC Transcription Service, fitted with a Place." This song entered Billboard's
QUAD 22 control unit, Q UAD 11 power amplifiers and QUAD electrostatic loudspeakers. "Hot 100" chart on March 20, 1965, and
climbed to the No. 3 spot nationally.
With "1 Know a Place" Miss Clark won
a Grammy Award for "Best Contempo-
rary Female Vocal Performance of
1965." Couldn't we say that this song
had something to do with establishing
her American career?
Miss Clark followed up "Downtown"
and "/ Know a Place" with six other hits,
to wit, "You'd Better Come Home,"
"Round Every Corner," "My Love,"
for the closest approach "A Sign of the Tienes" (only the latter
two were mentioned by Mr. Gould), "I
to the original sound. Couldn't Live Without Your Love," and
finally "Who Am I?"
Ask your Iii -Fi De (der or write direct to: Ref. H.F. Even when Mr. Gould sticks to the
four songs he chooses to mention, he
ACOUSTICAL MANUFACTURING CO. LTD. makes mistakes. He can't even quote a
HUNTINGDON, ENGLAND. Continued on page 10
() HIGH FIDELITY MAGAZINE
COLUMBIA
STEREO TAPE REO
CLUB TJÄPES
Value up toS4e.75 at
now offers you regular Club prices
If youheg[n your membership by purchasing just one tape

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EILT
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nis EUGENE Can'tTake My
aealnire ORMANDY Ss Eyes OH You
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I am to receive a stereo tape of my choice FREE
PETULA BEETHOVEN BARBRA STREISAND for every two additional selections I accept.
CLARK Sympkore No.11 "CherM'l My Name Is Barbra
These Are EUGElEORMANOY
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® 1060 CBS Direct MarkeLng Services T71/860

E. J
JANUARY 1968 7
the perfect amplifier
One property of a perfect amplifier is its ability to reproduce musical tones of any
pitch without changing their relative loudness, so that the sound of each musical
instrument retains its identity. An amplifier with this capability would produce the
straight line shown on the screen of the test instrument in the photograph below.
The amplifier should be able to do this at the highest power levels needed for home
music reproduction, without measurable distortion.
Both channels of this AR amplifier are simultaneously operating at just below clipping level, delivering
more than 60 watts each to 4 -ohm loads continuously. As the frequency of the input signal is gradually
changed from 20 to 20,000 Hz, a bright spot moves across the calibrated screen of the test instrument.
Any decrease in power output in this frequency range would have caused a downward deflection of
the spot and a deviation from a straight -line trace on the screen. The small undulations at each end are
produced by the test equipment.
Tests performed on every AR amplifier insure that harmonic distortion is less than 0.5 °/o from 20 to
20,000 Hz at full power, and intermodulation less than 0.25 ° /o at full power, which is 60 watts per channel
rms, 4 ohms; 50 watts per channel rms, 8 ohms; both channels running.
the new i~ amplifier
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High -fidelity amplifiers should be compared on the basis

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amplifier which could provide more realistic sound for
critical listeners.*
The AR amplifier is complete. Its control section includes

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The AR amplifier also comes with an unprecedented 2 -year
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'Non- technical readers, as well as those with some knowledge of

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ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141
LETTERS recording is one of increasingly poorer
ALLIED NEW 1968 CATALOG sound, but surely it is time that these
Continued from page 6 views (which seem rather universally
& BUYING GUIDE shared by 78 collectors) be acknowl-
lyric correctly: "Perhaps my lucky star edged and the myth of modern record-
is now beginning to shine" is, of course, ing superiority put into perspective.
"Maybe my lucky star at last decided to T. A. Gallagher
FR to shine."
I could go on, but the point is that
Mr. Gould based part of his argument
on a progression of meanings in the
songs, and since he a) did not list the
songs in the correct progression, and b)
Philadelphia, Penna.
Mr. Osborne replies: "While I can hardly
agree with Mr. Gallagher that recordings
are worse than ever, I do grant that many
vocal records made by the acoustical
those he did list he did not accurately process (particularly of low- voiced sing-
quote, I cannot take his conclusions very ers) give a clear, full picture of the voice,
seriously. After constructing such a flimsy and are a more honest representation of
basis, Mr. Gould then presents such the way artists actually sing than some
"concrete" judgments as "I'm inclined to (not all) stereo recordings of recent
suspect that had the sequence of her origin. I also agree that the 78 originals
songs been reversed, Petula Clark's Amer- are usually preferable to LP reissues,
ican reputation might not have gained provided the originals are in good con-
momentum quite so easily." dition and played on proper equipment; I
J. Coughlan have had occasion to note this more
New York. N.Y. than once in these pages.
"However, few collectors these days
SIR: own even a 78 cartridge and stylus or a
Congratulations! Glenn Gould's article on turntable with a basic 78 speed, to say
Petula Clark was one of the silliest nothing of the variable -speed turntable.
literary accomplishments ever. If I may selection of various stylus types and
paraphrase Shakespeare, the whole thing widths, and choice of equalization char-
was full of sound and fury over nothing. acteristics necessary to extract the best
His analysis of Petula Clark's music from many of these records. The devoted
seemed more appropriate for a technical 78 collector will seek out originals on the
review of how many angels can sit on traders' market in any case; for those who
the head of a pin. And his pretentious have not specialized in this field, it would
use of polysyllables for such a banal seem more sensible to direct their atten-
For top savings, shop by mail from subject might have been humorous if it tion to LP reissues, which are much more
the world's most famous catalog of weren't just so overbearing. readily available, much less expensive,
electronic equipment, featuring The prologue and epilogue, however, and far more convenient to handle and
hundreds of new and exclusive items were excellent. The rest was garbage. store than 78s.
and special Allied values. As your critics might say-we have the "I wish I could answer Mr. Dunning's
518 pages -including the complete right to expect better from Mr. Gould. query in the affirmative. And I hope that
-
Knight -Kit Catalog picturing, de- Maurice C. Barone
East Lansing, Mich.
the wording of my article did not imply
that every one of the baritones mentioned
scribing, and pricing thousands of
is well represented on disc (though most
items. The most complete inventory
ever assembled of Hi -Fi, Radios, The Age of Gold
of then[ are) -it was simply a listing of
the baritones active in the twenty years
Tape Recorders, CB, Electronic spanning the turn of the century who, by
Equipment, Parts and Tools ... all SIR: all reliable report and reputation, were
at money-saving low prices. How much I enjoyed Conrad L. Os- comparable to the great singers we do
NO MONEY DOWN -24 MONTHS TO PAY! borne's article on the Golden Age (Octo- hear on records. Del Puente did die in
ber 1967). One question only: I was 1900, and so far as can be ascertained.
BIG SAVINGS ON THE BEST under the impression that Del Puente did not record commercially. But he did
IN ELECTRONICS FOR EVERYONE died in 1900 without making any record- sing well into the 1890s, and without
ings. Please, Mr. Osborne, did he record, suffering in comparison with his most ac-
Stereo Hi -Fi Amateur Equipment
Famous Knights -Kits Intercoms E PA
and if so, what? complished colleagues."
Tape Recorders & Tape Automotive Electronics Charles A. Dunning
CB 2 -way Radios Test Instruments Baltimore, Md. High Fidelity. January 1968. Vol. 18, No.
Walkie- Talkies TV Antennas & Tubes
1. Published monthly by Billboard Publica-
FM -AM & AM Radios Power Tools, Hardware
SIR: tions. Inc., publisher of Billboard, Vend,
Shortwave Receivers Tubes, Transistors
Amusement Business. Merchandising Week,
Portable TV Parts, Batteries, Books As I read through Conrad L. Osborne's American Artist. and Modem Photography.
Phonographs plea for just recognition in this era of High Fidelity /Musical America Edition
stereo for the fine old voices of the published monthly. Member Audit Bureau
acoustic era, it occurred to me that it is of Circulations.
Editorial correspondence should be ad-
also high time that someone spoke out in dressed to The Editor. High Fidelity, Great
defense of the sounds obtained from 78- Barrington, Mass. 01230. Editorial con-
ALLIED RADIO, Dept. 9A tributions will be welcomed. Payment for
rpm discs. Mr. Osborne's repeated rec-
P.O. Box 4398, Chicago, III. 60680 articles accepted will be arranged prior to
ommendations of LP transfers and his publication. Unsolicited manuscripts should
Send me your free catalog for 1968 reference to sounds "sometimes veiled be accompanied by return postage.
and scratched" are in keeping with the Subscriptions should be addressed to High
gospel heard so often these days-that Fidelity, 2160 Patterson St., Cincinnati, O.
45214. Subscription rates: High Fidelity/
we are in a golden age of recording. Musical America: in the U.S.A. and its
NAME Please Print Such does not seem the case to me. An Possessions, 1 year $12; elsewhere, 1 year
acoustic disc played with decent equip- $13. National and other editions published
monthly: in the U.S.A. and its Possessions,
ADDRESS ment yields to my ears a quality of 1 year $7; elsewhere. 1 year $8.
sound which in its naturalness and pro- Change of address notices and undelivered
CITY jection is vastly superior to anything copies (Form 3579) should be addressed to
found on an LP disc. High Fidelity, Subscription Fulfillment
Dept., 2160 Patterson St., Cincinnati, O.
Perhaps I am too extreme in thinking
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BEETHOVEN
THE NINTH SYMPHONY FRANK
PHILAOrIPHIA ORCHESTRA SINATRA Name
EUGENE ORMANOy
THE MORMON
TABERNACLE CHOIR Address
FRANK
i NANCY
City
Zip
State Code
T2 -1'trF13
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720 -3/53 J
1988Records Unlimited R U 50 S68
JANUARY 1968
NOTES
FROM OUR CORRESPONDENTS
Residents of the seraglio: Eddy, Mangin, maestro Menuhin, Gedda, Dobbs, Fryatt.
In This Harem, English Spoken

THE FIRST COMPLETE recording of a Mozart opera in English -that
is EMI's claim for the latest Menuhin project. Over the last two years
LONDON Menuhin has conducted the Phoenix Opera Company in Mozart pro-
ductions at the Bath Festival, and EMI's decision to put an "Abduction
from the Harem" on discs came not from any conviction of the special
virtue of opera -in- English but simply out of a desire to reproduce the
Phoenix production as closely as possible.
Assembled with Menuhin and the Bath Festival Orchestra in EMI's own London
studios were three of the five original principals -Mattiwilda Dobbs as Konstanze,
John Fryatt as Pedrillo, and Noel Mangin as Osmin. The original Belmonte was re-
placed by Nicolai Gedda and the original Blonde by Jennifer Eddy, thus making a
combination of international singers and British artists brought up in the Sadler's Wells
tradition. "I'll have them tortured," sings Osmin during the final ensemble. People
who know their Die Entfiihrung aus dein Serail by heart may blink a little, but it will
be interesting to see how the wider public reacts.
I was lucky to catch all the principal singers together. Gedda was due to leave
London that evening, and an impromptu session had to be fitted in during the afternoon
(Menuhin deferring some work on a Schubert symphony) to get the necessary ensembles
finished in time. One problem that struck everyone more than it does when operas
are recorded in German or Italian, say, was the Continued on page 14
12 CIRCLE 48 ON READER -SERVICE CARD *
When Stanton engineers get together, they draw the line.
The frequency response curve of the new Stanton 681 erence to approve test pressings. They must hear exactly
Calibration Standard is virtually a straight line from what has been cut into the grooves. No more. No less.
10- 20,000 Hz. But you don't have to be a professional to hear the
That's a guarantee. difference a Stanton 681 Calibration Standard will make,
In addition, channel separation must be 35 dB or especially with the "Longhair" brush which provides the
greater at 1,000 Hz. Output must be 0.8 my/cm /sec mini- clean grooves so essential for clear reproduction. The im-
mum. provement in performance is immediately audible, even
If a 681 doesn't match these specifications when first to the unpracticed ear.
tested, it's meticulously adjusted until it does. The 681 is completely new, from its slim -line config-
Each 681 includes hand -entered specifications that uration to the incredibly low -mass moving sys-
verify that your 681 matches the original laboratory stand- tem. The 681A with conical stylus is $55.00, the
ard in every respect. 681 EE with elliptical stylus, $60.00.
Nothing less would meet the needs of the professional For free literature, write to Stanton Mag-
studio engineers who use Stanton cartridges as their ref- netics, Inc., Plainview, L. L, N. Y.
NOTES FROM plain of the thin sound of an opening ductor's practice they began by playing
OUR CORRESPONDENTS chord or ask for another take ( "in- the piece straight through. Later they
terpretative pause by courtesy of the EMI worked on the music movement by move-
cutting room ") but more often he re- ment, and had finished the whole Con-
Continued from page 12 sponded to the proceedings with spon- certo early in the third session. They
taneous pleasure. "That's lovely," he said then went on to the Fourth with barely
extra difficulty of coordinating English of Fryatt's solo as Pedrillo in the final a break, and at once it caught fire even
final consonants. "Vengeance!" they all ensemble, and he chuckled out loud when without any rehearsal.
sang at one point, and the result came out Mangin blustered his way into the trio The recording manager, Suvi Raj
"March, march, march!"
as "Vengeanceses!" Not that the trans-
lation is particularly difficult to sing
in fact, the producer of the Phoenix stage
- From Barenboim and Kemperer. Alter-
Grubb, was delighted at the way Klem-
perer and Barenboim seemed instinctively
to grasp each other's views, though natu-
version, Wendy Toye, had further revised nating with the Menuhin sessions at the rally not everything was plain sailing.
it to ease the singers' burdens. Abbey Road studios was EMI's big On the matter of tempos, certainly, one
Recording manager was Kinloch An- Barenboim /Klemperer project, nothing would never expect the magisterial Klem-
derson, experienced both in directing less than an integral edition of the com- perer and the dashing Barenboim to agree
opera sessions and in working with Menu - plete Beethoven piano concertos. The all the time. Actually, differences were
hin. The latter was in fine fettle. Occa- cycle began witn the Emperor, and fol- quickly resolved -if Barenboim on occa-
sionally during playbacks he would corn- lowing the pianist's rather than the con- sion allowed himself too romantic a
broadening, Klemperer would look close-
ly at the score and carefully read out
"Poco ritardando," underlining the "poco"
uniCLUB
saves you more
as pointedly as a schoolmaster.
Curzon in Mozart. Decca /London has

also had some important piano concerto
recordings under way. Clifford Curzon
on more of what you want! was at last persuaded to record some

more Mozart -the Concertos K. 488, in
A, and K. 595, in B flat, with the Lon-
don Symphony Orchestra under Istvan
RECORDS TAPES STEREO GEAR BOOKS Kertesz. As ever with Curzon sessions
no outsider was allowed anywhere near.
0
_ ji though Curzon himself did not put it
- aYt
---
t 0°
_ .
1 1 1 11
-
f-- quite so brutally when I saw him at an
American Embassy reception for Aaron
Copland. He even said it would be all
Here are 10 facts about uniCLUB. uniCLUB supplies hi- fidelity equ'pment of vir- right for me to attend a session "as long
They are 10 reasons to clip the cou- tually every manufacturer at tremendous sav- as I don't know anything about it"-but
pon and join now! ings. This month's "Hi -Fi Special ' is a Garrard when I immediately replied that I would
Lab 80 turntable; List $100.00 to members happily slip in the back, he shuddered:
only $59.95.
9. BOOKS OF ALL PUBLISHERS "I should see you at once." He then told
1. Any LP or tape on every U.S. or foreign The Book Division -only uniCLUB has it of- - me of an occasion years ago in Vienna.
label available. Columbia- Capitol -RCA- fers members at least 25% off on any book in when Kirsten Flagstad took time off from
London & 350 more. No exceptions. print.* You get only original publishers' edi- recording Wagner to visit a session with
2. You save a minimum of 35% on LP's; 33% tions. uniGUIDE lists best-sellers, just -pub- Curzon and the Vienna Philharmonic.
on tapes and 25',; on books. lished works and book "Specials."
*Texts are reduced 10 %. He found he could do nothing right, and
10. FOUR CLUBS IN ONE in the end he simply had to go to the
LP's LIST uniCLUB uniCLUB is really a time- saver. It makes join- great singer and explain apologetically
$1.98 $1.23 ing many clubs unnecessary. Now you can buy that her presence was the whole trouble.
2.98 1.85 all your records, tapes, auto -cartridges, books Gracefully she withdrew. Then, with the
3.79/98 2.39 and stereo-gear from one convenient source.
We hope you'll join today! help of the orchestra, Curzon devised a
4.79/98 2.99 SAVE MONEY EVEN ON YOUR unique recompense: unpaid, in an empty
5.79/98 3.69 MEMBERSHIP FEE studio, soloist and orchestra gave for Flag -
Give gift memberships with full lifetime privi- stad alone a special performance of the
3. You can save even more by taking advan leges for only $2.50 each. Splitting the cost with
one other person lowers cost to $3.75; enrolling whole work. No such luck for the Lon-
tage of the regular extra discount "Specials.'
Save up to 80% off list price. Right now, for five at a time brings cost down to only $3 each. don Correspondent of HIGH FIDELITY.
example, the entire RCA Red -Seal catalog is
$2.75 mono; $3.25 stereo. The Vox $4.98 series rSend my Free Schwann catalog, order, Copland by Copland. The party for
is $1.75 mono and stereo. blanks & uniGUIDE by return mail. Aaron Copland mentioned above was oc-
4. Never a requirement to buy. No monthly $5 enclosed guarantees me: casioned by the composer-conductor's
"stop- order" forms to return. You receive just 1. LIFETIME MEMBERSHIP in uni- presence here at the end of a European
what you order. CLUB
5. LIFETIME MEMBERSHIP 2. 35 % -80% savings on LP albums, 2 off
tour, for a concert with the London Sym-
The club membership fee is $5. This is for life- on tapes, 25% on books. phony at the Royal Festival Hall and a
time privileges which are increasing all the time. 3. No requirements ever to buy anything. series of sessions for CBS at Waltham -
6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. stow. The two assignments overlapped,
Members regularly receive "uniGUIDE" advis- I must be delighted with uniCLUB or within for the two Copland works played at the
ing them of the latest releases, recommended 30 days I will let you know and receive a
concert-the Dance Symphony and the
best -buys and extra discount "Specials." When full refund.
you join you receive a free 300 -page Schwann
record catalog listing every available record
and its price. You receive a free Harrison tape
uniCLUB /nc_
255 West 42nd Street DEPT. HF18
Symphonic Ode-were also among the
pieces to be recorded.
As I had been deeply impressed by
catalog if you specify. New York, N. Y. 10036 the Symphonic Ode at the live perform-
7. FASTEST SERVICE ANYWHERE ance, I made a point of going to the re-
Your orders are not only processed but shipped
the same day we receive them. This unique serv- NAME cording session devoted to it. The piece
ice is possible because your orders are picked ADDRESS was originally written for the Boston
from an inventory of over 250,000 LP's & tapes. Symphony Orchestra's fiftieth anniver-
You get factory -new sealed albums and tapes CITY STATE ZIP
sary and then revised and expanded (on
only. Defects are fully returnable at no charge. Li Send gift memberships at 52.50 each to names
S. SAVE UP TO 50% ON and addresses listed on attached sheet.
the suggestion of Charles Munch) to com-
STEREO GEAR LE I am also interested in pre-recorded tapes.
Individual components or complete systems - J Continued on page 20

14 HIGH FIDELITY MAGAZINE
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CH.AHRLEENSRYINSGWEEREST
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SENTIT:
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JEUX D'ENFANTS, OP. 22) GERSHWIN:
APp ALACHIAN -NOS. 1 & 2 GERSHWIN: AN AMERICAN IN
PARIS 24
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SPRING
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STRAUSS: TRITSCH TRATSCH
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ORCHESTRA
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BERG & THE PITTSBURGH SYMPHONY -14'644
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ST. LUKE PASSION
SYMPHONY No SInF
TO THE VICTIMS 2911 -2912. Leonard Bernstein conducts the New York Phil-
DEBUSSY
SInCE Oaanet In G Miler
MESSIAH AO.,epsal
ACADEMIC FESTIVAL
OVERTURE
OF HIROSHIMA harmonic in masterful recordings of Franck's Symphony in RAVEL COLIN DAVIS
D Minor; Dvorak's Symphony Number 5 in E Minor ( "From Smog Beane on r
condo...
LEONARD BERNSTEIN LONDON
the New World "); Mendelssohn's Symphony Number 4 in SYMPHONY
THE NEW YORK
PHILHARMONIC Ornrn. A Major ( "Italian "); and Schubert's Symphony Number 8 ORCHESTRA
7 RECORD SET FT, E'S in B Minor ( "Unfinished ").
3436 3137 5900 -5901 5531 3343 -3344

JANACEK LORD'S PRAYER ORMANDY: GERSHWIN
FROM THE HOUSE MORMON
on
SPECIAL eo.
OF THE DEAD TABERNACLE CHOIR
ORCHESTRA'S
RHAPSODY
IN BLUE
TWO-RECORDS
OFFER GREATEST HITS b
Spellbound
Concerto
Warmly '
COUNT AS ONE
SELECTION
Clair de Lune
This Deluxe Sabre Dance 7
Concuio
C 7 MORE
7- record set Bnll NTWI Of IN EINWI
counts as only IN IDEDS R/LIE-e ron
5 selections! 5097-5098 1090 3628
VLADIMIR
THE SORCERER'S
APPRENTICE
01.IIR NORe4
Beethoven VIVALDI : ESPANA
BERNSTEIN
THE
HOROWITZ 7 Fifth FOUR SEASONS SPANISH
ChopinLiszt
Rachmaninoff eT
,ì- Symphony Leonard Bernsttem
Mm (
FAVORITES
by FREER
John Conehano RAVEL
Schumann CHARRIER
IfONAND BERNSTEIN
Rea York PN,Iharmunn ur
1067 3782 1325 2213 2214

BEETHOVEN'S NINE SYMPHONIES THE ROMEROS rt.:,
World of Flamenco LANETZ
2919 -2920 -2921- 2922.2923. All nine of Beethoven's Sym-
phonies are included in this deluxe package of seven records yr TWO -RECORDS ducts li
COUNT AS ONE
(but which count as only 5 selections)! Eugene Ormandy SELECTION 'PROMENADE' I.
conducts the Philadelphia Orchestra in inspired interpre- 2 RECORD SET
FAVORITES
tations of these important works which deserve a promin- ANTÑ LIDORATII<n..l., N. T. PAInurRRRK )
ent position in your library of fine recordings. RaIL111 .,_nlaaW
'
4647 -4648 5318 2509 2704
BERNSTEIN'S mums: BRUCK VERDI:

GREATEST HITS mean Ne. 7 SFmphl FALSTAFF
Leonard
NEW TOM LEWIS EEMETEeI NO
Bernstein
PIBl11EME0NK NEI 1101
FNBl1AEB..G -- GEOR
SZEI
vmnna
Phdh Jrmnnlr
cam= CleNel
nilh
EH' EFT
Orche De u
1414PIZEGIZ3 .
5236 2955 -2956 3455 3595- 3596 -3597
GRANADOS:
TCHA KOVSKY SAINT - SA ENS A FESTMAL IF YAACNES
12 BALLETS: O,R SYmpnon,IN. J
TM Shaping BBBUty- Nandelpnu O,ch P.n.., March of the Toreadors

SPANISH
SWM Lalo TWO-RECORDS American Salute
DANCES -
FOR COUNT AS ONE 11 Stan and Stripes.

PIANO eweriddring SELECTION Meadowlands
9100111A 9 mele
Musa
de LaHrocha, .vr E. POWER RIG PHILAOILPNIA ORCN.
ORMANDY
3889 3890 1076 1083

IWO FAVORITE BACH THE MAHLER ;L A Golden Treasury ALBAN BERG'S WOZZECK
GUITAR CONCERTOS
CASIELNUOVO TEDESCO
RODRIGO
WELL -TEMPERER
Book I
CLAYIE
STnPSj,
-RBEYNKNON
Mq M. T
Be
of Concert Favorites
VERDI AND ROSSINI TWO. RE COR DS 4786 -4787. Pierre Boulez conducts the Orchestra and Chorus
Prelude..nd LEONARD `.M(
OVERTURES
JOHN COUNT AS ONE
WILLIAMS
Fep... be BERNSTEIN
T. PAMUrmeMk i tco.mea utow a.r' SELECTION of the Paris National Opera. Starring roles by Walter Berry,
Isabel Strauss and Carl Doench. This magnificent two-rec-
N.
GwW GLENN Towel GILBERT L SULLIVAN

ORMANDY GOULD Nq UIa PUNS* OVE R T ORES ord set of a Twentieth Century masterpiece won the Grand
Phdadelphla OnheSlra 1, RECORD SET [s Recmd Set] Prix Du Disque!
2471 1264 2348 -2349
e 1968 CBS Direct Marketing Services 527/S68
16
BEETHOVEN MERUIZ
BEETHOVEN Wine, Women BRAHMS
SYMPHONY No.B PIANO CONCERTO N. SYMPRONIE FANTASTIOUE
and Song
Moonlight
AppassiOnata EUGENE IS
MSYMPHONY
STMNONT
N
RUDOLF SERKIN
Pier.
SENI
OZAWA
cn,wMN,
You are invited to take
GEORGE
Pathétique oRMANDY s: Ro. 1 SZELL TORONTO
SONATAS coramars STOPKONY
TNe
Glenn Gould MILADEIMIA MMO CABALS THE
CLEVELAND
MARTepp
OACN NSTnAIpas 0ECHISTEA
5883 5437 4387 5372 5532
1"1"lOSt 50°/o
4, \ Rì .
10
STEREO OR REGULAR RECORDS
PUCCIIB AND
VERDI
FAVORITES
EILEEN
FARRELL ..0
RACItMANN1OFF
MiPNSq N.
EUGENE OEIMANOV
t MO Mr
QI
FREEif you begin your membership by purchasing
just one record now, and agree to buj nine
more records during the coming twelve
RICHARD IMAGINE GETTING ONE RECORD FREE FOR EVERY REC- months (you will have up to 300 records a
TICKER. h.., ORD YOU BUY! That's the fabulous "discount the month to choose from)
Columbia Record Club offers its members all year round
...just about a 50% saving on all records ordered
2018 5234
through the Club! Remember -
this is not a special
"sale" offered from time to time...members enjoy this HOROWITZ
MOZART
FOUR SONATAS FOR
PIANO AND VIOLIN
STRAVINSKY
L'Histoire
greatest -of -all discount right from the beginning
as long as they remain in the Club! And to demonstrate the
and for - IN CONCERT
WILLIAM
TELL
and
IYES.Symphonl No.2
T'te Fourth
of July
Other
du Soldat full benefits of this unique record- buying plan, we'll send
®
rewords LEONARD
GEORGE SZELL. plano
LEOPOLO STOKOWM you 10 records FREE right now! Overtures BERNSTEIN
RAFAEL DRUTAN. Holm
O 710070 anI I,aKl,a.a 1
THAT'S RIGHT! JOIN NOW AND GET 10 RECORDS FREE
10 of the magnificent albums shown here (more, if you
any - LEONARD BERNSTEIN
1177 TORA PPUIIMMORIC
NM TORN Mm HARMOHK
5839 5320 -5321 select any of the special sets). We'll give you these 10 free 3767 -3768 2267 2881
records in advance for just buying one record now at the
PHILIPPE ENTREMONT BLESS INS HOUSE
THE MORMON
TABERNACLE CHOIR'S GROPE
regular Club price...and agreeing to buy only nine more piano The Mormon
GREATEST HITS GRANO records during the coming year. In short, within a year RIT JAL
Ta berne le Choir
CANYON you'll have a sizable library of at least 20 records of your
EUGENE ORMANDY
The
c.nsr,.P
MA.MpIh Orchestra
SUITE
choice -
but you'll have paid for only ten of them!
(
FIRE DANCE
wa
HRHtarren
God Bless Amenas Yrnn FREE SUBSCRIPTION TO MUSIC MAGAZINE. You'll have no
problem in selecting records during your membership, be-
,'., ho Z
[LEGERE ORMANDY
r Inc II MORE
cause the Club offers up to 300 different records each
WEN MORE
Ph,ladelp,M Orch.
3780 1645 month to choose from...all described in the monthly Club 3760 2640 2652
magazine, which you receive free. In addition to a dazzling
Holiday for Vienna. My City
list of. great classical records each month, you'll be able to
Harpsichord
E. POWER
of Dreams
RICHARD choose from hit albums from every field of music the - SPECIAL
BIGGS
Fun
TUCKER
NM
best-sellers from over 70 different record labels! You may
accept the monthly classical selection...or take any of the
OFFER
Heart Atene
Filled
Favorites y ,
loog
I
Fro
MORE
nn. other records offered...or take no record at all that month.
RECORDS SENT ON CREDIT. Upon enrollment, the Club will
This Deluxe
4- record set
open a charge account in your name ....you pay for your rec- counts as
2887 1606 ords only after you have received them -played them
are enjoying them. They will be mailed and billed to you at
and - only
3 selectiors!
A GOLDEN TREASURY Elf
CONCERT 1AYORTES.VM 2 the regular Club price of $5.98 (Popular, $4.98), plus a small
LAOIlonne Sode
A mailing and handling charge.
Peer Gynt TWO -RECORDS
COUNT AS ONE YOU GET MORE FREE RECORDS ...as soon as you complete
Carmen
A
SELECTION your enrollment agreement, you continue to receive ONE
a r HO
RECORD FREE FOR EVERY RECORD YOU BUY! There are no
"savings certificates" to accumulate, no delays, no limita-
2508
tions - every time you buy a record, you choose one free!
The Columbia bonus plan is the best one in existence today!
Under this plan you pay as little as $2.79 a record (including
BEETHOVEN'S FIVE
SABRE
DANCE
Beethoven:
nnaI 5770(40117 <I all shipping charges) for all the records you want
long as you want. What's more, when you do continue your
for as - PIANO CONCERTOS
SZELL OealUnO OT<N
2463- 2464 -2465. A monumental collection of the
EUGENE membership, you only have to buy four records a year to re-
ORMAN DY five Beethoven Piano Concertos as perfcrmed by
PhiIdrlpn! main a member in good standing. world- renowned Rudolf SerEin backed by Leonard
Orr hestra MAIL THE CARD TODAY! Just write in the numbers of your Bernstein and the New York Philharmonic and
ten free records and first selection (for which you will be Eugene Ormandy and the Phi adelphia Orchestra.
billed only $4.98, plus postage and handling). Be sure to
3792 1172
indicate whether you want your records in stereo or regular
high-fidelity. Send no money now -
just the postpaid card.
=
BERNSTEIN Russun Sapori Dance TCHAIKOVSKY:
THE AGE
SPECTACULARSI ORCNESTRaL
by TchaiLOV.t LEONARD BERNST:IN
OF ANXIETY others
ther5 More than 1,500,000 families now belong to SIRTE NO O sur E NO. 4
ls,_. rN n
the world's largest record club
New York
Pbdiaimonm
TWO -RECORDS
COUNT AS ONE
i EL (CT ION
PHILIPPE ENTREMONT
MAO
LEONARD BERNSTEIN
not Hps Mot HARMONOC
1ODENt oRNUOT
Columbia Record Club
/MIL AbtlP(4IL e11C(4ISTR
Terre Haute, Indiana
2880 2244 2875 3773
Relea d Live! CLAIR de LUNE BEETHOVEN PROKOFIEV
COWAN ON
VIENNA CHOIR BOYS STRAVINSKY BARTOK: MUSIC OF JUBILEE BERNSTEIN
MI SCOPUS STRAUSS WALTZES
CONDUCTS A Debussy Violin Concerto Con, erto for Orr he.NJ Each CONDUCE! N,OIm COncIrt03 NOS .Ia Z i
ISAAC STAN. V,hn AND POLKAS ,d -
Piano Recital by JANACEK: s.menu. Farontes COPIAND

LEONARD RIINSII,N . STRAVINSKY Isaac
c.r,èvr.. PHILIPPE ENTREMONT ISAAC GEORGE STILL a for Organ
VHnn Biooll
1111111-.
STERN GlevLnd
OrcNaoa 2
S4
ab
Orchestra
EI Salon Mesico
AIMalaclin SPFaI
OTmandy
Philadelphia
An
s mr,l' P
_ PETROUSHKA
ve4L,n.,:
1r0,.e.4,nvH,n c..a
'^ y . ,
E. 'OVER
BIGGS
N Y. PhI!harmomc ]rch
5529 2245 1093 1100 1195 2479 1605 1279 1695

CIRCLE 17 ON READER -SERVICE CARO
JANUARY 1968 19
NOTES FROM At Figure 30 in the score ( "Subito lento Students of Copland, please take note of
OUR CORRESPONDENTS e drammatico") he listened to the violins what happens round Figure 42.
playing on the G string and exclaimed, EDWARD GREENFIELD
Continued from page 14 "What a heavenly sound!" But a few
pages later he was taken by surprise.
memorate the same orchestra's seventy - "That sounded like a triangle," he re-
fifth season. The title may carry a faintly marked, scrutinizing the score closely at
pompous suggestion ( "Something grand Figure 42 to see what he could find. "it Two -Way Traffic
PRAGUE
for a grand occasion," Copland ex- is a triangle," explained Killough, and it In the Record Mart
plained), but in fact the composer's own was then darkly admitted that it had been
direction of it brought out for me the included all the time. The percussion
symphonic tautness of argument rather parts had it, while the score showed Although Czechoslovakia has for some
than the odelike qualities. nothing at all between woodwind and time been the most "open" of the Soviet-
"Now the tasting of the cake," Copland strings. Copland listened to the passage
said, as he sat down with recording man-
ager Richard Killough to hear the com-
plete playback. Here and there he would
again. "That doesn't hurt!" he said phleg-
matically -but when for other reasons
a new take of the section had to be con-
bloc countries, it seemed to me on my
last visit-my fourteenth, by the way
that the pace of cultural interchange was
-
rapidly accelerating. I was particularly
note perhaps the inaudibility of the Eng- ceded, he took more of a purist line. struck, for instance, by the great number
lish horn or the forwardness of the brass. "Fll take it out as it isn't in the score." of people who had vacationed in the
West. Other signs were self- evident. Many
Western films were being shown with
great success, as well as many Western
plays (the latter in superlative local pro-
ductions). As for the always very rich
Czech musical life, it by now takes in all
the latest manifestations of the interna-
tional avant -garde, including the newest
work by very young groups both in jazz
and in "serious" music.
In line with these developments a
change is also taking place in the Czech
record industry. As in every Communist
country, the production of records is a
state monopoly, and until a year or so
ago there was only one Czech label,
Supraphon, which so far has published
over a thousand classical LPs. More re-
cently, in an effort to stimulate the gen-
eral economy, the Western notion of
competition has been introduced and a
second label, Panton. launched. An off-
shoot of the Union of Czechoslovak
Composers, Panton has devoted itself
mainly to issuing live performances of
new Czech works (of outstanding tech-
nical quality, incidentally), but it now
intends to exploit the broadest possible
repertoire in performances by leading
native artists. As far as international dis-
.,.via SHARPE stereophones tribution goes, the general practice here,
as everywhere, has been to license the
tapes to foreign companies for processing
rather than to export finished discs. And
Listen to stereo sound the way it was meant SHARPE 660 PRO it is at this point that things get interest-
to be heard. Big. Bold. Brilliantly conceived. ing-now, for the first time in many
Sharpe stereophone reproduction outperforms Performance Features
years, the traffic in recordings will be a
the finest speaker systems. That means sound Frequency response: Full 15-35,000 kHz,
purity by Sharpe is never compromised beyond Hat 20- 20,000 kHz -
3.5db two-way affair.
While the government will still pro-
the traces of audible distortion, if any, gene- Max. acoustical output (loaded): 110
hibit the sale of Western pressings in
rated at the sound source. Sharpe's constant. db S. P. L.
Czech shops, a certain number of selected
flat response and extreme sensitivity deliver Impedance: 8 ohms, 500 ohms opt.
recordings from leading Western corn-
the scale from deepest bass through highest Amb. noise attenuation: 40 db panics will be made available tinder the
treble intact, completely consistent with the 1 kHz
Supraphon label. At the time of this writ-
performance subtleties of your system. And Sensitivity: 95 db S.P.L. @ 0.5 V RMS ing, no albums had yet been released,
Sharpe's light, compact circumaural design, Distortion: Less than .8% but the first batch was expected to be
with liquid -filled ear cushions, insures hours Fused circuit: 3'10 amp. available before Christmas. The public
of comfortable listening. Adjustable headband has greeted the plan with enthusiasm
provides snug fit, assures total security against If your local dealer is temporarily
out of Sharpe Stereophones, we'll send (until now, many people --especially
ambient noise present in the listening area. detailed specifications FREE upon those interested in pops and jazz-have
Why wait? We invite your comparison with request. been in the habit of taping recordings
any other stereophone. HA-660 / PRO, ;60.00. Materials and workmanship guaranteed from Western broadcasts), and Artia, the
Volume Controls optional extra. Other Sharpe for one full year. U.S. and Canadian State firm for export- import of cultural
models from $19.95 Patents apply. goods, is receiving numerous inquiries
about forthcoming releases.
SHARPE INSTRUMENTS, INC.

955 Maryvale Drive, Buffalo, New York 14225
From West to East -and Vice Versa.
The main focus of interest involves the
major labels Deutsche Grammophon and
Available in Canada
Export Agents: ELPA Marketing Industries Inc., New Hyde Park, N Y
Continued on page 24
We believe that the Nocturne Five - stereo amplifier and an AM/ FM, FM stereo make an FM /FM stereo receiver called the
Thirty delivers a degree of excellence never tuner that delivers astonishingly clear broad- Five -Twenty. It's identical to the Five -Thirty
before attainable at such a modest price. cast reception. The most advanced inte- in every way, minus the AM section.
That's what we said when we intro- grated micro -circuits are employed for abso- Whether you choose the Five -Thirty or
duced the Five -Thirty stereo receiver. lute reliability and unsurpassed performance. the Five -Twenty, we guarantee you'll be buy-
We said other :hings too. Ultra -wide frequency response, well beyond ing a receiver that delivers a degree of ex-
Like it's the best receiver we have ever the range of hearing, coupled with very low cellence never before available at such a
made. And that its sound will please the distortion, guarantees flawless sound quality mcdest price.
most critical ear; its styling the most critical with extraordinary clarity and spaciousness. Now where have we heard that before?
eye. The AM section of the Five -Thirty em- For more information write Harman -
We must have been very convincing. ploys a MOSFET front -end and separate AM Ka-don, Inc., Box riF1, Plainview, New York
Within a relatively short time, the Five - board with its own I.F. strip. The result is a 11803.
Thirty has become one of the best selling radically new sound in AM-an AM radio
stereo receivers on the market
The Five -Thirty is a complete, solid
that serious music listeners can take seri-
ously.
harm an kardon
state control center with a powerful 70 -watt If AM radio isn't your cup of tea, we A subsidiary of Jervis Corporution
"...excellence never
before attainable at
such a modest price."
The Nocturne Five -Thirty Stereo Receiver
CIRCLE 23 ON READER -SERVICE CAED

JANUARY 1968 2I
II NEW KITS FROM HEATH..
Now There Are 3 Heathkit Color TV's To Choose From
Introducing The NEW Deluxe
Heathkit "227" Color TV
Exclusive I (eathkit Self-Servicing Features. Like the famous Heathkit
"295" and "180" color TV's, the new Heathkit "227" features a built -in
dot generator plus full color photos and simple instructions so you can
set-up, converge and maintain the best color pictures at all times. Add
to this the detailed trouble -shooting charts in the manual, and you put
an end to costly TV service calls for periodic picture convergence and
minor repairs. No other brand of color TV has this money -saving
self-servicing feature.
Advanced Performance Features. Boasts new RCA Perma- Chrome picture
tube with 227 sq. in. rectangular viewing area for 40% brighter pictures
... 24,000 v. regulated picture power and improved "rare earth" phos-
phors for more brilliant, livelier colors... new improved low voltage
power supply with boosted B+ for best operation ...
automatic de-
gaussing combined with exclusive Heath Magna -Shield that "cleans"
the picture every -time you turn the set on from a "cold" start, and
keeps colors pure and clean regardless of set movement or placement ... Kit GR-227
automatic color control and gated automatic gain control to reduce
color fade and insure steady, Ilutter -free pictures even under adverse
conditions ...
preassembled & aligned 3 -stage IF ...
preassembled &
'419" Kit GRA -27
aligned 2 -speed transistor UHF tuner and deluxe VHF turret tuner with (less cabinet)
"memory" fine tuning ... 300 & 75 ohm VHF antenna inputs ... two S25 mo.
hi -fi sound outputs ... 4' x 6" 8 ohm speaker ...

one -piece mask &
New Remote Control
control panel for simple installation in a wall, your custom cabinet or
either optional Heath factory -assembled cabinets. Build in 25 hours. For Heathkit Color TV
Kit G R -227, (everything except cabinet) Now change channels and turn your Heathkit color TV off
... $42 dn., as low as $25 mo. ..... $419.95 and on from the comfort of your armchair with this new remote
G RA- 227 -1,Walnut cabinet... no money dn., S6 mo. $59.95 control kit. Use with Heathkit GR -227, GR -295 and GR-180
GRA- 227 -2, Mediterranean Oak cabinet (shown above), color TV's. Includes 20' cable.
...no money dn., $10 mo. $94.50
Kit GR -295 Kit GR -180
$47995 $34995
(less cabinet) (less cabinet
& cart)
$42 mo. 530 mo.
Deluxe Heathkit "295" Color TV

Has same high performance features and built -in servicing facilities Deluxe Heathkit "180" Color TV
as new GR -227, except for 295 sq. in. viewing area (industry's Same high performance features and exclusive self-servicing facil-
largest picture) ... 25,000 volt picture power ... universal main con- ities as new GR -227 (above) except for 180 sq. in. viewing area.
trol panel for versatile in -wall installation ...and 6" x 9" speaker.
Kit GR -295, (everything except cabinet), 131 lbs....
Kit GR -180, (everything except cabinet), 102 lbs....
$48 dn., $42 mo. 5479.95 $36 dn., $31 mo. $359.95
G RS- 180 -5, table model cabinet & mobile cart
GRA- 295 -1, Walnut cabinet (shown above), 35 lbs....
no money dn., S7 mo. $62.95 (shown above), 57 lbs.... no money dn., S5 mo. $39.95
Other cabinets from $94.50 Other cabinets from $24.95
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S43 mo.
USE COUPON BELOW TO ORDER NOW!
NEW! Exclusive Heath Hi -Fi Furniture ... Fully Assembled And Finished
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Complements Modern Furnishings
Masterfully crafted of fine veneers and solids with walnut finish.
Statuary Bronze handles. Equipment cabinet features adjustable
shelves to accommodate all makes of hi -fi components, record Complete
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Speaker cabinet features special Tubular -Duct Reflex design for
matching 8" or 12" speakers, plus slot for a horn tweeter.
Model AE -37, equipment cabinet... $ 244°°
no money dn., $12 mo $125.00
Model AEA -37 -1, speaker cabinet...
no money dn., S6 mo eich $59.50
Early American
Early American richness with modern component layout. Con-
structed of specially -selected solids and veneers finished in
popular Salem -Maple. Statuary Bronze handles. Equipment Complete
cabinet has adjustable shelves to accommodate any make hi -fi Ensemble
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Model AE -47, equipment cabinet...
$264°°
no money dn., $13 mo $135.00
no money dn., S7 mo . each $64.50
Mediterranean
Beautifully constructed of fine furniture solids and veneers with
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adjustable shelves to house any make hi -fi component, record Complete
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Speaker cabinet can be matched to any 8" or 12" speaker ... has
slot for horn tweeter.
Model AE -57, equipment cabinet... $299 °°
no money dn., $14 mo.... $150.00
no money dn., S8 mo . each $74.50
Kit .R -17
Kit AR -13A
Kit AR -14 $7fL 5 (less
$8
cAabinet)
-rio.
0
$189 $1 8 mo.
(less cabinet)
511 mo. New! 14 -Watt Solid -State
Solid -State 66 -Watt Solid -State 30 -Watt FM Stereo Receiver
AM /FM Stereo Receiver FM Stereo Receiver Fi ttures 14 watts music, 10 watts rms power
from 25- 35,000 Hz ü t.1 dB; inputs for
Delivers 66 watts music, 40 watts rms power Provides 30 watts music, 20 watts rms power
phono & auxiliary; adjustable phase; fly-
from 15-30,000 Hz C t
1 dB. Features built - from 15 to 50,000 Hz m t
I dB. Features
wheel tuning; and compact 10%" D. x 3"
in stereo demodulator, automatic switching stereo headphone jack, filtered outputs for
H. x 12" W. size. Optional cabinets (walnut
to stereo, filtered outputs for direct record- direct recording, transformerless output cir-
$7.95, metal $3.50)
ing, squelch control and walnut -finish wood cuit and more. Install in a wall or Heath as- Kit AR -17, 12 lbs.
cabinet. sembled.cabinet (walnut $9.95, metal $3.95). no money dn., S8 mo. $72.95
Kit AR -13A, 35 lbs. Kit AR -14, 18 lbs. Kit AR-27, 7 -Watt FM Mono Only
no money dn., $18 mo. $189.95 no money dn., $11 mo 4109.95 Receiver 9 lbs... no money dn., S5 mo. .$49.95
HEATHKIT 1968
NEW
HEATH COMPANY, Dept. 8.1
Benton Harbor, Michigan 49022
In Canada, Daystrom Ltd.
Egii:=10
r..
FREE 1968 Enclosed is $ including shipping.
CATALOG! Please send model (s)
N Now with more kits, more color.

Fully describes these along with
Please send FREE Heathkit Catalog.
Please send Credit Application.
over 300 kits fcr stereo /hifi,
color TV, electronic organs, elec- Name
tric guitar 8 amplifier, amateur
radio, marine, educational, CB,
home 8 hobby. Mail coupon or Address
write Heath Company, Benton
Harbor, Michigan 49022. City State Zia
Prices & specifications subject to change without notice.
L CL-311R

JANUARY 1968 23
NOTES FROM OUR CORRESPONDENTS
pretty Continued from page 20
American Columbia. In both cases, Artie

will have first (though not exclusive) Mahler
clever... rights to distribution of these companies'
recordings throughout all the countries
NEW YORK By the Berrys
in the Soviet orbit. There has, of course, And Bernstein
those been a certain amount of coöperation
with DGG for a number of years - "Mr. Shepherd, did that cuckoo sound a
mainly by way of such notable co- little hoarse to you ?" Walter Berry
fellows at productions as the Dvofák Requiem and
the Prague Don Giovanni under Karl
looked tentatively at Columbia recording
director Thomas Z. Shepherd. The bird
Böhm -but now the Czech organization in question appears in Das Lob des hohen
Superex will also bring out a certain number of
DGG's own productions (at least three
Verstandes (Praise of Lofty Intellect),
one of the songs that comprise Mahler's
a year) on the Supraphon label. The Des Knaben Wunderhorn collection, and
first items will include among others an Mr. Berry had just finished listening to
album of plainsong, Bach's Passion Ac- himself during a playback. Meanwhile
cording to St. Matthew (conducted by down on the stage of Philharmonic Hall,
Karl Richter), Karajan's Cav & Pag, the baritone's wife, Christa Ludwig, was
and Böhm's Wozzeck. going over sections of Rheinlegendchen
(UT AWAY VIEW
Arrangements with American Colum- (Little Rhine Story) with Leonard Bern-
of SUPEREX
bia are also highly promising. Columbia stein and the New York Philharmonic.
will not only continue to release many Before Tom Shepard had had a chance
WOOFER- TWEETER
Supraphon recordings on its Crossroads to offer his artist a reassuring word, Mr.
STEREO PHONE
label but will also take over Supraphon's Bernstein signaled that he was ready to
MODEL ST-M
opera catalogue for distribution in the record, and the red light flashed on. "Ah,
whole Western world. Thus Western lis- my favorite song," whispered Berry with
First they put a woofer/ teners may hope eventually to have a wink- "Schrnutzlegendchen" (dirty lit-
tweeter in their stereo head- access to definitive, authentic perform- tle story). This seemed to rattle Shepherd,
phones to provide a full range ances of almost every important Czech who announced "Rheingelendchen, take
of response without distortion.
and Slovak opera -by Smetana (who
wrote eight), Dvofak, Janál.`ek, Martini,
one" (laughter) ...
"Did I say something
wrong ?"
They also added a complete
Suchon, Cikker, and others. For its part, "We know what you're thinking of,"
crossover network right in the Supraphon will release in Czechoslovakia said Bernstein darkly.
earpiece ...for an authentic- and Eastern Europe a minimum of twenty "Of a little Gelend -is
that a naughty
ally fine speaker system in recordings from the Columbia catalogue word ?" (more laughter). "Oh, all right
miniature. Just what the true (both classical and popular). Among the . RHINE LEGEND, take one."
stereo buff ordered! first titles announced are Bernstein's re- The legend took practically no time
cording of Gershwin's Rhapsody in Blue at all in the telling, and Miss Ludwig
Then they extended their line and An American in Paris, the same con- went on without pause to the next song,
in depth for the Hi -Fi enthusi- ductor's set of Rossini Overtures, a Des Antonius von Padua Fischpredigt (St.
ast and for Education, Broad- Debussy recital by Casadesus, a Chopin Anthony's Sermon to the Fishes). "In
cast, Aviation, Marine and recital by Brailowsky, a Vivaldi collec- concert, I usually sing this one," Mr.
Communications use. tion with Stern and Oistrakh, a Paganini/ Berry confided, "but I think Christa
Saint -Saëns coupling by Francescatti, the should do it for the recording. You know,
Now, they've developed a Schumann Piano Concerto by Serkin, the it takes on a completely different flavor
great new model, the ST -PRO -B Tchaikovsky Violin Concerto by Oistrakh, when sung by a woman . . . is
more
. . . just about the last word and-a provocative choice for a mid - liebenswürdig . . amiable..
. . .
in a professional quality head- European country-the Sibelius First

phone. Symphony tinder Ormandy. Discs by Cultivating Freud. Having finished off
Duke Ellington, Ray Conniff. Bob Dylan, St. Anthony with dispatch, Miss Ludwig
Pretty clever, those fellows at marched into the control booth and an-
and Count Basie complete this first se-
Superex. All they do is give lection. By spring, critical and public re- nounced that it was high time her partner
you the edge in quality, value sponse to these records should be known, got on with his part of the proceedings.
and forward- looking audio en- as well as some sales figures -I'm told He did so-with Revelge, a macabre opus
gineering. Ask your dealer for Artia expects to sell at least 50,000 copies about a drummer boy, killed in battle,
a demonstration. of the Gershwin album. . . who later appears with his dead com-
For the time being, none of the other rades before his beloved's house. The
Write for complete catalog. Communist countries seems to be con- first take didn't please Bernstein at all.
SUPEREX ELECTRONICS templating any comparable step in bring- "It just sounds like a march now," he
ing about the international exchange of said. "We should try to give it more of a
1 Radford Place, Yonkers, N.Y.
recordings, but some arrangement on a
limited basis may be expected with
nightmare quality ...
like one of those
obsessive dreams that you can't stop. I
Poland. Hungary. and Rumania (the last- think you're singing too much ...'Feind!
named having expressed a desire to make Feind!! Feind!!!' should be more like
all of Dinu Lipatti's recordings available gasps . more hysterisch, neurotisch."
in his homeland!). From the Soviet "Yes," sighed Berry, "I'm so healthy."
Union itself, nothing is to be expected The repetition seemed to help and
in the predictable future as far as the re- there was time for just one more song,
lease of Western recordings is concerned,
though some discs will of course appear
there under the above- mentioned Supra -
Verlorne Müh (in which both singers par-
ticipated), and the session concluded
four numbers short of the full cycle.
-
phon license. In any case, a real break- Exactly when the recording will be com-
through has been made against cultural pleted is still up in the air, for the Berrys,
isolationism -and this alone is a most not to mention Bernstein, are very busy
important event. HARRY HALBREICH artists. Maybe February. . . . P.G.D.
Our compact doesn't have
component features.
It has components.
controls." They have components, We added a matched pair of our
The surest way to get component
pure and simple. advanced SS250 two -way air -
quality into a compact §terreo sys-
We started with the modular cir suspension speaker systems with
tem is -o build it with rbthing but
cuitry of our latest AM /FM stereo 10" high -compliance woofers and
components. Bogen does just that. 31/2" tweeters. For our automatic
Our coTlpac :s don't have "com- receiver, the all- silicon solid state
ponent feat(.res" or "corhpontnt TR100X, with 60 watts of power turntable, we selected a Garrard,
for our phono cartridge, a Pick-
ering.
For the Stereo -8 section of our
MSC -1 compact, that plays the
same tape cartridges you use in
ur car, we couldn't find a player
¡good enough. So we had one built
to our specifications.
All we did, really, to turn these
component sound systems into
compact home entertainment cen-
ters, was to connect them for you
and build them into a handsome
I case of rich oiled walunt, at a
j compact price.
All you have to do to enjoy one,
is to plug it in.
When you buy a compact, why
compromise? We didn't when we
built one.
THE LIVE
SOUND OF
BOGEN LEAR SI EGLER, INC.
BOGEN COMMUNICATIONS DIVISION
I'ARA.MI'S...\' J ¡mist
Dept. 4-I -1
RECEIVER SPECIFICATIONS:
Output power (IHF): 60
watts / Frequency response
+ 1 dB: 20-50.000 Hz. / Hum
and noise: -70 dB / FM sen-
sitivity (IHF): 2.7uv / FM distor-
tion (,I 100% modulation: 0.7% /
FM hum and noise level: -60 dB. /
LOUD SPEAKER SPECIFICATIONS: Woofer:
10' high- compliance / Tweeter: 31/,'
dynamic / Frequency response: 30. 20.000
Hz. / Power hardling capacity: 30 watts.
The MSC -1 compact shown is also available

withc ut Stereo 8. as the MSR -1.
JANUARY 1968 ?5
If you want the
answers to I.PEAT GF'EITONIIAINLCE
questions like: PIP 41.11W11"111=1.1.11111
A SELECTIVE GUIDE TO THE MONTH'S REISSUES
How are wow and flutter meas-
ured ...
what is compliance .. .
how should keep my records
I
BRAHMS: Symphonies (complete). Aca- notes rather than projecting flashy rhet-
clean ...
why is a tone arm man- demic Festival Overture, Op. 80; Tragic oric. Her provocative discoveries will
ufactured three years ago obso- / Overture, Op. 81; Variations on a give anyone interested in this repertoire
lete today ...why don't broadcast ' Theme by Haydn, Op. 56a. NBC an absorbing two hours of listening.
stations ever use 'automatic turn- Symphony Orchestra, Arturo Tosca- Try volume one (Nos. -8) as a sample
1
tables' .. how do / talk intelli-

.
nini, cond. RCA Victrola WC 6400, and you will probably be tempted to
gently to hi -fi salesmen? $10.00 (four discs, mono only) [from explore further. The third disc contains
various RCA Victor originals, 1948 -53]. the Consolations and Spanish Rhapsody
ASend for Elpa's FREE inform-
BRAHMS: Symphonies (complete). New as well as the last four Hungarian Rhap-
York Philharmonic Orchestra, Bruno sodies, which appeared towards the end
ative "Record Omnibook" Walter, cond. Odyssey 32 36 0007, of Liszt's life, some thirty years after the
$7.49 (three discs, mono only) [from original fifteen (there is a twentieth still
Columbia SL 200, 1951 -53]. unpublished). All told, an absolute must
This column scarcely provides an arena for the Compleat Romantic. The inti-
large enough for Toscanini and Walter mate, music-room acoustics of these discs
to do battle over the four Brahms Sym- seem to me to suit Miss Farnadis play-
phonies. My own purely subjective ing to perfection.
opinion after listening to these two sets
back to back is all in favor of Toscanini's MOZART: Die Zauberflöte. Hilde Gue-
classically structured, intense objectivity den (s), Wilma Lipp (s), Léopold
rather than Walter's very personal, highly Simoneau (t), Walter Berry (b), Paul
sentimentalized readings. The Italian con- Schoeffler (b), Kurt Böhme (bs),
ductor's versions of Nos. 2 and 4-bril- et al.; Chorus of the Vienna State
liantly articulated and soundly balanced Opera; Vienna Philharmonic Orches-
symphonic statements -are, I think, two tra, Karl Böhm, cond. Richmond RS
of the very greatest performances he ever 63007 or SRS 63507, $7.57 (three
committed to discs; by contrast Walter discs) [from London A 4319, 1955].
sounds merely pleasant and comfortable Budget Flutes now number three -the
If you know the and a trifle undisciplined. Those who dote 1937 Beecham performance on Turn-
on Viennese geniality above all in this 7 about; DGG's first version from the early
answers... you're music may respond more positively to the
Odyssey set and find Don Arturo's auster-
Fifties now on Heliodor; and this current
revival from the London catalogue. The
ity little to their liking. Whatever one's' Heliodor recording seems to me the over-
probably an Elpa musical orientation, however, each set all winner: it is the only low-priced entry
possesses its own special insights and de- to include some of the dialogue (an abso-
serves the closest scrutiny from all stu-
customer already! dents of Brahms.
lute essential if this opera is to make any
dramatic sense in home listening), and
Elpa markets through its selected fran- Odyssey has managed to fit everything offers well -schooled, musicianly work
chised dealers a line of turntables and on to three discs in manual sequence; from very nearly all concerned. If stereo
record playback equipment of the high- sonically they score higher than does the is a must, however, prospective investors
est quality. And Elpa stands between Victrola set, with the characteristically
consumer and manufacturer as a guar- in the new Richmond set will not be en-
antee of the highest quality control. shallow, boxed -in sound accorded Tosca- tirely short- changed- Simoneau and Ber-
Some of our endorsed products are: nini, but my review copies were severely ry are both very fine as Tamino and
THORENS The unchallenged world leader in afflicted with wow. The Victrola album Papageno, Böhme only slightly less so
superb transcription turntables and tone arms. devotes one record to each symphony as Sarastro. The ladies are something of
The ultimate in fine cartridges. matching (in automatic sequence), and generously a disappointment though, for Lipp's
tone arms for getting the most out of any recording. offers the two Overtures and Haydn Vari- Queen of the Night thins out above the
CICII(.MITTS.., -
Producer of the finest products ations as filler material. staff rather badly, and Gueden seems to
for record care and cleaning. have been off -form at the time of this
LISZT: Hungarian Rhapsodies (Nos. 1- recording. Böhm's reading of the score
LOOK FOR THE ELPA ENDORSEMENT 19); Consolations (1 -6); Rhapsodie es- is scrupulous but a bit chilly and imper-
ON EVERY COMPONENT YOU SELECT; , pagnole. Edith Farnadi, piano. West - sonal compared to his splendid DGG ver-
IT WILL CONFIRM YOUR JUDGMENT ,/ minster W 9344/46, $4.79 each (three sion. In short what we have here is a con-
OF SUPERIOR QUALIFY. discs, mono only) [from Westminister cert performance, agreeable enough on
XWN 18336/38, 1953]. the whole but rather innocuous.
Elpa Marketing Industries, Inc. There will undoubtedly be other editions The stereo edition is only now appear-
New Hyde Park, New York 11040 of the complete Hungarian Rhapsodies ing for the first time in this country.
Dear Sirs:
in the near future, but as of now Edith While it has a pleasantly spacious, warm
Farnadi has the field to herself (save for acoustic, the soloists are rigidly bound
Please send me the "Record Omnibook" and I to their microphones, creating some il-
put me on your mailing list for future mailings. a specially imported three -disc set from
I Qualiton, which I have not heard). These logical separation effects during duets
Name performances are not designed to bowl and ensembles. I encountered a good deal
I you over with heroic displays of virtuoso of distortion and blasting not present on
Addres technique -not that Miss Farnadi is de- the old mono version.
City /State lip code ficient in this respect, but she seems far
more concerned with probing beneath the Continued on page 28
A few words of caution about the new Fisher TX -1000
120-waft control amplifier.
The new TX -1000 control amplifier has 120
watts music power (IHF). It's virtually distortion-
free. And it does make you want to push your speak-
ers to the absolute limit.
But that's no reason to ignore the respon-
sibilities that go with owning it. It's not an excuse
to turn up the volume and blast your neighbors out
of their calm.
And it certainly doesn't give you license to
neglect your family, friends or job just to spend
hours playing with the pushbutton 5- position speak-
er selector, 3- position high filter and pushbutton
loudness contour. Or with any of the myriad jacks,
switches and controls which the amplifier includes.
Maybe the undistorted power output from
22 to 24,000 Hz is worth a demonstration to a few
interested friends. Just to show them what 0.5`/c
maximum harmonic distortion at full output and
less than 0.8% IM distortion sound like.
But you'd better not turn the new Fisher
TX -1000 up more than half way if you care about
public opinion. You might have to listen to a few
words of caution from your neighbors.
Price $349.95 (cabinet $24.95).
The Fisher
FOR MORE INFORMATION, PLUS A FREE COPY OF THE FISHER HANDBOOK 1968, AN AUTHORITATIVE 80 -PAGE REFERENCE GUIDE TO HI-FI AND STEREO, USE COUPON ON MAGAZINE'S FRONT COVER FLAP
FIsHFn1nl'C.fo C . I'M
v ,. l OVE. Sf. .lr.Sfw.I'E TO frsHE...DIO INTF.N.LT,ONI. INC.. LONG ISL *NOCIT,. II V.11101.
CIRCLE' 35 ON READER -SERVICE CARD
JANUARY 1968 27
REPEAT PERFORMANCE yokes a scene or character from ancient anyone interested in extending his knowl-
Greece. Ten of the poems are by that edge of Schubert's Lieder would do well
Continued from page 26 gentle melancholic, Johann Mayrhofer, to investigate this fascinating disc.
who evidently assumed that all Greek Fischer -Dieskau performs at his very
SCHUBERT: Lieder: An die Leier; Phil - heroes of antiquity were actually brood- best: the voice is sheer velvet, and the
octet; Memnon; Fahrt zum Hades; ing German romantics in disguise. No interpretations could hardly be improved
Orpheus; Orest auf Tauris; Der matter, for these poems certainly in- upon. Demus provides splendid accom-
entsiihnte Orest; Fragment aus dem spired Schubert: each song is full of in- paniments and the sound is top- drawer.
Aeschylus; Der zürnende Diana; Lied terest- dramatic, through-composed little Texts are given in English only.
eines Schiffers an die Dioskuren; A us seems, some of which even verge upon
Heliopolis I: Freiwilliges Versinken. the operatic. The free -form structures STRAUSS, RICHARD: Don Juan, Op.
Dietrich Fischer -Dieskau, baritone; and bold harmonic schemes (Orest auf 20; Till Eulenspiegels lustige Streiche,
Jörg Demus, piano. Heliodor H 25062 Tauris, for instance, begins in C minor Op. 28. DUKAS: L'Apprenti sorcier.
or HS 25062, $2.49 [from Deutsche and travels through E flat minor and B BERLIOZ: Ronéo et Juliette: Queen
Grammophon LPM 18715 /SLPM major before ending up in D major) are Mab's Scherzo. NBC Symphony Or-
138715, 1963]. a far cry from the composer's more chestra, Arturo Toscanini, cond. RCA
Here are twelve infrequently met Schu- popular lyric style and may pose some- Victrola VIC 1267, $2.50 (mono only)
bert songs, each set to a text that in- thing of a problem for the listener; but [from various RCA Victor originals,
1950 -52].
Toscanini plays the devil out of these
orchestral showpieces: the precision and
textural clarity, even in recordings of less
than high fidelity, is staggering. Unfortu-
nately, this music could use a touch of
deviltry. Till Eulenspiegel goes about his
pranks with teeth clenched and hardly a
wink, Don Juan seems to have taken a
vow of chastity, and Dukas's little
Scherzo is a positively frightening state-
ment of grim obsession. The chilly, silver
shimmer of Berlioz's Queen Mab comes
through beautifully though, and every-
thing is played with the ultimate in vir-
tuosity. A very special issue, to be ap-
proached warily.
STRAUSS, RICHARD: Der Rosen-
karalier. Maria Reining (s), Sena
Jurinac (s), Hilde Gueden (s), Ludwig
Weber (bs), et al.; Vienna State Opera
Chorus; Vienna Philharmonic Orches-
tra, Erich Kleiber, cond. Richmond RS
64001, $9.96 (four discs, mono only)
[from London A 4404, 1954].
It is the conductor here who conjures the
magic that makes this Rosenka'aller
one of the really great opera recordings
of the past twenty years. From that first
propulsive upsurge of E major through
to the honeyed D flat harmonies of the
delicious final trio, Strauss's score has
never radiated such healthy vitality and
(dare it be said ?) honest sentiment. It
travels a different road altogether from
THE PRO'S PORTABLE the only serious rival, Karajan's heavily
scented, slightly overripe reading on An-
New Tandberg Model 11 gel. Kleiber will have none of this non-
Transistorized Tape Recorder sense, and his bracing view of the score
is translated glowingly, irresistibly by an
Three separate heads, half- or full- track, inspired Vienna Philharmonic.
with Pilotone head optional. Frequency But the conductor is not all. Ludwig
-
response @ 7'/ ips 40.60,000 cps ±2dB; Weber's great black bass suits Ochs to
-
S/N ratio @ 71/2 ips better than 56dB;
perfection: he creates a marvelously
vivid portrait of the brawling, lustful
distortion less than .5 %. Weight 7 lbs.; Baron, and yet manages to give every
dimensions: 13" x 10" x 4 ". Batteries: note full musical value. The limpid
"D" cell or rechargeable; 7" reel capacity. tones and fresh spontaneity of Sena
Servo -type speed control (1 per mil Jurinac's impetuous Octavian are a con-
accuracy); immediate AB Test; built -in mixer stant source of pleasure, and Hilde
and limiter; Cannon plug microphone input; Gueden's Sophie is also very fine. One
has encountered more telling Marschal-
3- speed, DC motor. Price: $599. lins than Maria Reining, here recorded
Now at your Tandberg franchised dealer. near the very end of her career, but she
always engages our sympathies. The
large supporting cast contributes posi-
TaudberO
P O
OF
BOX 171.8 THIRD AVENUE

AMERICA. INC. tively to each flavorsome moment, and
the sound is still remarkably clear, warm,
and full. Richmond has included a com-
PELHAM, NEW YORK 10803 plete German text with translation.
PETER G. DAVIS
CIRCLE 50 ON READER- SERVICE CARD
Sixty pounds
of Fisher sound.
The Fisher XP -9B looks like frequency range into four sections floor model speaker system,
an ordinary bookshelf speaker instead of three, and it isolates the XP -15.
system -until you try to put it on each section from all the others. The result is a bookshelf
an ordinary bookshelf. So the upper mid -range doesn't system with a low -end obviously
That's when you first realize irteract with the lower mid -range too solid to be coming from a
that there's more to the XP -9B than or the soft -dome tweeter. And conventional bookshelf system.
meets the eye. neither mid -range speaker Of course, at a weight of sixty
About 25 pourds more in fact. muddies the bass. You get extra pounds, and a cost of $199.50, the
With its massive speaker weight that way. But you also get Fisher XP-9B is hardly a system
magnets, the XP -9B weighs in at absolutely clean, tight sound designed for conventional people.
60 pounds. For its size (14" x throughout the speaker's range. (For more information, plus a
241/2" x 12" deep) it's one of the (28 Hz to 22,000 Hz.) free copy of the Fisher Handbook
heaviest speakers you can buy. A second important reason for 1968, an authoritative reference
It's also one of the few 4 -way the overall sound (and weight) of guide to hi -fi and stereo, use
bookshelf-sized systems around. the XP -9B is its heavy 12" woofer. coupon on magazine's front
The XP -9B divides the Its the same woofer used in our cover flap).
FISHER RADIO CORPORATION, INC., 11.35 45TH ROAD, LONG ISLAND CITY, N.Y. 11101.
The Fisher
OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITE TO FISHER RADIO INTERNATIONAL, INC., LONG ISLAND CITY, N.Y. 11101.

JANUARY 1968 29
HGH O r
NEWSIIIEWS
Cutaway view of Nippon Gakki's new

Yahama speaker system shows ear -shaped
woofer and conventional treble drivers. At
left, the OTTO system by Sanyo, installed
in striking pedestal cabinet. Above, a visi-
tor auditions one of Teac's latest tape decks.
Among the more than fifty exhibitors one could

TOKYO'S HI -FI SHOW count all of Japan's specialized component manufactur-
ers, practically all of the big- and medium -size con-
sumer electronics firms, and some record companies.
The All-Japan Audio Fair held in Tokyo last October Several trends -not unlike those evident in the U.S.A.
might just as well have been called "All-Japanese." -could be observed at this show. First, there was an
There was no publicity whatsoever in the English - attempt to reunite the separate components into music
language press, and those Americans who made it to systems, integrated in design and styling. Second, many
the Scientific Technique Hall had to depend entirely manufacturers were obviously trying to find new de-
on their high fidelity know-how to find out what was sign solutions for their front panels. Third, there was
new and what was old. There were no English- speaking
a huge variety of cassette recorders and eight -track
attendants around, no English literature. Of course, it tape cartridge players.
might be difficult to find Japanese literature at Ameri- Hardly a firm showed up without at least one pack-
can high fidelity shows too. aged unit-usually a receiver placed alongside or
At any rate, the exhibition reminded an American beneath a semi -automatic or automatic turntable. Sev-
observer of what our shows were like ten years eral firms had mounted their compacts on specially
ago. Although the equipment displayed was similar designed stands, a concession to the lack of furniture
to ours of today, little effort was made to educate common in most Japanese homes, but some of which
the visitors, the place was noisy, there were no would enhance a Western home as well. In most in-
demonstrations or even diagrams, no women were in stances, matching speakers were part of the package
evidence-and admission was free. The ground floor deal. Another solution to reintegration was the three-
of the Scientific Technique Hall, serving as the exhibit piece console. Here all the electronics and mechanics
area, was all products-a look-see and play- louder -than- are packed into the middle section of the consoles:
anybody-else affair. turntable on top, receiver in the center, and tape
Only in the basement auditorium did the leading recorder at the bottom. This section is flanked by
manufacturers demonstrate their top music systems. a pair of speaker systems, matching the center section
They also sponsored lectures on such topics as "Prob- in dimensions and styling. If a wider spread of sound
lems of Records and Record Players" and "The Theory is desired for stereo the speakers can be placed separately
of the Horn Speaker." In addition, concerts of electronic
music and of amateur tape recordings were given. Continued on page 32
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STATE_

JANUARY 1968 31
NEWS & VIEWS
Continued from page 30
anywhere in the rcom. Other manufacturers simply
EQUIPMENTmaRNEWS
maintained the separate components but styled them
uniformly so that when they are placed next to each
other they appear as one matched music system.
In addition to many products familiar to American
buyers -such as those of Akai (Roberts), Sony, Teac,
Trio (Kenwood), Sansui -there were some new both
to the Japanese and (in some instances) to us. For
instance, Nippon Gakki Co., Ltd., better known under
their Yahama brand name, demonstrated a new type
of speaker called the "Yahama Natural Sound Speaker."
It radiates sound by the variable flexing motion of an
ear -shaped diaphragm, in contrast to the piston motion
of a conventional cone speaker. The manufacturer
admits that the speaker is still a little short of satisfac-
tory in the treble range so that a tweeter has to be
added to achieve adequate high frequency reproduction.
Another novelty was the Sanyo "Perfect Sound Sys-
tern." Mounted on a single column it contained a
receiver, a tape deck, an eight -track cartridge playback
system, a Philips cassette recorder, a turntable, and
a host of control features. Incidentally, Sanyo calls
all its higher -quality sound gear OTTO (for Orthophonic CASSETTE ADDED TO RADIO
Transistorized Technical Operation). There were many
baby OTTOs and the above -described Super OTTO. Norelco has combined its tape cassette player with a
A few new items came from those Japanese firms portable AM -FM radio. Dubbed Model L573 and list -
better known in America. The Sony Model 6060 stereo priced at $120, the combination unit serves both as
receiver has its controls hidden behind a fold -down a personal portable receiver and a playback device for
cover. Whereas the domestic model has a power rating recorded snap -in tape cartridges. The set measures
of 40 watts music power per channel, the U.S.A. version 6 5/8 by 10 3/5 by 3 inches, and runs on five D cells.
will have 10 watts per channel more. Sony's compact In addition to built -in AM and FM antennas, there's
ST 80 tuner and Sansui's 888 tuner both feature a connector for using the set with a car antenna.
circular dials. The latter contains no less than five
integrated circuits. Trio /Kenwood introduced its Su- CIRCLE 146 ON READER -SERVICE CARD
preme series of components to Japan, as it did to
the United States during New York's show. But
whereas the U.S. saw only the Supreme 1 amplifier,
with built -in electronic crossovers, Tokyo got a look
at the Supreme 10. This is a stereo FM tuner that
features preset tuning for five stations, and an oscil-
loscope tuning indicator. Sensitivity is given as 1µv. It
is expected to be made available here later this year.
PHILADELPHIA SHOW NEXT MONTH

DATES OF THE Philadelphia High Fidelity Music Show
have been set for February 16, 17, and 18, at the Ben-
jamin Franklin Hotel, according to show director Teresa
S. Rogers. The last show here, in February 1966, was
attended by more than 17,000. Philadelphia, on a per
capita basis, is said to be one of the world's leading
high fidelity markets. The coming show, which Mrs.
Rogers characterizes as "the largest ever held in the
Pennsylvania-New Jersey-Delaware area," will occupy
several floors in the hotel and will feature many live
demonstrations "showing fans how to get the maximum EMI ROUNDS OUT SPEAKER LINE
benefit and pleasure from . . . equipment."
New addition to the EMI compact speaker line is the
DLS 629 which is offered as a successor to the older
529. The new model is rated for 8 ohms (instead of 4)
SCHWANN OFFERS BASIC LIBRARY LIST
and uses an elliptical shaped woofer with larger magnet
and voice -coil gap than in the 529. Highs are handled
SCHWANN, INC., publisher of the monthly Long Playing
by a pair of 31 -inch tweeters. A three -position switch
Record Catalog and related supplements, has released
permits adjusting the speaker's response and the re-
a 16-page pamphlet listing its recommendations for "A
movable front grille permits selecting cloth for decor
Basic Record Library," in which hundreds of compo-
purposes. EMI speakers now are marketed by Ben-
sitions are grouped by period, from medieval to modern.
jamin Electronic Sound Corp. The Model 629 is
The new publication will be sent free on receipt of a
priced at $164.50.
self-addressed, five -cent stamped envelope mailed to
Schwann, Inc., 137 Newbury St., Boston, Mass. 02116. CIRCLE 141 ON READER -SERVICE CARD
It also is available in quantity to libraries and schools
at $2.00 per one hundred copies, plus postage. Continued on page 34
Pioneer built c9ntegitata
for Audiophiles and Music Lovers
because
Audiophiles and Music Lovers built Pioneer
The Integrated Systems concept is the latest and most ad- Or the IS -80 may be coupled with the new IS -31, a com-
vanced development towards the faithful reproduction of plete combination AM -FM stereophonic tuner, turntable,
sound. It is the result of the creative engineering and ad- and preamplifier housed in a handsome cabinet. Its
vanced technology of Pioneer Electronics Corp., one of the striking design makes it adaptable to any room and elim-
world's largest manufacturers of audio components. inates any problems of installation.
The heart of Pioneer's Integrated Systems concept is the The technology and design of these concepts are pio-
new IS -80, a component in which two power amplifiers neering the future of new areas of high fidelity. As Webster
combined with an electronic crossover are totally inte-
grated with three speakers in each channel of a stereo
defines it ...
to pioneer is to open or prepare the way
for others to follow.
system. The electronics are specifically designed to the
speakers' requirements -wide frequency range, linearity, Advance your present system or establish your musical
and extremely low distortion over a wide dynamic range. reproduction foundation with tomorrow's equipment today!
Be sure to hear Pioneer's Integrated Systems at a Pioneer
The integration of these elements produces, for the first
time, distortion -free sound and an unbelievable clarity. franchised dealer in your area. Pioneer Integrated Systems
are available in combinations from $1,125 up.
But the Integrated Systems concept extends even beyond
this superior approach to sound reproduction. Write for more data and an invitation to one of our
demonstrations of this unique concept. We are sched-
The IS -80 Integrated System may be coupled with Pioneer's uling nationwide demonstrations now, to be made in con-
SC -100 preamplifier, a distinguished instrument for the conjunction with franchised dealers and factory personnel.
trol and preamplification of any program source of music. Mail the coupon below.
PIONEER ELECTRONICS U.S.A. CORP.

140 Smith St., Farmingdale, Long Island, New York, 11735
PIONEER ELECTRONICS U.S.A. CORPORATION
Dear Sirs:
140 Smith St, Farmingdale, Long Island, N. Y. 11735 (516) 694-7720 I am interested in hearing a demonstration of the Integrated Sys-
tems and would appreciate receiving an invitation when demonstra-
tions will be in my area.
Please send me literature.
Name
Address
Manufacturers of Quality Audio Components Receivers City /State lip Code -
Turntables Speaker Systems Loudspeakers Headsets My HiFi dealer is
A mark of Pioneer Electronics

L -,
U.S.A. Corp.- Registration Applied For.
JANUARY 1968 33
EQUIPMENT IN THE NEWS
,Continued from page 32
NEW LAFAYETTE RECEIVER

From Lafayette Radio comes word of its LR -500T, an
AM and stereo FM receiver which uses integrated cir-
cuits. FM sensitivity is stated to be 1.8 microvolts. Am-
plifier power output is rated for 25 watts per channel
(IHF music power) into an 8-ohm load. A full array
of controls is provided, plus front and rear tape re-
corder feed jacks. The set comes in a metal enclosure
covered with vinyl in simulated walnut wood -grain.
Price is $179.95.
MARANTZ ENTERS RECEIVER MARKET
Shown here is the first picture of Marantz's first receiver
-or indeed the first integrated unit of any type -from
a company known hitherto exclusively for state-of -the-
art separates. According to company president Saul B.
Marantz, the availability of rugged solid -state devices
now permits the firm to "design and manufacture an
integrated receiver which maintains our integrity and is
consistent with Marantz's reputation for perfection."
The Model 18 is rated for 2.5 microvolts FM sensitivity,
and its amplifier section is said to provide 40 watts
continuous (RMS) power per channel. Unique features
include a built -in oscilloscope as a tuning aid, an enor-
mous tuning flywheel that protrudes through the front
panel, and an electronically passive front end (non - CONCORD ANNOUNCES 8 -TRACK DECK
amplifying of RF energy) designed to eliminate signal
overloading. The Marantz 18 is priced at $595. An eight-track (stereo back and forth twice) tape car-
tridge playback deck, the CP -250, is being marketed
CIRCLE 142 ON READER -SERVICE CARD by Concord. The unit may be plugged into any external
sound system to be heard, and thus offers the conven-
ience of interchanging stereo cartridges from home and
car. Program lights indicate which pair of stereo tracks
is being played. Tracks run automatically in sequence
unless you change to the next pair by using the selector
button. The solid -state CP -250 is priced at "under $100."
SHERWOOD UPGRADES RECEIVER

VIKING ADDS DECK
Sherwood's Model S- 7600 -FET receiver (AM and stereo
Viking has added the Model 433 deck to its line of FM ) boasts a newly designed FM detector and uses
open -reel stereo recorders. The numbers designate four field- effect transistors in its RF and mixer stages. Rated
tracks (quarter -track stereo or mono), three motors IHF sensitivity is 1.8 microvolts. The amplifier portion
(for reels and capstan drive), and three heads (erase, is said to deliver 80 watts of music power to two pairs
record, playback). A stereo headphone jack permits of 8 -ohm speakers. Input sensitivity for the phono jacks
direct monitoring from the tape while recording. The is adjustable from 1.4 to 10 millivolts to match a wide
deck also features built -in mixing, an echo switch, mul- range of disc pickups. A full complement of controls is
tiple sound capability, automatic shut -off, and a pause included. The set is priced at $339.50 for the chassis
control. A walnut base and remote control are optional version or $348.50 in a walnut -grained leatherette case.
extras. Price of the 433 is "under $370." A walnut-wood case costs $28.00.
CIRCLE 143 ON READER -SERVICE CARD CIRCLE 147 ON READER -SERVICE CARD
Scott
components
in a cOmpact
stereo
system? (THERE'S A SOUND REFSON.)
There are plenty of "stereos" on the market, but only a Scott component stereo music
system gives you the true Scott sound. Here, in one neat package, is a best- selling Scott stereo
receiver and a professional automatic turntable with magnetic cartridge and diamond stylus.
Flanked by a pair of Scott Controlled Impedance speakers, this complete system turns out the
kind of sound that's made Scott the byword among audio
professionals. You get separate Bass, Treble, and Volume
controls for each channel, plus an accurate tuning meter, and
connections for microphone, guitar, earphones, extra speakers,
tape recorder, and tape
cartridge player. Scott
makes a whole range of
compact stereo music
systems, in AM /FM,
FM stereo, or phono
models. Prices run from
$249.95 to $469.95. See
them all at your Scott
dealer. (Model 2504, FM
stereo system shown.
Price $299.95.)
Scott where innovation is a tradition
D SCOTT
: : i.Ïi fi I it iti
6/copyright 1967. H.H. Scott, Inc.
H.H. Scott, Inc , Dept. 226 -01, 111 Powdermill Road, Maynard, Mass. 01754, Export: Scott International, Maynard, Mass.
JANUARY 1968 35
LOOKING FOR by Norman Eisenberg
ABSOLUTE
PERFECTION ?
You may never find it, but

it's unlikely that you will
ever come closer than with
the
VTR'
TOPICS Innovations
On the Threshold
UHER But Not Past the Door
9000
.-
IL
07
Am.
TAPE
DECK re-!
by -41! Two RECENT "firsts" in tape don't seem to be getting much in the way
marteL of seconding. One is the Newell process, discussed here in August 1967;
the other is a new Du Pont tape -which we'll talk about now. Du Pont
has developed a magnetic tape coating using chromium dioxide instead
FAULTLESS REPRODUCTION AND PERFORM- of iron oxide, and named it Crolyn. The new tape, which may cost about
ANCE CAN ONLY BE HAD THROUGH SUCH
fifty per cent more than corresponding widths and lengths of other tapes
METICULOUS ENGINEERING AND MANUFAC-
TURING PROCEDURES AS THOSE FOLLOWED now on the market, is claimed to offer up to one hundred per cent higher
BY UHER IN A FACTORY DEVOTED EXCLU- performance, in the sense that it has double the properties, or character-
SIVELY TO TAPE RECORDER PRODUCTION
istics, in any given area. For instance, it can permit a tape equipment
THE UHER 9000 HAS ALL THE FEATURES
NORMALLY INCLUDED IN THE MOST
manufacturer to design for equivalent performance at slower speeds, or
SOPHISTICATED TAPE DECKS, PLUS MANY for higher performance at the same speed. Or it can result in as much
EXCLUSIVE UHER FEATURES UNOBTAINABLE
as 20 dB improvement in signal -to -noise ratios, or increased bandwidths.
ELSEWHERE.
By way of demonstrating its new product's possibilities, Du Pont
IF TAPE RECORDING IS A SERIOUS THING
TO YOU, YOUR TOTAL ANSWER IS THE recently ran an instrumentation recorder -a wide -band machine that can
UHER 9000. store dozens of broadcasts on one tape-first with standard instrumenta-
tion tape, then with Crolyn. In the latter case the same machine per-
EQUALLY FINE IN CONSTRUCTION, AND AT
THE VERY TOP IN ITS FIELD OF APPLICA
formed with significantly better s/n characteristics.
TION IS THE More to our immediate interest, the Crolyn was then used for video
®-;
work: Du Pont's people cut the speed on a Sony VTR in half, and got
I.l1HER,-
- pictures as good as those taped at the original speed. So there stands
4000-L
.', Crolyn's presumable challenge for video taping: acceptable pictures at
half the present speeds and thus twiee the playing time per reel, or better
pictures at existing speeds.
So far, the challenge has gone virtually ignored. Sony, judging from
off -the-cuff remarks, couldn't care less. Ampex just doesn't expect Crolyn
FULLY PORTABLE BATTERY OR AC OPER-
ATED TAPE RECORDER. IT PERFORMS WITH-
to make much inroad, saying that its high cost and the problems of
OUT REGARD FOR TIME OR PLACE, AND IN overhauling existing tape equipment would militate against it. Du Pont
ITS LEATHER CARRYING CASE IS READY TO
GO ANYWHERE.
itself doesn't see video as Crolyn's main area; actually it is third on their
THE UHER 4000 -L IS THE FIRST CHOICE
list of applications: computers, instrumentation, video, and audio.
OF REPORTERS, NATURALISTS, EXPLORERS, As for the Newell project, there's nothing new to report. The initial
AND BUSY EXECUTIVES THE WHOLE WORLD reaction among tape companies was one of "we need more info before
OVER. FAITHFULLY RECORDING WHATEVER
YOU HEAR WHEREVER YOU ARE, THE UHER
we can make up our minds." Subsequent feeling apparently remains
4000 -L WILL BECOME YOUR CONSTANT about the same generally, although Ampex has made what -in the context
COMPANION.
of nobody- wants -to commit -himself-seems a fairly definite statement:
TO LEARN MORE ABOUT THESE PROMINENT
MEMBERS OF THE FIRST FAMILY OF TAPE
there is now no interest in the Newell system for video tape; the problems
RECORDERS, SEE YOUR UHER DEALER. OR outweigh the tape's performance. Nor is there any interest in it for
YOU MAY USE THE COUPON TO OBTAIN
computers, although there may be some interest in it for instrumentation
COMPLETE INFORMATION.
SOLI U S. IMPORTERS work and for consumer audio. For the latter, however, some Ampex
people question the values obtained vis -à-vis the problems of a major
41151* marteL
ELECTRONICS
changeover. Anyway, they will "continue to examine it."
So much for miracles this month, except that we are still intrigued
l by the (unlikely) likelihood of combining Crolyn with the Newell format
2339 SOUTH COTNER AVENUE.
LOS ANGELES. CALIFORNIA 90064 to record tapes using the Dolby noise reduction process which then
NEw VONK 1199 SNOAOWAV
CHICAGO. 5415 NO LINCOLN
MARTEL ELECTRONICS, Inc.

2339 So. Cotner Ave.,
Los Angeles, Calif., 90064.
HF -1
would be duplicated with Ampex's EX -Plus technique. Surely, this tech-
nological combination would produce a level of superior performance
in audio and video-that we get today only by using the costliest gear,
-
Please send me at once literature on the entire
Martel product line. or maybe we don't get at all. I mean, how do you know how good (or
bad) something is unless you try it? Or does this presume a degree of
scientific togetherness that is being delayed by commercial apartheid?
Maybe we should turn the whole mess over to a committee made up of
ZIP
C. P. Snow, Parkinson, and Marshall McLuhan.
Scott
çomponents
in a stereo
console? (THERE
5A
SOUND REASON)
The only way to achieve truly

professional stereo perform-
ance is through the use of
separate components. And
beneath the hand -rubbed lid
of this superb cabinet is a
powerful Scott component ...
an AM /FM stereo receiver
... with all the control fea-
tures and performance you'd
expect from Scott's finest
stereo systems. The massive
cabinetry, rigidly braced, has been
designed specially for magnificent sound
reproduction. Scott's patented Isomount® suspen-
sion system and Controlled Impedance speakers give
you two more full octaves of deepest undistorted bass than you'll
find in any other console. AM, FM, FM stereo, professional automatic
turntable, and optional stereo tape recorder ... they're all here, plus
provisions for attaching extra speakers, microphone, guitar, stereo
earphones, electric organ ... even the audio portion of your TV Scott !
consoles come in a wide range of styles and hand- rubbed finishes to

match your decor, and are priced from $499 to $2195.
Write for your free copy of Scott's 1968 console guide .
Scott ...where Innovation isa tradition
0 SCOTT
© copyright 1967, H.H. Scott, Inc.
H.H. Scott, Inc., Dcpt. 226 -01, 111 Powdermill Road, Maynard, Mass. 01754, Export: Scott International, Maynard, Mass.
For your free copy of Scott's 1968 console guide, circle Reader Service Number 42.
i MIR . i_ iii _l i 1 .
The record producers at work: above, RCA Victor's

Richard Mohr talks with Aida stars Jon Vickers
and Leontyne Price; at right, top, John McClure
(in coat and tie) at a Columbia session with en-
gineer Fred Plaut and (standing) Leonard Bern-
stein; at right, bottom, Kinloch Anderson (with
glasses) and Sir John Barbirolli collaborate on
Madama Butterfly for Angel; below, Walter Legge,
long of EMI, smokes and listens to playbacks of
Don Giovanni with maestro Carlo Maria Giulini
(wearing sweater) and baritone Eberhard Wächter.

significantly, no thunder and rain effects- Verdi's played straight man and seemed to be enjoying him-
music is graphic enough), and an eight -minute organ self as much as Perlman. Actually, the levity provided
pedal (prerecorded on the organ at the Liverpool a necessary release from the tension one felt as soon
Cathedral). A more static, but still extremely in- as the recording light flashed on.
volved Culshaw operation was the Britten War Columbia's John McClure generally likes to run
Requiem, a work whose physical layout (orchestra, things with a light touch when he can -a snappy
chorus with soprano soloist, boys choir, chamber Bernstein, McClure recording session is always rich
ensemble, and tenor and baritone soloists) conies in entertainment value, although the steady stream
across with startling spatial depth and direction in of wisecracks belies the amount of hard work ac-
the London recording. Culshaw is now with the BBC complished by these collaborators. Like most con -
exploring the potential of music and video tape; his ductor, producer teams, these two have been working
work in this intriguing new field will be followed together for years. Orchestral players catch some of
with great interest. the rapport between podium and recording staff too:
bringing the orchestra into immediate contact with
session problems often means the difference between
PLOTING THE AVERAGE orchestral, chamber, Or SOLO a merely dull, workmanlike performance and lively,
recording session does not pose the technical prob- responsive playing. The fresh spontaneity that in-
lems of large -scale opera and choral projects, but for forms Colin Davis' Messiah recording for Philips
these smaller sessions the producer must especially may well be in large part due to producer Harold
concentrate on establishing a smooth working part- Lawrence's conscious attempt to create just such a
nership with his solo artist or conductor. No matter sense of participation. "The orchestra often feels left
how talented and experienced a performer may be, out at a recording session, especially if the producer
the session could degenerate into total disaster if the and conductor are constantly deliberating via their
producer were for one minute either insensitive to his private intercom telephone. I tried to avoid this
artist's emotional and temperamental make-up or out whenever possible, and communications between con-
of sympathy with his musical approach. He must be trol booth and auditorium were carried out through
able to sense the exact moment when the artist is a general loudspeaker system. This way I could
ready to record; he must know when to call a break talk directly to the musicians and draw them right
for rest and reappraisal of what has already been into the operation. Many of them would even listen
committed to tape. Some artists need very little to playback during their rest breaks and offer lots
guidance -they seem to be as relaxed as if they were of useful suggestions."
playing in their own living rooms. Daniel Barenboim It is during those tense hours of actual recording
is one of these cool customers and he flourishes in that the producer's capacity for obtaining the opti-
a tense recording atmosphere. Peter Serkin, on the
other hand, must be treated with extreme delicacy -
or so one has been told, for he never permits auditors
mum is most dramatically tested. The creative aspects
of his craft are not confined to the studio, however.
Some of the phonograph's finest accomplishments
during his sessions. have often been born from one producer's conviction
In most cases an artist new to recording requires that in spite of all economic and artistic hazards
special handling: when young Tchaikovsky Competi- certain projects simply must be carried out.
tion winner Misha Dichter made his first solo recital One thinks immediately of Walter Legge's many
album for RCA Victor, he understandably approached achievements over the past forty years, from last
the task with an intense concern to do his very best. year's documentation of Gerald Moore's Farewell
The producer's first duty under such conditions is Concert back to such historic sets of the Thirties as
obviously to smooth the newcomer's way as com- the complete Beethoven Sonatas with Schnabel and
fortably as possible, and Richard Mohr's firm, sym- the famous Glyndebourne Mozart opera recordings.
pathetic leadership was the perfect answer to Dichtei s The fact that the latter have once again become best
anxiousness. The session proceeded slowly, for the sellers in their most recent LP reincarnation testifies
pianist wanted to make sure he had his interpretation to Legge's artistic as well as commercial perspicuity.
down perfectly before the tape recorders started to London, Decca's Ring cycle is the kind of project
roll; Mohr often let him continue to practice for as that will surely be regarded as a touchstone years
much as twenty minutes at a stretch rather than rush from now; but without the imaginative leadership of
him into a premature and perhaps psychologically John Culshaw it is doubtful that this ambitious enter-
damaging take. During playback the two discussed prise would even have materialized. And Columbia's
problems and possible solutions, Dichter obviously admirable Stravinsky and Schoenberg series are very
counting a good deal on Mohr's experience and much to the credit of John McClure, whose convic-
knowledge. tion of the historic and musical worth of these under-
Itzhak Perlman presented quite another picture at takings is in large part responsible for their very exist-
his first RCA solo recording. This ebullient young ence. As continuing refinements in sound reproduc-
violinist seemed not at all intimidated by the micro- tion and the exciting possibilities of video tape open
phones, amusing himself with a constant flow of jokes new avenues of investigation, the future of the phono-
and shenanigans and puffing all the while on an im- graph as a medium of artistic expression will depend
mense cigar. Producer Max Wilcox contentedly upon men of equal resource, stature, and vision.
JANUARY 1968 43
WHO WILL SUCCEED MAHLER AND NIELSEN IN THE REVIVAL SWEEPSTAKES?
IT COULD BE A DARK HORSE NAMED KALKBRENNER, OR RAFF, OR SZYMANOWSKA.
THE DISREPUTABLE
ROMANTICS FRANK COOPER BY
4X HIGH FIDELITY MAGAZINE
ANOTHER Eroica . . . another Pathétique . . .
another New World? The phonophile with his
well-thumbed Schwann will hardly raise a jaded
eyebrow. More Monteverdi ... more Telemann
. . . more Vivaldi? This repertoire too has acquired
its fashion. Among the mighty moguls of the

music industry (and I include performers as well
as recording executives) there seems to be a
Standard Masters syndrome, tempered only by a
talent for resuscitating the predecessors of Johann
Sebastian Bach.
This isn't quite true, of course -certainly we owe
to records our present awareness of Nielsen, of
Ives, of Mahler -but there's still a vast trove of
music ready for rifling and thus far almost wholly
ignored. I refer to the Romantic Era -that truly
nonconformist age in which mannerisms were culti-
vated, distinctiveness glorified, individual genius
deified. Artists flourished in simply staggering
numbers. Yet how many people today recognize
even the names of Raff, Lindpaintner, Stamaty,
Moscheles, Pixis, Henselt, Volkmann, Marschner,
Brüll, Dreyschock, Potter, Blumenfeld, Bennett,
Cramer, Fétis . . .? The music of these men and
many more like them once resounded across Europe
to full houses and vast applause. Could it not afford
us some pleasure now?
CONSIDER Anselm Hüttenbrenner, composer of six

Masses, three Requiems, six symphonies, four op-
eras, and more than two hundred songs. Hütten-
brenner was Schubert's close friend -for forty -two
years he owned the manuscript of the Unfinished
Symphony without telling anyone he had it. More
interestingly, he was the man in whose arms Bee-
thoven died. "I closed the eyes of the departed,
kissed them, then his forehead, mouth, and hands,"
he wrote Thayer. Do these facts not arouse any-
one's curiosity to hear the Requiem in C minor,
which was performed in Graz after the deaths of
Beethoven, Salieri, and Emperor Francis I, and in
Vienna after Schubert died? Given a good stereo
recording of that once celebrated work, Hütten-
brenner, I'm sure, could live again.
So too, I think, could the colorful Félicien David,
whose clothes of "utopian light blue" and whose
shoulder-length hair were once as provocative of
comment as his music. Grove's describes David as
an "initiator" without whom "such dramatic works
of Oriental characteristics as Reyer's La Statue,
Bizet's Djannileh, Gounod's Reine de Saba, Delibes's
Lakmé, Verdi's Aida, etc., might not have been
what they are." I expect that we would need to
hear only David's picturesque ode -symphony The
Desert, which evokes a caravan's adventures in the
moody grandeur of a sand -filled horizon. This in-
triguing work embodies impressions David garnered
during a three -year trek from Constantinople across
the Holy Land to Egypt and combines vocal and
orchestral movements with sections of dramatic reci-
tation-hardly ordinary by any standards. Berlioz
might have called it a "melologue." In any case,
JANUARY 1968 49
The Desert is an impressive and highly remarkable certo for Piano, Male Chorus, and Orchestra, re-
example of musical description. The vast monotony putedly the world's longest and most difficult con-
of the desert (a repeated C in the introduction), the certo. This awesome work, in fact, will soon be
prayer of fanatic devotion to Allah, the battle scene, readily available for the hearing: John Ogdon's re-
women's dance, and muezzin's chant render genuine cording with the Royal Philharmonic under Daniell
local color better than the music of almost any other Revenaugh will be brought out by Angel early this
nineteenth -century French composer. David's Arabs year. If the album sells well, it could mark the
are Arabs, not Frenchmen in disguise, and they beginning of a new adventuresomeness among
would offer modern stereo no small challenge. a & r men.
Or take the really obscure Roch Albert, whose Imagine the stimulus to our record listening could
The Destruction of Pompeii is replete with storms, we hear Hummel's Grand Mass in E flat, Spohr's
crashes, prayers, bacchanalian dances, oracles, sumptuous oratorio The Last Judgment, Clementi s
effects of utter darkness, and a blaze of fireworks Five Motets, or Bruch's Odysseus. This last prompted
at the end. If only as curiosa, this exotic tone Tovey to write, "Bruch's greatest mastery lies in
picture might enjoy a vogue today -given a chance the treatment of chorus and orchestra; and I have
to be heard. not the slightest doubt that a revival of his Odysseus
And a chance is all the slightly less spectacular . . . would make a fresh and stirring impression
Marie Szymanowska and Frederic Kalkbrenner on any audience that will listen naïvely to beautiful
would need-say, a recording by some enterprising music for music's sake." Think of the fascination
pianist of the lady's Etudes, Fantasy, or Mazurkas, of a first exposure to Taneyev's birthday gift for
or the gentleman's darkly dramatic Concerto in Tchaikovsky, a contrapuntal treatment of ballet
D minor. Goethe called Marie Szymanowska "in- themes . . or to Offenbach's only ballet, Papillons,
.
credible" and fell "furiously in love" with her. She which Marie Taglioni choreographed for young
inspired adulation from one side of Europe to the Emma Livry (who caught fire onstage and burned
other. Young Chopin heard her play and studied to death). Consider experiencing the old -world
her compositions. He even appropriated certain of elegance of piano concertos by Arensky, Pabst,
her thematic and technical ideas into his own Moszkowski, D'Albert, Sauer, the Scharwenka
Mazurkas, Waltzes, and Impromptus. And it was to
Kalkbrenner that the twenty- two -year -old Chopin
already with two concertos and the Etudes, Op. 10
- brothers. Fancy a chance to relish such a neglected
work for violin and orchestra as Joachini's legendary
Hungarian Concerto, a monument of technical diffi-
under his belt -went for advice about his musician- culty and originality.
ship. Kalkbrenner, a shrewd and fashionable com- Opera lovers chewing their nails for the treat of
poser, thereupon astounded the young genius by any complete work by Meyerbeer ought also to
proposing three years of study under his guidance think of other historically important stage works so
as necessary "to become a good artist." Chopin ill- deserving their present oblivion. Romantic opera
took no lessons, but did avail himself of a few starts with a man whose passionate admirers dubbed
devices from the works of his would -be mentor (such him the "Molière of music," André Grétry. Influ-
as the left -hand cadential trill we all think of as ential men of his day admired his witty, brilliant
Chopin's own, and the scheme for a set of twenty - conversations -as well as his operas. Grétry's in-
four independent Preludes). Like Bach and Handel, nate understanding of the right proportions among
he knew better than to bypass good material when the separate elements of an opera, his power of
it was there for the taking. connecting and evolving scenes, his faithful inter-
pretation of words -all this is demonstrated in his
masterpiece, Richard the Lion -Hearted. As touched -
up by Adolphe Adam, Grétry's Richard, I suspect.
SLYSIANOwstiA AND Kalkbrenner were sources for could hold its own against many of the "standards"
Chopin, as Dussek was for Schumann and Brahms we know too well. So too could Marschner's Byron -
or Clementi for Beethoven. Recordings of such inspired The Vampire. And anyone who searched
"origins" will one day unravel for us what might out Brüll's The Golden Cross, Rubinstein's Nero.
be termed, for want of an apter phrase, musical Moses, or Paradise Lost, Spohr's The Crusaders
etymologies. Without thoroughgoing, almost archeo- would find his curiosity well repaid; these are works
logical, investigations into such matters our knowl- of ambitious stamp and authentic grandeur (each
edge of the Romantics must be faulty, marred by in different ways, of course). They represent but
gaping lacunae. But the condition is curable. a portion of the enormous and diverse material
For example, persons who delight in Beethoven's asking for rediscovery.
Choral Fantasy should enjoy the Concerto for Piano, What will it take to make a resurgence of the
Chorus, and Orchestra by that zany charlatan Daniel Romantics possible? Primarily, a public demand
Steibelt, arch -salesman of pianistic storms and cart - for the forgotten treasure of the nineteenth cen-
loads of tambourines; or they might try a work for tury -and a public willingness to support whatever
the same forces, The Times of Day, by Joachim commercial ventures are made into the unknown
Raff (Liszt's onetime assistant at orchestration, a territory. The result could be a musical field day.
really gifted melodist who built his themes with Those who abandoned themselves to it would surely
great care). Surpassing both these is Busoni's Con- have a marvelous time.
STEREO BOOKSHELF
Same recommended new titles for the bibliophile-audiophile
BY NORMAN EISENBERG
why audio books can't he Hi-Fi Troubles by Herman Bur-

IS THERE ANY reason
written in high style? G.A. Briggs has been doing it HI-FI Troubles stein (Gernsback paperback, 160
ever since high fidelity first emerged from the ex- ...how you pages, $3.95). Subtitled "How
clusive domain of engineers and began to be cul- can avoid them you can avoid them . . . how
tivated by the cultivated. Consider his temerity in ...how you you can cure them," this book
opening a chapter on distortion in his classic Sound can cure them is very much at the top of
Reproduction with a quotation from Milton: ". . . the pile of how- to-do -it- yourself
dire was the noise of conflict." Or recall his wit in manuals. In fact, it comes as
replying to a letter from a man who asked why 034
close as any we've read to ac-
"the body was missing" from the sound when he complishing the difficult task of
put a back on his home -made speaker enclosure. explaining technical problems in a nontechnical way,
and why the speaker sounded better when he took and doing so accurately and even interestingly. Sub-
the hack off again. Briggs wrote: ". . . when you jects covered include trouble -shooting, tools and their
leave off the back . . . you obtain . . . reflection use, and various representative performance prob-
from the wall . . . use the system which sounds lems -with especially good sections on hum and
best, even if contrary to every textbook. In any case, noise. Although the author's failure to handle solid -
as the body has disappeared, there would not be state equipment specifically may be a weakness, the
much point in screwing down the lid of the coffin." procedures given for general fault- finding are valid
Nobody else writes them with quite that flair, but for all types of equipment.
they're still writing readable and informative tracts.
Since our last survey of audio books (December
1964), we've noted some new works, as well as a
i Troubleshooting Audio Equip-
ment by Mannie Horowitz (Sams
few revised editions of older volumes, that merit the paperback, 160 pages, $3.25).
attention of technically minded readers. Audio Equipment This volume can be regarded as
a more advanced companion -
piece to the Burstein book. It
Your Future in the High Fidelity goes more deeply into equip-
Industry by Bernard Newman ment maintenance, and it cov-
(Richards Rosen Press, cloth - ers transistor circuits to a fair
hound, 128 pages, $4.00). No degree. While the emphasis is
book more clearly suggests the on amplifiers, there is one chapter on tape recorders
coming of age of high fidelity and another on stereo systems generally. Horowitz
as a business and professional is a professional engineer and he writes frankly for
field with its own ground rules, the practicing technician or the very advanced hobby-
traditions, and requirements than ist who knows his way around test equipment.
this first attempt to treat it on
an institutionalized level. Certainly, to judge from
inquiries received at our office, there are now a sig-
i How To Build Speaker Enclo-
nificant number of young people aspiring to careers Speaker sures by Alexis Badmaieff and
in audio. Newman's study should answer many of Don Davis (Sams paperback,
Enclosures
their questions as to education and training needed, 144 pages, illustrated, $3.25) .
types of work (engineering, sales, etc.) available, and More than merely a guide to
salaries for beginners. These chapters are sand- cutting and slapping boards to-
wiched between a section recounting the history of gether, this book explains much
high fidelity and appendixes listing schools, compa- of the design theory behind
nies (briefly described), periodicals, and books. The speaker enclosures so that one
text is marred by an occasional misspelling of proper gets some insight into the why
names, and the company list is far from complete. as well as the how of the subject. Although the
But the work represents an important beginning and authors are two Altec Lansing men, their work is
could prove helpful to many newcomers. by no means a plug for A -L products or any pet
JANUARY 1968
theories. Types of enclosures made by other firms Hi Fi and Stereo by Richard
are discussed, and are included among the illustra- }i4HAND Roberts (Collier Books paper-
tions. The emphasis, however, clearly is on large- or r:Á1"(1 back, 181 pages, illustrated,
"full" -size systems which follow the classic acoustic $1.95) . About this one we have
designs of bass reflex, infinite baffle, and horn load- mixed feelings. As an attempt
ing. (While this emphasis may lead some readers to to present an over -all picture of
feel that compact systems, particularly air -suspension stereo componentry, the book
types, have been slighted, such systems, after all, do gets an "A" for effort and organ-
not belong in the realm of do -it-yourself.) In addi- ization -but maybe a "B" for
tion to detailed plans tor building various enclosures, many of its technical explana-
the book contains guides for choosing the drivers tions, only a "C" for its ambitious but shaky glossary,
in a multi -element system, for calculating dividing and a "D" or even an "F" on some of its diagrams.
networks, and for testing speakers. Though there's a lot of readable, informative material
in this book, there's also a good deal that bugged us.
To wit: showing the ground terminal of an amplifier
connected to the "hot" side of a speaker, calling a
ABC's of Modern Radio by preamplifier a tuner, labeling a tape deck a tape pre -
Walter G. Salm (second, revised amp, classifying the "extra" input on a preamp as a
edition, Sams paperback, 128 low -level input, distorting the relative sizes of speaker
pages, $1.95). Some grounding enclosures, and so on. There's just so much you can
in basic radio theory is, to our blame on the draftsman or the illustrator--the author
mind, the best foundation on or the editors should have checked all the material
which to build one's technical that went into ibis book more carefully.
understanding of audio-and
video too. A careful reading of
this volume could provide a
serviceable introduction to the subject. Treatment is High Fidelity Systems by Roy F.
semitechnical and presumes a smattering of elemen- Allison (second, revised edition,
tary algebra and some bent for basic physics. Salm's Dover paperback, 92 pages,
book will not make you an instant engineer or repair- $1.00). As a layman's guide to
man, but it will fill many gaps in your understanding stereo in the home, this volume
of basic theory and at least enable you to ask strikes us as the best buy among
intelligent questions. current books on the subject.
Aimed at the complete novice
who may want some common-
Musical Instruments and Audio sense advice before entering a
by G. A. Briggs (Wharfedale, dealer's shop, it discusses such topics as components
clothbound, 238 pages, $5.95, and their functions, installations, and room acoustics.
U.S.A. agent, Hernian Publish- A hefty section is given over to an ingeniously de-
ing Service, Boston, Mass.). In vised series of charts for correcting common faults
this, his most recent book, the old in equipment, based on a yes -or-no system of check-
master departs from his custom- outs that can be performed purely by listening, with-
ary excursions. into the strictly out the use of test instruments. This alone, in our
reproductive aspects of audio view, is worth the price of the book.
and investigates the productive
facets of music -which, once done, he then relates
to the capabilities and limitations of audio recording
and playback technology. In a sense, then, this in- Tape Recording for the Hobby-
triguing work (actually the sixteenth he has produced) ist by Art Zuckerman (second,
is the broadest in scope of all his books. One of its revised edition, Sanis paperback,
most impressive sections is an encyclopedic tour de 160 pages, illustrated, $3.25).
force that illustrates and describes -from both tech- If there's anything omitted from
nical and aesthetic standpoints -the sounds and this recently updated treatment
ensemble- functions of more than sixty musical instru- of home tape recording, we can't
ments. The range of matter here is formidable, but think of it. An impressive range
the expected Briggs touches -the humor, the poetic
allusiveness, the liberal sprinkling of wry cartoons
are all present. The illustrations generally -and the
- of topics is covered, from micro-
phone selection to bias adjust-
ment, from hints on recording children to advice on
technical ones, such as the oscillograms, in particu- care of the machine. The information is accurate;
lar-are remarkably clear and show unusually fine the writing. informal: the illustrations, plentiful and
detail. All told, another Briggs Fair. for the most part clear. An excellent index helps.
52 CIRCLE 46 ON READER -SERVICE CARD
When you've got a reputa-
tion as a leader in transistor
technology, you don't intro-
duce a transistor amplifier
that is like someone else We
didn't. The new Sony TA-1120
integrated stereo amplifier is the
case in point. We considered the
few remaining shortcomings that
have kept today's transistor amplifi-
ers from achieving the quality of
performance of the best tube amplifi-
ers and set out to solve them. To do it,
we even had to invent new types of
transistors. The result: the first truly great
solid-state stereo amplifier.
Distortion is lower than in the finest tube
amplifiers at all frequencies and power levels.
Signal- to-noise ratio: better than 110 db.
Damping factor is extraordinarily high (140 at
16 ohms). Frequency response: practically flat
from 10 to 100,000 HZ ( +0 db/ -1 db). Plenty of
power, too (120 watts IHF at 8 ohms, both channels).
With an amplifier as good as this, the preamp
section has a great deal to live up to. It does, mag-
nificently! Solid -state silicon circuitry throughout
coupled with an ingenious design achieve the lowest
possible distortion. Sensible arrangement of front panel
controls offers the greatest versatility and ease of opera-
tion with any program source.
Finally, to protect your investment in this superb
instrument, an advanced SCR (silicon-controlled rectifier)
circuit prevents possible damage to the power transistors
due to accidental shorting of the outputs.
The Sony TA-1120 stereo amplifier/preamp at $39930 and
the TA -3120 stereo power amplifier. $249.50 are available at a
select group of high fidelity specialists who love and cherish
them. And will get as much enjoyment out of demonstrating them
as you will from their performance. So visit your dedicated Sony
high fidelity dealer and enjoy. Prices suggested list. Sony Corpora-
tion of America Dept. H 47-47 Van Dam St. L.I.C., N.Y. 11101.
With so many fine amplifiers

our first had to be something special
It is!
cated on the underside of the chassis, you have to
Scott 2502, 2503 tip the set so that it rests on its rear panel when
making connections to it -an inconvenience we have
Lab Test Data noted on other modules of this type. Anyway, make
sure when doing so that the tone -arm is secured
Performance to its resting block by the little clip attached to the
characteristic Measurement latter. The four speaker outputs (two stereo pairs,
for main and remote speakers) are phono jacks. One
Tuner Section pair of cables, with plugs attached, is supplied -but
for running remote speakers you'll have to get, or
IHF sensitivity 3.7 /iVat98 MHz; 5.5 /1Vat
90 MHz; 3.8 /1V at 106
make up, another pair. The set has tape recorder
MHz feed and playback jacks, plus a stereo pair for any
additional high -level signal source, and two additional
Frequency response, mono +0, -2 dB, 20 Hz to 20 kHz jacks for signals from a microphone and an electronic
THD, mono 0.15% at 400 Hz; 0.32% at
musical instrument. These last two jacks permit you
40 Hz; 0.24% at 1 kHz to play or to record two signals (such as voice and
musical accompaniment) on separate channels, mixed
IM distortion 1.1% on one channel, or either signal on both channels.
Capture ratio There are three screw terminals for FM antenna
3.5 dB
hookup marked internal, 300 ohms, and ground. The
S/N ratio 40 dB first screw has a metal jumper which you can connect
Frequency response,
to the second screw to use the set's built -in (line -
stereo, ch I +0, -3 dB, 20 Hz to 18 kHz
cord) antenna -which does provide, by the way, good
r ch +0.5, -2.5 dB, 20 Hz to 18
reception of local signals. For external lead -in, you
kHz disconnect the jumper and use the second and
third screws. AM is handled by a built -in loopstick
THD, stereo, I ch 0.76% at 400 Hz; 1.0 °o at antenna.
40 Hz; 0.66 °o at kHz 1
The tuner portion of this system should provide
r ch 1.1% at 400 Hz; 0.87% at
very good FM reception in all but the most difficult
40 Hz; 0.7% at kHz
1
of locales. Response was just about ideal on both
Channel separation, better than 35 db at mid - mono and stereo, and separation on the latter was
either channel frequencies excellent. Signal -to -noise ratio could be better, but
better than 20 dB, 20 Hz to should not be annoying except on the weakest of in-
14 kHz coming signals. The amplifier section is low- powered
19 -kHz pilot suppression 53 dB but clean -with a healthy power bandwidth and
38 -kHz subcarrier frequency response, and surprisingly high damping.
suppression 66 dB It won't drive low- impedance, low- efficiency speakers
to any great sonic showing but it can handle 8 -ohm
Amplifier Section speakers of moderate to high efficiency with no
Power output (at kHz 1
trouble.
into 8 -ohm load)
I ch at clipping 8.2 watts at 0.24% THD TWO SPEAKERS -OR FOUR?
I ch for 0.8% THD 8.8 watts
r ch at clipping 7.0 watts at 0.12% THD Which bring us to the speakers for this set. We
r ch for 0.8 °,o THD 8.0 watts auditioned the set as both the Model 2502 and as the
both chs simultaneously
Model 2503 -that is to say, using both the smaller
I ch at clipping
6.5 watts at 0.18% THD S -14 and the larger S -10 speaker systems. As might
r ch at clipping 5.6 watts at 0.10% THD
be expected, the S -10s provided better response
Power bandwidth for generally, and in the bass specifically; they went down
constant 0.8% THD 15 Hz to 26 kHz cleanly and fully to 40 Hz, while the S -14s made it
Harmonic distortion
with less apparent fullness or volume to about 50 Hz.
6 watts output These speakers, incidentally, are available separately
under 0.8 %, 40 Hz to 20 kHz
3 watts output under 0.5 %, 20 Hz to 20 kHz
for use with any amplifier or receiver. The S -14 is a
two -way system (6 -inch woofer and 3 -inch cone
IM distortion tweeter) costing $49.95. The S -10 is a three-way
4 -ohm load under 1.6% to 9.5 watts design (10 -inch woofer and 5 -inch dual -cone mid-
output range and tweeter) priced at $79.95. Both types are
8 -ohm load under 1.0% to 9.25 watts air -suspension models featuring Scott's "controlled
output
16 -ohm load under 1.0% to 5.25 watts
impedance" design which is intended to keep the
output operating impedance at or very near 8 ohms over
the audio range. Each has a treble adjustment at the
Frequency response, rear and each may be connected by either a phono
1-watt level bass comp out: +0, -4 dB, plug or by conventional binding posts marked for
32 Hz to 36 kHz polarity. White noise response, of either speaker,
bass comp in: adds up to 4.5
dB boost at 50 -70 Hz
RIAA equalization +0, -4 dB, 40 Hz to 20 kHz
Damping factor 30
Input characteristics (for
6 watts output) Sensitivity SIN ratio
phono 2.5 mV 59 dB
mike 6.5 mV 66 dB
guitar 13.0 mV 51 dB
extra 230.0 mV 80 dB
Square -ware response to 50 Hz, left, and to 10 kHz.
varied from fairly smooth to very smooth -depending +5
on the setting of the rear control -and the general RII
character of either speaker, allowing for the fuller
bass and generally "bigger" sound of the S -10,
CO
struck us as uncolored and very listenable. In their UJ

respective price classes, both the S -10 and the S -14 Col
seem to be quite commendable, and definitely corn -

S+ 15 Bass Cornp ln loudness Contour,
petitive with other speakers costing the same. ir +10/- Vol. Contr. at 9 o'cloc8
Having both sets of speakers on hand, and toying +5
with that front -panel switch, led us to try some sonic Bass Comp Out
shenanigans not normally feasible with this system.
O
-5
As set up, the switch lets you select either pair of 20 50 100 300 500 1K 3K 5K 10K 20K
speakers, or neither, but not both at once. However, FREQUENCY IN Hz
there is a headphone lack which is "live" regardless
of the position of the speaker selector. Why not, then,
use it for running a pair of speakers simultaneously +5
Mono
with another pair? To do this, however, we had to 0
short out the two resistors connected before the head- -5
phone jack which are normally used in such circuits FM RESPONSE & CHANNEL SEPARATION
to prevent "blasting" in the headphones. With this o 0

slight modification, and with a stereo phone jack Z
wired for driving two speaker systems, we set up
the S -10s as the main stereo systems, and used the Z -10
S -14s- simultaneously -as "surround" speakers, ° -15
Stereo
Left Channel
ö=
positioning them very widely to left and right of the -20 Right Channel
main listening area. The audible results were magnifi- -25
cent: an exciting panorama of surround -sound, of -30
"wide- stage" stereo, which seemed to conquer the -35
normally limiting acoustics of even a small, cube -
shaped room. This was not our first experience with 20 50 100 300 500 1K 3K 5K LOK 20K
surround sound (as opposed to the stereo coming FREQUENCY IN Hz
at you from merely two in -front sources), but it re-

affirmed our belief that added speakers -even on
ordinary two -channel program material enhance
the sonic presentation. And getting it out of a modest,
compact system made for a little extra icing on the
-do
-30 / Power Bandwidth, 0.8% 1HD
ZERO DB = 6 Watts
cake. Inveterate headphone fans may boggle at this AMPLIFIER PERFORMANCE CHARACTERISTICS
unorthodox use of their favorite output jack, but if
they're that devoted (and handy) they can wire a 60
Harmonic Distortion 1
switch to place the resistors back in the circuit for

-or
maybe prevail on the set manu- e-6 Watts 0.5
headphone use
facturers to add it as a really worthwhile feature. 3Watts
0 °
Frequency Response, 1-Watt Output
+5 Bass Comp In
0
-5 Bass Comp Out
5 10 20 40 100 200400 1K 2K 4K 10K 20K 100K

REQUENCY IN Hz
ó
ó 3 IM CHARACTERISTICS
+15
Bass Boost Treble Boost
+10
2
4 Ohms ó +5
z
1
8 Ohms
Z -5
0
16 Ohms ° -10 TDNE CONTROL
CHARACTERISTICS
1 2 3 4 5 678 10 15 20
c' -15 Treble Cut
POWER OUTPUT, WATTS Bass Cut
-20
-25
20 50 100 300 500 1K 3K 5K LOK 20K
0
ó FREOUENCY IN Hz
ó-I0
° -20
s 3.7 V IHF SENSITIVITY
Ñ-30 REPORTS IN PROGRESS

-40
Allied 'l'1) -1030 Tape Recorder
- 50
0
Acoustic. Research AR Amplifier
1 10 10' 10' 101 10'
RF INPUT, MICROVOLTS
JANUARY 1968 57
ACOUSTIC RESEARCH
AR -3A SPEAKER SYSTEM
THE EQUIPMENT: AR -3A, a full -range speaker system keeping it out of the midrange. (The lowering of the
in enclosure. Dimensions: 25 by 14 by 11% inches. bass crossover is generally acknowleded to be a de-
Price: in walnut, oiled walnut, cherry, or oiled teak, sirable design feature of any multiple- driver speaker
$250; in mahogany or birch, $240; in unfinished pine, system.) The changes in the other two drivers are
$225. Manufacturer: Acoustic Research, Inc., 24 Thorn - credited with improving the dispersion characteristics
dike St., Cambridge, Mass. 02141. and general smoothness of the system. Externally,
the AR -3A resembles the AR -3: both systems use the
COMMENT: The second "A" in the nomenclature of same size enclosure, the same binding post con-
this speaker system designates its first design change nections at the rear, two of which may be discon-
in over ten years. By way of background, the AR -3 nected so that the woofer only may be used (for
(and before it, the AR -1) has been regarded as the special applications), and the same two controls for
granddaddy of acoustic- or air- suspension speaker adjusting relative levels of the midrange and tweeter
systems, based on a woofer design that was intro- units. Input impedance is still 4 ohms and efficiency is
duced back in 1954. Briefly, in this type of system, low; an amplifier capable of supplying at least 25 watts
the low- frequency driver is initially made to be floppy, (RMS) power per channel is recommended.
with a loose suspension and very low resonance. Our tests of the AR -3A simply confirm the manu-
Such a cone, if unaided, would provide scarcely any facturer's design aims and claims for this system.
response. The aid is furnished by a compact, stuffed, Our reaction on first hearing the AR -3A was a favor-
sealed enclosure which -by virtue of the limited air able, even enthusiastic, one which has not diminished
trapped within it- stiffens the suspension and raises after weeks of listening. The system is a clean, trans-
the cone resonance to the audible range. This tech- parent reproducer with a full and well- defined bottom,
nique -quite novel in the mid -Fifties but by now used a balanced and open midrange, and clear and ex-
by many manufacturers -is credited with making for tended highs. The bass end is smooth and level down
clean bass response inasmuch as air used as a cone- to about 40 Hz, from which frequency it rolls off
restoring force is more linear than mechanical sus- smoothly. Doubling can be induced in this region if
pensions. Its proponents always have emphasized the system is driven abnormally hard; in normal use,
that such a speaker sounds good not in spite of small predominantly fundamental bass is evident to about
size, but actually because of it -the limited size being 30 Hz. There is response below this frequency but it
a required condition for performance rather than a becomes increasingly dominated by harmonics. The
compromise to save space. For simplification, the mid -bass region is as clean and defined as you could
air -suspension technique can be considered an "in- want, with no trace of roughness or false emphasis.
finite baffle" in reverse: instead of loading a large Upward along the range, response remains exemplary,
cabinet to the rear of the speaker to permit the speak- with no apparent peaks, dips, or other audible "sur-
er to respond down to its natural resonance, the air - prises." Directional effects are scarcely noticeable,
suspension method loads a small cabinet to the rear even above 5,000 Hz. Response does narrow some-
of a specially designed woofer to permit it to "reach what, expectedly, but the fall -off away from speaker
up" to some resonant frequency and continue re- axis is very smooth and much less obvious than in
sponding upward from there. The cabinet thus is very many speaker systems. Tones in the 13 to 14 kHz re-
much a part of the behavior of the speaker itself, gion can be heard clearly at least 60 degrees off
more integrally so perhaps than in any other type of axis; at 15 kHz the response is mostly on axis and
reproducer design; its construction, thickness, tight- continues to beyond audibility. White noise response
ness of seal, internal sound -absorbent stuffing all be- is smoother than average and very well dispersed.
come very critical and cannot be tampered with or Advancing the rear level controls brings it up-but
modified by the user. again, the "brightening" remains very smooth and
Once the bass response had been taken care of, AR exhibits virtually no harshness.
went after the midrange and highs, and produced its You have to drive the AR -3A with somewhat more
first full-range system, the AR -1, later superseded by amplifier power than most speakers take to get it to
the AR -3 which has been this firm's top -of- the -line put out the "big sound," especially in a large or
model for over a decade and which still is made. In acoustically damped room. We auditioned a pair, using
the AR -3, the woofer is crossed over to a 2 -inch a few different amplifiers, and found ourselves run-
diameter hemispherical dome midrange cone at 1,000 ning our amplifiers with the volume controls rarely
Hz, and this driver is crossed over to a 13/8 -inch dome below 12 o'clock position. Actually, this was as much
tweeter at 7,500 Hz. a tribute to the clean output of these speakers at
In the AR -3A, the same woofer is used, but the loud levels as it was an indication of their need for,
midrange driver and tweeter are new designs, and the and ability to handle, high amplifier power. For at
crossovers to each have been lowered in frequency. such levels, the speakers sounded magnificent, fill-
The midrange dome now is 11/2 inches in diameter; ing the place with a lot of clean, musical sound and
the tweeter's, 3/4 inch. Diaphragm materials have been an excellent stereo image. At lower levels, the sound
changed, and the voice -coils now are copper instead seemed to recede as if you'd taken a seat further
of the former aluminum. Crossover frequencies are back in the hall. On any material we fed to them, our
now 575 Hz to the midrange, and 5,000 Hz to the pair of AR3As responded accurately and neutrally,
tweeter. The lowered crossovers give the woofer "less lending no coloration of their own to the sound.
work" to do, confining it more to the deep bass and How does an AR -3A compare to an AR -3? The dif-
ference may vary from fairly apparent to quite subtle, can detect no aural grounds for such criticism. The
depending on the program material. Music which is entire treble range seems to us better balanced and
rich in predominantly upper midrange tones and fairly more "definite," more a part of everything else. As
open in texture probably would demonstrate the dif- for the mid -bass ii
the new version, perhaps there's
ference best. The new speaker seems to be free of now a touch of more rosin on the lower strings, and
a certain kind of "calling attention to itself" in this a slightly improved aural focus on the timpani. Over-
region that the AR -3, by direct comparison, occasion- all, the AR -3A sounds less "dry" than the AR -3. The
ally exhibits. Specifically, the AR -3 has been criticized system, in short, ias been improved. What was very
for emphasizing the lower midrange while, by compari- good to begin with has been made better.
son, depressing the upper midrange. In the AR -3A, we CIRCLE 151 ON READER -SERVICE CARD
SONY TA -1080
INTEGRATED AMPLIFIER
THE EQUIPMENT: Sony TA -1080, an integrated stereo

amplifier (preamp combined with power amp). Dimen-
sions: 153/4 by 53/4 by 121/4 inches. Price: $299.50; Sony TA -1080
optional walnut case: $24.50. Manufacturer: Sony
Corporation of America, 47-47 Van Dam St., Long
Island City, N. Y. 11101. Lab Test Data
Performance
COMMENT: Sony's TA -1080 is a somewhat modest ver-
sion of the TA -1120 reviewed here last April. That is to
characteristic Measurement
say, it has somewhat fewer features and lower power Power output (at 1 kHz
output. The TA -1080, however, is in the same premium into 8 -ohm load)
class as the TA -1120, boasting high -quality innards, I at clippirg
ch 36 watts at 0.2% THD
careful chassis layout, above -average construction and I for 0.15% THD
ch 32 watts
attention to detailing, very smooth acting controls, and at clipping
r ch 35.9 watts at 0.12% THD
for 0.15% THO
r ch 36 watts
reliable, clean performance.
both chs simultaneously
Styled in a neat, businesslike manner, the front 31.2 watts at 0.22% THD
I ch at clipping
panel contains a total of eight knobs, four heavy -duty r ch at clipping 30.8 watts at 0.13% THD
toggle switches, and two indicator lights. The knobs
are for volume, channel balance, individual treble Power bandwidth for
and bass control on each channel, stereo mode, and constant 0.15% THD 25 Hz to 14 kHz
function or signal selector. The last control works Harmonic distorton
in conjunction with an adjacent toggle that selects 30 watts output under 0.83 %, 40 Hz to 20
tuner, phono 1, or a third general position which you kHz
select specifically on the knob. The other toggles are 15 watts output under 0.84 %, 20 Hz to 20
for power off-on, tone -control cancel or in, and tape kHz
monitor. One indicator is for power; the other is a
IM distortion
safety light that glows green when all is well and 4 -ohm load under 0.8% to 40 watts
which goes off if the output transistors take excessive output
current, thus triggering the built -in protection circuits 8 -ohm load under 0.8% to 40 watts
which shut off the amplifier. Two more controls at output
the rear permit adjusting the input level of signals 16 -ohm load under 0.8% to 26 watts
connected to tuner and auxiliary jacks so that every- output
thing sounds equally loud for a given setting of the Frequency response,
front panel volume control. The usual inputs and 1 -watt level +0.5, -2.75 dB, 20 Hz to
outputs are provided at the rear, including conven- 100 kHz
tional tape feed and playback jacks plus a five -pin
connector for European -type recorders. Actually, by RIAA equalization ± 2.5 dB, 20 Hz to 20 kHz
using all these jacks, you can keep three separate tape NAB equalization +0.5, -2 dB, 20 Hz to 20
kHz
Damping factor 38
Input characteristics Sensitivity 5/N ratio

phono 1.95 mV 65 dB
tape head 0.50 mV 56 dB
tuner 123.0 mV 75 dB
1 tope (amp) 123.0 mV 75 dB
aux 123.0 mV 75 dB
Square -wave response to 50 Hz, left, and to 10 kHz.
JANUARY 1968 59
machines permanently hooked up to the TA -1080, as
well as two turntables, and two tuners. The speaker TEST REPORT GLOSSARY
outputs are professional type binding posts. Two
switched, and one unswitched (hot) AC outlets are Bias: 1. anti -skating; a force applied to counter-
provided. act a tone arm's tendency to swing inward. 2.
The amplifier is recommended for use with any a small amount of voltage applied to a device
speaker systems of 8 to 16 ohms impedance, includ- to prepare it for correct performance.
ing electrostatics of this range. If electrostatics are Capture ratio: a tuner's ability, expressed in dB,
used, each must be connected in series with a to select the stronger of two conflicting sig-
2 -ohm resistor to the amplifier output taps. CBS nals. The lower the number, the better.
Labs test measurement indicate that the TA -1080
Clipping: the power level at which an amplifier's
will supply better than 30 watts per channel (both output distorts.
channels driven simultaneously) at, or very near,
its rated distortion. The set's power bandwidth, for Damping: a unit's ability to control ringing.
30 watts at a very low 0.15 per cent distortion. covers dB: decibel; measure of the ratio between elec-
most of the audio band, with a deliberate and con- trical quantities; generally the smallest differ-
trolled roll -off (due to its built -in filter) in the extreme ence in sound intensity that can be heard.
bass. Frequency response, even with the roll -off, ran Doubling: a speaker's tendency to distort by
within 3 dB from 20 Hz to 100 kHz, which is excel- producing harmonics of bass tones.
lent. Equalization for both phono cartridges and tape Harmonic distortion: spurious overtones intro-
heads was within normal tolerances, damping factor duced by equipment to a pure tone.
was high, and IM distortion extremely low up to the
normal rise -point for all three output impedances. Hz: hertz; new term for "cycles per second."
High- frequency square -wave response showed excel- IF: intermediate frequency, into which the RF is
lent stability and transient characteristics; low -fre- converted by a tuner.
quency square -wave response was tilted, reflecting IM (intermodulation) distortion: spurious sum -
that roll -off below 30 Hz. and- difference tones caused by the beating of
The Sony TA-1080, to sum up, is somewhat like the two tones.
amplifier portions of the best receivers in performance, k: kilo -; 1,000.
but better built. Handling normal program material in a
home system, it leaves little to be desired and the unit m: milli -; 1 /1,000.
seems to give assurance of long, trouble -free service. M: mega -; 1,000,000.
(mu); micro -; 1 /1,000,000.
Pilot and sub -carrier: (19 kHz and 38 kHz);
broadcasts signals used in transmitting FM
stereo; must be suppressed by receiver.
0
Power bandwidth: range of frequencies over
-3 Power Bandwidth For 0.15% THD
which an amplifier can supply its rated power
ZERO DB= 30 Watts
without exceeding its rated distortion (defined
by the half -power, or -3 dB, points at the low
15 Watts and high frequencies).
1 °
\Harmonic Distortion RF: radio frequency; the radiated energy of a
30 Watts 0.5
0 ° broadcast signal received by a tuner.
15 Watts 30 Watts
Resonance: a tendency for a device to empha-
size particular tones.
+5 Ringing: a tendency for a component to continue
0 responding to a no- longer- present signal.
-5 Frequency Response, 1-Watt level
RMS: root mean square; the effective value of a
10 20 40 100 200 400 1K 2K 4K 10K 20K 100K signal that has been expressed graphically by
FREQUENCY IN Hz a sine wave. In these reports it generally de-
fines an amplifier's continuous, rather than
momentary, power capability.
3
Sensitivity: a tuner's ability to receive weak sig-
IM CHARACTERISTICS
2
nals. Our reports use the Institute of High
4 Ohms
Fidelity (IHF) standard. The smaller the num-
8 Ohms
1 160hms
ber the better.
Sine wave: in effect, a pure tone of a single fre-
quency, used in testing.
1 2 3 4 5 6 10 20 30 40 50 100
POWER OUTPUT (WATTS)
S/N ratio: signal -to -noise ratio.
Square wave: in effect, a complex tone, rich in
harmonics, covering a wide band of frequen-
cies, used in testing.
THD: total harmonic distortion, including hum.
RIRA
Tracking angle (vertical): angle at which the sty-
lus meets the record, as viewed from the
EQUALIZATION CHARACTERISTICS side; 15° has become the normal angle for
the cutting, and thus the playing, of records.
Transient response: ability to respond to percus-
NAB sive signals cleanly and instantly.
0,------ VU: volume unit; a form of dB measurement
-5 standardized for a specific type of meter.
20 30 50 100 300 500 1K 3K 5K 10K 20K
FREQUENCY IN Hz
OPERA ORCHESTRAL CHAMBER INSTRUMENTAL VOCAL
c THE NEW RELEASES

reviewed by NATHAN BRODLR R. D. DARRELL PETER G. DAVIS SHIRLEY FLEMING ALFRED FRANKENSTEIN
HARRIS GOLDSMITH EDMUND HAINES DAVID HAMILTON PHILIP HART BERNARD JACOBSON STEVEN LOWE
ROBERT P. MORGAN GEORGE MOVSIION CONRAD L. OSBORNE MICHAEL SHERWIN SUSAN THIEMANN
Norman Treigle and Beverly Sills, of the New York City Opera.
GIULIO CESARE -THE OPERATIC GENIUS OF HANDEL MADE PLAIN
by Conrad L. Osborne
EVER SINCE THE operas of Handel Opera's production in every detail. Unless established importance is one of the
started to return to the stage in the 1920s, I am mistaken, the orchestra has been significant reasons for its relative popu-
Giulio Cesare has been one of the pieces augmented at one or two points, but larity with modern audiences), but with
held in high regard. Always known by the cast is identical with that of the pro- his genius for portraying character con-
name through the most famous of Cleo - duction's opening night, and the conduc- sistently and credibly. Giulio Cesare is
patra's arias ( "V'adoro, pupille" and tor is none other than the company's especially rich in this kind of writing.
"Piangerd la sorte mia ") and often pro- director, Julius Rudel. The performance Each of the characters not only develops
duced successfully in Germany, it has makes an excellent case both for the and reveals himself through the aria
gathered a reputation as the best of the opera and for the company. structure, but is pinned down unmis-
composer's operas-the reasons for which Repeated listening to the complete takably by the individual harmonic and
can now be verified by anyone who ac- score brings one face to face, more close- orchestral color; thus by the second act
quires RCA Victor's current release of ly than ever, with Handel's greatness as we need only a chord or two to tell us
the highly successful New York City a musical dramatist. This has to do not who, if not what, the coming scene is
Opera production. so much with his selection and develop- about. Cleopatra herself is of course the
The recording-the first opera to be ment of situation and incident (though prime example; she is a brilliant creation.
taped in New York for longer than local I think the fact that this opera deals with Her good- humored coquetry, her flirta-
musicians care to remember -is the City recognizable characters and situations of tiousness, her sexuality, and at last her
JANUARY 1968 63
real feminine warmth and profundity of The transpositions include one that ing of mezzo and contralto timbres is
feeling are gloriously present in her mu- seems to me terribly wrong-the removal exactly what is called for.
sic. Cesare himself, Sesto, and Cornelia of "Piangerò la sorte mia" from its spot Fortunately, the City Opera has been
are almost equally full (the others less in the last act to a position in Act I, able to cast Giulio Cesare from its front
so, as instruments of moving the story where Cleopatra is still pretending to be rank of singers. For most of us who at-
rather than participants in the emotional the servant Lydia. This not only makes tended the production Beverly Sills's
complications that result). the aria apparently part of Cleopatra's Cleopatra meant a "discovery" almost as
The scenario that follows from the put -on (which the music firmly denies) startling as that of Joan Sutherland's
drawing together of these characters is but destroys Handel's careful sequencing Lucia nearly nine years ago. Through
infinitely complicated. Everyone hankers of the arias to unfold gradually Cleo - the past decade, this singer had shown
after someone else, and everyone jockeys patra's development from an ambitious herself an excellent artist in a variety of
for position in the confusion that follows tease to a woman capable of great dignity roles, and in such diverse assignments as
Caesar's victory over Pompey. Conse- and depth of feeling. I do not see the Philine and Baby Doe had hinted at the
quently, three or four plots are simul- reason for this decision. And while it qualities finally displayed in her Cleo-
taneously being pursued, with each char- isn't actually destructive, I don't see much patra. Still, I don't think any of us quite
acter responding to each new turn with point in the forward placement of the expected the classic exhibition of vocal
an aria. Cleopatra wins the throne by duet "Più amabile beltà," unless it is a control, agility, freedom, and command
being irresistible -not in a fatal way but wish to establish the Caesar /Cleopatra she gave us that evening (and on other
in an immensely likable way; she just liaison firmly before their enforced part- occasions since). The singing was rein-
doesn't mind mixing a little play with ing. forced with splendid stylistic instinct,
her work, and Caesar himself does not No one is going to complain of a grace of movement, and a communica-
at all mind being temporarily conned. lack of ornamentation; if anything, some tive feminine warmth which would al-
The performing edition used by the are going to complain that it is too much most have been enough by itself -the
City Opera is one that has proved itself with us in this performance. Not I. Who- effect was one of sheer magic. Cleopatra
in the theatre, though I suppose almost ever has constructed it (I understand has five major arias, and five times in
any version could be made to work in that Mr. Rudel was responsible for at the course of the evening everything in
a production as beautiful and relevant least some of it) has created what seems the theatre was suspended on a fragile
as that devised and directed by Tito to me exactly the right feeling: one of (but strong) thread of floating, silvery
Capobianco and designed by Ming Cho "composed improvisation." It sometimes tone, on the proverbial string of pearls
Lee and Jose Varona -an audacious and becomes very elaborate, giving the repeat that every singer wants to make of a
imaginative amalgam of modern design section of an aria the quality of a varia- run, and on the most gorgeous of all
and choreographed movement in recon- tion, in the symphonic usage of that trills. It was a feast for sore ears, and
struction of baroque style. On records, of term. This serves a double purpose -it brought with it the recognition that if
course, the musical decisions assume gives the singer an opportunity to take the prevailing standard in Handel's day
paramount importance, and I shall note off with something that sounds like his was something like this, the willingness
here what they consist of. own (and the ornaments are extremely of audiences to sit and listen to entire
The performing score is based on the well suited to the strengths of the singers evenings of arias festooned with inven-
Bärenreiter edition, whose general order involved), and it lends this section of tions is entirely understandable -a sen-
it follows fairly closely. The main excep- the aria the feeling of exploring its mood suous indulgence of an almost shameful
tions are a number of excisions, the more fully, of literally "elaborating" upon order.
transposition of a couple of numbers it. Naturally, there is much more of it The recording, happily, has found
from the last act to points earlier on, and for the women than for the men; in Miss Sills in excellent form, and has
the addition of a few orchestral snippets the days of castrati, composers deliberate- captured a healthy portion of the purely
from somewhere else (chiefly, `curtain ly relegated their basses and tenors to vocal side of the magic. It is the last
music" inserted so that an act or scene subsidiary positions precisely because three arias that really take the breath
curtain will not rise directly on a patch they were not as adept with ornamenta- away; the first two are very fine, but
of secco recitative, plus one or two little tion as their female and neuter colleagues. there are traces of unsettlement when she
flourishes). Their audiences drowned under a sensu- sustains tones around the top of the staff.
The cuts are of two general kinds: ous flood of ornamentation and varia- and there are other "Piangeròs" on rec-
cuts in the recitative, and cuts in the tion, which, so long as it is stylistically ords that offer healthy competition. But
repeat sections of arias. While once in appropriate and well executed, is the "V'adoro, pupille" is a really melting
a while a single verse (the unadorned A very lifeblood of this music. piece of vocal seduction; "Se pieta," with
section) is left to stand by itself (Sesto's In its casting of the opera, the City its beautiful flights of trills, high suspen-
"Cara speme" and Cornelia's "Non ha Opera has made what I believe to be the sions, and beautifully floated harmonic
più the tensere." for example). the usual correct decisions with respect to voice turns is heartachingly lovely; and the
pattern leaves in the A and B sections type. Both Cesare and Sesto were origi- "Dal tempesta" simply takes off into the
(the latter often elaborated or embel- nally castrato roles (Senesino was the ionosphere. A measure of this singing is
lished in some way) and a truncated, first Giulio). Nowadays, Cesare is cus- that Miss Sills trills a hundred times if
embellished repeat of the A section. Only tomarily a bass, and Sesto is either a she trills once, and one never tires of the
two or three arias are left in truly full tenor or mezzo. Certainly a male Caesar lovely, truly birdlike sound.
form. Though this may raise objections is required for twentieth- century credi- Treigle is, as I have already indicated,
in some quarters. I think that as a gen- bility, particularly when one has on hand contending with a role written for a
eral rule it is an excellent way of ap- a bass like Norman Treigle, who looks voice with very different handling char-
proaching the problem. The embellish- like a statue of the emperor come to acteristics. When these castrato parts are
ments are usually enough to top off the life. Unquestionably, some of the music given to low- voiced male singers, what is
aria, and I honestly cannot quite imagine is thereby compromised: no bass voice usually sought is the sort of dynamic
sitting through a note -complete Giulio has the agility of a soprano or alto, nor fluency that comes of a rather heady
Cesare; the piece is long as is, and ABA the ability to sing constantly at an in- technique -Fischer-Dieskau is the best
arias (even when nearly every one of between dynamic in what turns out to be current example. This has the advantage
them is magnificent in its own right) can the upper-middle part of its range. But of lending to the music the constant
wear out their welcome. My chief regret the travesti role tradition, quite usable smoothness and give -and -take that it re-
with respect to cuts is in the reduction when it comes to young boys in love quires, but of course it sacrifices some-
of the role of Achille. He needs his three with countesses or with wives of Field thing in manly firmness and depth of
arias to establish himself fully, and the Marshals, is out of the question when it tone. It is these last qualities that Treigle
presence of a comparatively high male comes to world rulers. has in quantity, and he comes into his
voice is refreshing to the contemporary Sesto, who is younger and lower in own with the martial bite he brings to
ear. As it is, one of his arias is omitted station, is more sensibly cast with a "Al lampo dell'armie" or with the im-
altogether, while the other two are female singer, and the sound of a tenor pressive dignity, the really imperial no-
shortened, the first ( "Tu sei it cor") voice in the gorgeous farewell duet with bility, he brings to the great accom-
drastically. Cornelia would be ruinous -the match- panied recitatives, "L'ombra del gran
Pompeo" and "Dall'ondoso periglio." He are of course in evidence and the genu- cording is more than acceptable, I must
is not always comfortable in that vague ine contralto timbre, as well; there is no disagree with some of the engineering
vicinity called mezzo- piano, where so doubt, though, that her singing has decisions, especially with respect to prob-
much of this music lies, and of course tended to be increasingly gummy and lems of balance and perspective. There
does not embellish in the florid manner "inward" of late, and that her way of is, in the first place, too much empty -
of a high voice. But his sense of style forming vowels has grown noticeably room sound. Wolff, in particular, with
and his commitment carry him through artificial. It would be a loss if a talent her ample, high mezzo often sounds as
everything, and even though the demand- so well suited to this repertory were com- if she's singing in a tunnel. The up -close
ing "Aure, deli per pieta" unquestionably promised by vocal problems at this early for whispered recitative, then back for
"sits" better in the alto range, he makes point. the full -voiced passages kind of move-
it a moving scene. Spiro Malas sings the comparatively ment is much too extreme and crude for
Aside from these two leads, the most one- dimiensional arias of Tolomeo with my taste, and it is ridiculous to have Sills
impressive vocalism is turned in by firm, solid, rather monochromatic tone; begin "V'adoro, pupille" so far off (I
Beverly Wolff. Although her sound Dominic Cossa renders what is left of know she is supposed to be upstage with
sometimes grows a bit hectic and her Achille with his warm, ingratiating high her vision of Parnassus and whatnot, but
chest register is no thing of great beauty, baritone. In the small roles of Nireno when the aria begins, one wants the
the full, sailing sound of her upper and Curio. Michael Devlin and William voice to be there).
octave is a pleasure to listen to, and she Beck are first -rate, and Mr. Devlin even But none of these reservations should
is capable of the high options and orna- injects some color and life into several deter any lover of Handel or any lover
ments which lend interest to the repeats. quite ordinary passages of recitative. of fine singing. And even baroque
Inasmuch as Sesto has some of the score's The orchestral playing is warm and aficionados will find, I think, that the
best music, it is fortunate that Miss clean, though it misses the final polish spirit, if not the letter, of the genre is
Wolff's generous singing is bolstered by and zip that would lift things at certain persuasively present.
musicality and a feeling for the style. important points. The brass section
Cornelia is in some respects the most sounds mighty careful, but avoids dis-
difficult of the female roles. While her aster-the writing for these instruments HANDEL: Giulio Cesare
music is beautiful, it tends to express is always a problem with all but the
slight variations of one doleful mood; virtuoso baroque ensembles. Rudel's Beverly Sills (s), Cleopatra; Beverly
indeed she is almost comic. Maureen tempo choices seem like prevailingly Wolff (ms), Sesto; Maureen Forrester
Forrester makes a better impression here good ones to nie; it may be that some (c), Cornelia; Dominic Cossa (b),
than she did in the theatre, partly be- of the feeling of what one often terms Achille; William Beck (b), Curio; Nor-
cause she does not have to contend with "judiciousness" is traceable to his leader- man Treigle (bs), Giulio Cesare; Spiro
the show's one unfortunate costume and ship, but I suspect it has more to do with Malas (bs), Tolomeo; Michael Devlin
some very awkward dramatic moments, the capabilities of his ensemble -a per- (bs), Nireno; Chorus and Orchestra of
and partly because she is in somewhat fectly solid opera orchestra is not quite the New York City Opera, Julius Rudel,
better voice. Her firm phrasing and her enough in portions of this music. cond. RCA VICTOR LM 6182 or LSC
excellent feeling for this kind of music While the over -all sound of the re- 6182, $17.37 (three discs).
Lirmia1111.
Wanda Landowska Ju.+ef Hofmann Leopold Godoti sk y
MASTERS OF THE PIANO, IN RECORDINGS OF RARE PROVENANCE
by Raymond Lewenthal
HEARING THESE five records, the initial phpnograph hadn't existed in Liszt's time. represented only by crumbs from their
releases in Veritas' series of rare per- We would be quite delighted to have table. How grateful we are to have them
formances by celebrated pianists of the records by Anton Rubinstein himself! -the charming salon pieces, the encores
past, is a painful experience -painful be- Why did he not make any? or, perhaps, which thrilled and charmed -and expen-
cause one realizes what might have been, did he? sive crumbs some of them are. Hundreds
what could have been, what should have Already, by the very early 1900s, the of hours of painstaking practice and pol-
been. It was perfectly within the realm of recording process was sufficiently de- ishing may have been expended on a
possibility that today we could have had veloped to reproduce piano performances piece less than three minutes long; dozens
in our possession recordings of Rach- which were quite recognizable as music. of takes may have been made of the
maninoff playing Liszt's Dante and B The Paderewskis and the Rosenthals same morceau, spread out over a period
minor sonatas, of Hofmann playing the could all have documented the great of years, before a performance was ap-
Schumann Fantasy and Kreisleriana. Oh, masterpieces of their repertoires while proved for release.
it is enough to make one cry! Anton they were at the height of their powers. Yet marvelous as some of these me-
Rubinstein, in one of his books written But, with a few notable and treasured mentos are, we are of course aware that
in the 1890s, deplores the fact that the exceptions, most of these great artists are they are studio recordings, and as such
JANUARY 1968 65
The Godowsky disc contains what is
apparently the only known recording by
him of any of his own original works
The Gardens of the Buitenzorg, one of
-
his loveliest short pieces. We are all
greatly in the debt of the Godowsky
family for making this and the other
performances on this disc available.
Not the least interesting item on the
Landowska disc is a sound track of a
long (never long enough) interview
Rudolph Ganz Sergei Rachmaninoff with RCA Victor producer lack Pfeiffer,
who worked with her on all her later re-
can give us only one side of the artist. dead: they may speak sometimes in ac- cordings done at her home in Lakeville,
Most real performers are galvanized by cents strange to our ears, but the pulse of Connecticut. It is unjust to the world
the presence of the public; they rise out life is in everything they do. that such great free. untrammeled spirits
of themselves, transcending anything they If you enjoy these performances, all as Landowska's should aver die -we
might do alone in an impersonal record- well and good; if you do not like them, need her kind of joy. To listen to her
ing studio. For example, what a distorted for God's sake do not be so cheeky as conversation, to hear her enthusiasm and
view of Hofmann's playing we would to prate that a Godowsky or a Hofmann her optimism, is uplifting in the extreme.
have if we were to judge him solely by "didn't know what it was all about." How The Hofmann disc consists of portions
his studio records. He was never happy is the playing on these records? Well, of a concert he gave at the Curtis Insti-
making records (few are!), and although some of you will be terribly upset by tute, recorded unknown to him. It has
his studio- recorded performances show a Rachmaninoff's Mozart and Hofmann's a marvelously impromptu feeling about
marvelously regulated technique, they are Chopin, etc., etc., but I enjoin you to it. Hofmann's preluding before some of
usually cool, detached, and sometimes listen with open ears and open minds and the pieces reminds one that until twenty -
not very communicative. They give the thereby learn and enjoy. There is no one five or thirty years ago, artists of the old
impression that this was a very careful, way to play any kind of music; there school often used to improvise little
prim player, correct, accurate, miniature, may be right ways and wrong ways. You modulating preludes to pieces on their
with little temperament. Fortunately, a may consider Rachmaninoff and Hof- programs -a last vestige of the days
whole series of recordings of public per- mann wrong some of the time, but a when improvisation was an important
formances-given in the concert hall, on little humility will go a long way towards part of a concert. Hofmann's recordings
radio, and in the home-have been helping you to appreciate their wrongness. made at public performances give the
turned up recently by the International Very few artists have become famous lie to the foolish canard that "people
Piano Library, and it is the special merit and remained famous withoet having played slower in those days." and that
of Veritas to make many of these gener- honestly merited their fame in one way the fast tempos on their records are en-
ally available (an earlier Columbia disc or another. Complete naïveté, or very tirely due to the fact that they had to
of part of a public Hofmann recital has great sophistication, are necessary com- hurry to get all the music on a 78 -rpm
been deleted). They give us quite a dif- modities for open-mindedness, and we side. It is another canard to say that
ferent view of the artist from the idea must be open- minded if we are to derive everyone these days has a technique.
derived from recordings made under
studio conditions. One begins to see why
people raved-and still rave -about Hof-
the utmost pleasures from the wonders
the world has to offer us. Finicky and
quixotic selectivity simply have the effect
There are not many techniques like those
of Rachmaninoff or Hofmann around
if there are, I have not heard them.
-
mann. Here, he is all temperament, of walling-off from us more that is good People often say that if we could bring
mercurial, a series of thermal explosions, than is bad, and we are the losers. Liszt back today, we would probably
a completely different personality from The record by Rudolph Ganz came as find him disappointing. We can bring
that shown in his commercial records. Is a particular revelation to me, for his back Hofmann, or at least a tiny part
it not safe to assume that our estimate playing was the least familiar to me of of what he was, and he is impressive,
of other artists, such as Paderewski, are all the artists represented in these record- to say the least. Let us give old Liszt
warped by a lack of recordings of live ings. By accident, I played Side 2 of the benefit of the doubt!
performances during their prime? Too VM 105 first, and was struck immediately It would be unfair and unrealistic to
many people are all too happy to pooh - by the "modernity" of the playing. Side 1 expect high fidelity sound from these
pooh great reputations, on the basis of begins with excerpts from talks by Ganz, records in view of their sources and
recordings which may not be at all repre- and therein is the clue to his playing. He dates. Some of the performances were
sentative; rather, it behooves us to try remarks that he thought that Busoni, with taken down at parties on home recorders,
to find performances that justify reputa- whom he studied for a year, was, with some at concerts with microphones hid-
tions and thereby to learn from them. the exception of three or four other den in unadvantageous places so the art-
This is not the place for nitpicking. pianists, the first to have real symphonic ist would not espy them. some are from
Let's have no prudish talk here about rhythmic discipline in his playing, and broadcasts. Part of the Rachmaninoff
desecration of Chopin and Mozart. The was one of the first to play the hands disc comprises his earliest recordings
s ores still exist and there are thousands strictly together. The quality most evident made in this country (and perhaps any-
of players who play every note just as in the work of all the five artists on the where 1. One of the rare performances
written, and who, in spite of all their cor- discs at hand is the enormous rhythmic here is Rachmaninoff's own Italian Polka.
rectness, bore us to tears! There's not integrity which sweeps everything before written for one piano. four hands and
much hope for the conservatory student it. Ganz plays the way a conductor played by Rachmaninoff and his wife,
who turns up his little pug nose at these should, but seldom does, play. His im- Nathalia. The recording was made at a
Veritas records and mutters about "stylis- mense musical experience -first as a party and has a delightfully helter -skelter
tic inconsistencies." This is no place for cellist, then as composer, teacher, and air about it.
discussion of Nachschliiger and Prall- conductor -comes through remarkably It is only by merest happenstance that
triller. We are dealing here with great on these records, most of which are taken most of these recordings exist at all, and
masters -masters of their instruments, of from live performances, some made when we should be happy and grateful that
themselves, and of the music they play. he was nearly eighty. (The record cele- they have been discovered and made
These are great personalities, of strong brates his ninetieth anniversary and he available no matter what their condition.
individuality. These records should be re- is still going strong.) In all the artists on These things should and must be world
quired listening for all students hoping these records there is a kind of radiance, property, not to be hoarded by collectors
to make music their lives. There is here a soaring quality, an inner vitality which who won't play them for you-or for
no question of necrophilia -the spirits manifests itself through an extraordinary themselves -for fear of wearing them out
shining forth from these records are not rhythmic élan. or of diminishing the cachet of their
prized possessions (one is expected, I good sound throughout. Included in the
suppose, to derive a great aesthetic ex- set are reproductions of thirteen drawings
by Rembrandt illustrating various inci-
perience merely from staring at the
glistening grooves). The point is that CLASSICAL dents in the Passion. N.B.
now you can hear them -faintly and
imperfectly reproduced in many cases, to
be sure, but with the essential matter, BACH: Trio Sonatas, S. 525 -30;
the pulsatingly vital playing of these Concerto in G after Johann Ernst
great masters, clearly revealed. of Saxe- Weimar, S. 592; Concerto
in A minor after Vivaldi, S. 593
JOSEF HOFMANN
E. Power Biggs, pedal harpsichord.
¡ Chopin: Polonaise in E flat minor. Op. COLUMBIA
$11.58
M2L
(two discs).
364 or M2S 764,
26, No. 2; Nocturne in B, Op. 9, No. 3;
Waltz in E flat, Op. 18; Ballade in A
flat, Op. 47. Chopin- Hofmann: Waltz in The six Trio Sonatas written between
D flat, Op. 64, No. 1. Schubert- Godow- BACH: St. Mattheu' Passion, S. 244 1727 and 1733 are usually thought of
sky: Moment musical in F minor, Op. as organ music. But Bach's designation
94, No. 3. Stojowski: Oriental. Hofmann: Agnes Giebel (s); Marga Höffgen (c); of them "for two keyboards and pedal"
Kaleidaskop; Penguine; Berceuse, Op. 20, John van Kesteren (t); Ernst Häfliger -into which three lines they are distilled
No. 5.
Josef Hofmann, piano. VERITAS VM 101,

(t), Evangelist; Walter Berry (bs), Jesus;
Franz Crass (bs); Leo Ketelaars (bs);
Boys Chorus of St. Willibrord's Church
from the separate instrumental lines
of the chamber music trio sonata
also leaves open the possibility of
-
$5.79 (mono only). (Amsterdam); Netherlands Radio Cho- playing them on the pedal harpsichord.
rus; Amsterdam Concertgebouw Orches- E. Power Biggs makes a strong case for
SERGEI RACHMANINOFF tra, Eugen Jochum, cond. PHILIPS PHS this instrument in his liner notes. and
4 -999, $23.16 (four discs, stereo only). an even stronger one in his actual per-
J Scarlatti -Tausig: Pastorale and Capriccio. formances. As he says, the pedal harpsi-
Mozart: Sonata for Piano, No. 11, in A, This is a performance of considerable chord "combines harpsichord sparkle and
K. 331: Theme and Variations. Chopin: mass and scope. It seems to employ large clarity with something of the bass
Waltzes in A flat, Op. 64, No. 3; in A forces, is complete, and is upto date in sonority of the organ," and he pro-
flat, Op. 42. Liszt: Hungarian Rhapsody many respects in its interpretation of vides some excellent playing to back
No. 2, in C sharp minor. Rachmaninoff: Bach's wishes, as far as they may be up the natural resources of the instru-
Barcarolle, Op. 10, No. 3; Polka de surmised and agreed upon. Moreover, ment.
W.R.; Prelude in C sharp minor, Op. 3, it is directed by a first -class conductor, Tempos, phrasing, and general style
No. 2; Malian Polka. Tchaikovsky-Rach- at the head of an excellent chorus and a are all admirable. Just once or twice
maninoff: Lullabye. great orchestra, and the artists singing a tendency to gather speed in allegros
the two principal male roles are among makes itself felt; the realization of slow -
SergeiRachmaninoff, piano. VERITAS the best in the business. Yet it seldom movement cadences is occasionally a
VM 102, $5.79 (mono only). soars. shade bare; and it seems odd to remark
It is hard to account for the general in the notes that a pause near the end of
LEOPOLD GODOWSKY lack of intensity. Jochum has a tendency the first movement of Sonata No. 4
to linger on final chords, and in a couple "invites a cadential flourish" and then
I Chopin: Etudes: No. 13, in A flat, Op. of places (the chorales "Bin ich gleich resolutely to decline the invitation. But
V 25, No. 15, in F, Op. 25, No. 3; Berceuse von dir gewichen" and "Wie wunderbar- apart from these small reservations I
in D flat, Op. 57; Polonaise No. 1, in C lich ist doch diese Strafe! ") he indulges enjoyed the performances enormously.
sharp, Op. 26, No. 1; Waltz in A flat, in some unstylish crescendos, but on the The fourth side is taken up by two
Op. 34, No. 1; Scherzo in E flat, Op. 54. other hand he has clearly given much of Bach's transcriptions, one from a
Chopin- Liszt: Chant polonaise. Liszt: thought to differentiating the chorales in concerto by his pupil Johann Ernst, the
Liebestraum No. 3, in A flat, Op. 62; weight, dynamics, and tempo. Häfliger is other from the sixth concerto of
Concert Study No. 2. Verdi -Liszt: Rigo- a very good Evangelist, skilled and un- Vivaldi's L'estro armonico. These too
letto Paraphrase. Godowsky: The Gar- derstanding. Berry is in excellent form, are done with élan and bonhomie,
dens of the Buitenzorg; Star -Spangled rich -voiced and steady; he introduces though here and there I felt that Biggs
Banner Transcription. more color into his role than other per- was not fully exploiting the instrument's
formers of the part on records, stressing capacity to distinguish between solo and
Leopold Godowsky, piano. VERITAS VM the human side of Jesus. But in that tutti.
103, $5.79 (mono only). marvelous passage, perhaps the greatest The recording is clear and colorful.
arioso in Bach, beginning "Nehmet, es- The volume level is high, as in most
WANDA LANDOWSKA set," Berry did not move me. Perhaps it's harpsichord recordings. but perhaps
my fault, but again later, in "Am Abend, there is more excuse than usual with
Praetorius: Volte du Roy. Peerson: The da es kühle war," a bass recitative that this particular instrument. B.J.
Fall of the Leafe. Telemann: Bourrée. generally "thrills the roots of my hair,"
D'Anglebert: Gavotte; Le Beau berger as Samuel Butler said in another connec-
Tircis; La Bergére Anette. Couperin: Les tion. the effect was bland. BACH, C.P.E.: Six Sonatas for Wind
Ondes; La Pantomime. Landowska: Bour- The two female soloists are not in the Instruments; Six Marches for Wind
rée d'Auvergne. same class with Häfliger and Berry. Miss Instruments; Sonatinas for Cham-
Giebel is accurate enough, but her voice ber Orchestra: in E flat; in D
Wanda Landowska, harpsichord. VERITAS sounds rather dry here. Miss Höffgen's minor
VM 104, $5.79 (mono only). singing is marred by unsteady production.
The chorus sounds well balanced and Musica Viva Ensemble, James Bolle,
RUDOLPH GANZ performs in a well- disciplined manner. cond. MONITOR MCS 2125, $2.50 (com-
Indeed, the numbers that rise above the patible disc).
MacDowell: Sonata No. 2 ( "Eroica "). flat plain of much of this performance
Rameau: The Enharmonic. Honegger: are those that involve the chorus, espe- In view of the fact that one almost in-
Grave. Scriabin: Désir, Op. 57, No. I. cially "O Schmerz," where the agitated evitably thinks of C. P. E. Bach amid the
Haydn: Concerto in D. solo tenor is effectively contrasted with brocade and candlelight of Frederick's
the quiet chorus, the chorale that ends soirées (an indoor type, in short), it is
Rudolph Ganz, piano. VERITAS VM 105, Part I, and the great final lullaby. which rather refreshing to confront two specific
$5.79 (mono only). exerts its customary magic here too. Very draughts of fresh air from the Hamburg
IANIIARV 196 67
period: the Six Sonatas for winds and the years after its composition. (In the in- brings penetrating musicianship to the
Six Marches for military wind band tervening years Bartók reworked the compositions in his Crossroads album.
(minus drums in this recording, accord- materials of its first movement into what While he utilizes lots of luxuriant vibrato,
ing to Mr. Bolle's liner notes, to spare us became known as the Two Portraits for his basic approach remains more sober
possible frazzlement of nerves). This is Orchestra.) This twenty- minute work is emotionally and less rhapsodic rhyth-
a new Carl Philipp to me, and rather stylistically downright unsettling: its mically than Menuhin's. Gertler's tone
jaunty. opening movement (probably the more has a stouter, darker quality which could
The Sonatinas for chamber ensemble, unified of the two) is an elegiac hybrid be described as "Isaac Stern à la Zin-
in which the harpsichord occupies a terri- of early lyrical Bartók as heard in the garese." His sturdy, musicianly playing
tory somewhere between that of concer- First String Quartet, with the fervent, to my mind turns poetry into prose in
tante and continuo instrument, utilize romantic aura of Verklärte Nacht and the problematical First Concerto but
effective contrasts of timbres, and involve Tod and Verklärung. The second move- pays decidedly higher dividends in the
harpsichord and flutes in various solo ment goes further afield and is con- two Rhapsodies, which are magnificent
forays (these become rather fancy in the stantly shifting in mood and idiom: every here. Gertler also brings a penetrating,
D minor second movement). None of this time I hear it my inner ear is tantalized analytical mind to bear on the complex
music shows the full measure of Bach's with the recognition of quotations from arabesques of the Second Concerto, in a
mettle, but it is skillfully wrought. the elaborate Ein Heldenleben cadenzas, reading perhaps too reserved for some
The performances are healthy and pol- foreshadowings of the ironic scherzo in tastes but in my view admirable. My
lished, the sound absolutely clean and Mahler's Ninth, bits and snatches of the own favorite recorded versions of the
clear. S.F. seancelike atmosphere of the still- to -be- 1938 Concerto, those by Menuhin /Furt-
born Prokofiev D major Violin Concerto, wangler and Tibor Varga, are no longer
and, of course, the inevitable suggestions listed in the catalogue. In their absence,
BARTOK: Concertos for Violin and of Brahms, Kodály, and Bartók's own tiny recommendation goes to Menuhin's
Orchestra: No. 1, Op. posth.; No. 2 later self. At one point near the conclu- recent slightly overrefined Angel per-
jj
(1938); Two Rhapsodies for Violin sion of the piece there is even a crude formance with Dorati, closely followed
and Orchestra precursor of the "classical" joke in Bar - by Gertler's (which profits from An-
tók's Quartet No. 5 wherein the music éerl's really splendid accompaniment).
André Gertler, violin; Czech Philharmon- momentarily becomes as tonal-and as The Crossroads sound deteriorates
ic Orchestra, Karel AnZerl, cond. (in corny -as a radio or TV jingle! Bartók towards the end of the first Violin Con-
Concerto No. 2); Brno State Philhar- himself might have preferred that this certo, but on the whole is very fine in
monic Orchestra, Janos Ferencsik, cond. opus be permanently forgotten, yet for its subdued, darkly resonant way. Those
CROSSROADS 22 26 0011 or 22 26 0012, all its hodgepodge of incompatible ef- in search of economy may proceed
$4.98 (two discs). fects it is strangely beautiful and a real without caution. H.G.
addition to the repertoire.
BARTOK: Concertos for Violin and Menuhin plays the work with absolute
Orchestra, No. 1, Op. posth.; Con- mastery. His tone has a fervent sheen, g BEETHOVEN: Concert Aria "Ah,
certo for VI' 7a and Orchestra, and his interpretation makes it easy to Perfido!," Op. 65; Cantata on the
Op. posth. envision the composer's lovelorn condi- Death of Emperor Joseph ll
tion at the time of the Concerto's gesta-
Yehudi Menuhin, violin and viola: New tion. As collaborator, Dorati traces the Régine Crespin, soprano (in "Ah, Per -
Philharmonia Orchestra, Antal Dorati, fine bejeweled line of the intimate epi- fido!"); Martina Arroyo, soprano; Jus-
cond. ANGEL S 36438, $5.79 (stereo sodes, and with uncommon mastery of tino Diaz, bass; Camerata Singers, Abra-
only). balance keeps the more vulgar tutti ef- ham Kaplan, cond. (in the Cantata);
fects from getting aesthetically out of New York Philharmonic, Thomas Schip-
Bartók's quartet of string concertos (a hand. In short, the Menuhin /Dorati per- pers, cond. CBS 32 11 0039 or 32 11
true "string quartet," as the two for violin formance equals the splendid version by 0040, $5.79.
and the one for viola are supplemented4 P David Oistrakh and Rozhdestvensky.
by the Two Rhapsodies-which may also Sonically, Angel's accomplishment is in Despite the potent, Fidelio -like charac-
be performed on cello!) effectively dem- a class of its own. teristics of both these splendid works,
onstrate the four major phases of the Menuhin's viola playing is musically all of this music is very early Beethoven.
composer's output. All are completely sympathetic, technically adroit, but com- The Cantata, in fact, dates from 1790,
absorbing works; and though the 1938 pletely violin/stk. Few violists (even full - when its twenty -year -old composer was
Concerto is indisputably the real master- time ones) obtain that "somber, more still living in Bonn. Written for a me-
piece, I would like to put in some good masculine character" to which Bartók so morial ceremony held by that city's
words for the Second Rhapsody and the pointedly referred in a letter he wrote Reading and Recreation Society on March
1945 Viola Concerto. To me the Second William Primrose a fortnight before his 19 of that year, it did not appear on
Rhapsody, including folk elements from death. Indeed, Primrose himself was not the program -and in fact went unper-
the pungent Rumanian tradition as well wholly able to project a true viola sound, formed during Beethoven's lifetime. A
as those of the composer's native Hun- although he came closer than other solo- curious state of affairs for what is prob-
gary, is more exotic and engagingly ists who have recorded the Concerto. ably Beethoven's outstanding youthful ef-
scored than the deservedly popular and Menuhin's tone is lithe and "milk choc- fort, for nothing quite like it was to
more accessible First. The Viola Con- olatey" where a darker, bitterer quality come from his pen until much later.
certo dates from the final tortured would be decidedly in order. But like Ah, Perfido! was written for the Countess
months of Bartók's life and has been Primrose, Menuhin does succeed in con- Clari, an amateur singer, in 1795. It
disparaged, mostly, I suspect. because it veying the gypsy inflections, the quirky wasn't published until a decade later,
was left in draft form at the composer's rhythmic cut -offs, and the sheer breadth hence its advanced opus number.
death and prepared for publication by and folkish warmth of the first two Régine Crespin has the requisite tem-
his close friend Tibor Serly. In my opin- movements. In the finale, I prefer Prim- perament as well as the heavyweight
ion Serly, himself a composer of note, rose's fleeter, trimmer treatment to the vocal equipment to cope with the ex-
did a magnificent job in reconstructing more granitic, deliberately inflected tended concert aria. Sometimes the very
this brooding, wonderfully sensitive score. Menuhin /Dorati account. Primrose is spitfire anguish of her style here causes
I feel sure that Bartók would have been given the luxury of two full sides for his her to push her big, secure voice into
truly gratified. (mono-only) disc, but against this pos- tremulous stridency. Better, by far, .
I am less certain as to how Bartók sible advantage the Menuhin set provides though, an excess of vehemence than the
might have viewed the posthumous resur- an almost equally fine performance, even dry, Parthenon -like disinvolvement and
rection of his First Violin Concerto. better reproduction, and the First Violin unappealing vocal coldness that marred
Written in 1907 for Stefi Geyer, with Concerto as a coupled offering. Birgit Nilsson's Angel version of the
whom Bartók was in love, the MS came André Gertler, a personal friend of work. Schippers' overbearing, rallentando-
to light only after her death, some fifty Bartók's and a onetime Hubay pupil, laden conducting is a minor liability,
Acoustic Research announces a new speaker system.
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Detailed information on conversion of an AR -3 to an AR -3a is available from

ACOUSTIC RESEARCH, INC., 24 Thorndike St., Cambridge, Mass. 02141

JANUARY 1968 69
but in the main this disc stands up very BEETHOVEN: Symphony No. 4, in ideally balanced with the superbly re-
well to the competition afforded by B flat, Op. 60; Zur Weihe des corded orchestra.
Flagstad /Ormandy (RCA Camden, de- (
Hauses, Op. 124 The Israel Symphony, otherwise avail-
leted), Schwarzkopf /Von Karajan (An- able only in a rather tired mono version,
gel, also deleted), Farrell /Rudolf (Co- Vienna Philharmonic Orchestra, Hans makes an appropriate coupling. The work
lumbia), not to mention Callas /Rescigno Schmidt -Isserstedt, cond. LONDON CM itself is less compelling than Schelomo,
(Angel) . 9512 or CS 6512, $5.79. for here the modal rhapsodizing and the
I cannot fathom the motivations for militant brass interjections cohere less
doing the Joseph Cantata in Latin rather With the addition of the Fourth to his satisfactorily into a total structure. But
than in the original German. But the previously released Third and Ninth, it Abravanel's powerful reading makes the
austerity of the older language happens is quite evident that Schmidt -Isserstedt best possible case for the Symphony, and
to fit well into Schippers' orderly, clas- is running strongly in the Beethoven the recording again is as clear as it is
sical scheme. The punctilious crispness of Symphony sweepstakes. His performance full-blooded. B,J,
the Philharmonic's execution combined of No. 4 is one that lets the music speak
with swift, rhythmic pacing and brightly for itself, yet boasts a wealth of felic-
penetrating recorded sound make this a itous detail and artistry of the most BORODIN: Prince Igor
much more abstract, impersonal eulogy subtle (thus personal) sort. This con-
than the gemiitlich, less imperiously as- ductor's Teutonic grounding precludes Julia Wiener (s), Yaroslavna; Radka
sured one by Clemens Kraus with Vien- his cutting loose in the Allegros as Tos- Gaeva (s), Nurse; Liliana Bareva (s),
1% nese forces on an old Vox disc (now re- canini did, but his sense for classical Young Polovtsian Girl; Reni Penkova
issued by Lyrichord). Kaplan's able proportion, his lightness of texture and (c), Konchakovna; Todor Todorov (t),
choristers sing impressively well, and rhythmic structure are very much in the Vladimir; Luben Mihailov (t), Ovlur;
Arroyo and Diaz are as excellent as were Maestro's tradition. From the plucked Cyril Dulguerov (t), Erochka; Constantin
Steingruber and Poell in the predecessor opening sounds of the first- movement Chekerliiski (b), Prince Igor; Boris
edition. H.G. introduction to the galloping coda of the Christoff (bs), Prince Galitzky and Khan
finale, one is aware of a jewel -like ex- Konchak; Alexei Milkovsky (bs), Simla;
pressivity and prismatic molding of in- Chorus and Orchestra of the National
BEETHOVEN: Quartet for Strings, strumental lines. The feeling is vigorous, Opera of Sofia, Jerzy Semkow, cond.
No. 15, in A minor, Op. 132 radiant, and thoroughly lyrical. Happily ANGEL SCL 3714, $17.37 (three discs,
too, Schmidt- Isserstedt is here allowed stereo only).
2 Yale Quartet. CARDINAL VCS 10005, full elbow room for all repeats. As for
$3.50 (stereo only). the playing per se, the sometimes The recording company that enjoys the
crotchety Vienna Philharmonic performs exclusive services of Boris Christoff has
This release speaks well indeed for the superbly in this venture. Though it lacks a problem. Both by voice and by tem-
Yale. Quartet's prospective future as pace a first -desk excellence like that of, say, perament Christoff is ideally suited to
setter for American chamber ensembles. the Cleveland Orchestra, it more than all those colorful basso roles of the
Though the present disc marks a record- compensates for an occasional unin- Russian repertoire; but how-outside of
ing first for the group, it should be gratiating solo by offering uniquely indi- raiding the Soviet Union itself-does
pointed out that not only have these four vidualistic sonority and first -rate en- one conjure up a cast and chorus that
musicians (Broadus Erle and Yoko semble work. can match his idiomatic command of
Matsuda, violins; David Schwartz, viola; The great, late -period HandeliaR- the Russian language and operatic style.
Aldo Parisot, cello) been playing as a derived Consecration of the House over- EMI has courageously fought on the
unit for half a dozen years but Erle ture gets a fleet, idiomatic reading which horns of this dilemma three times in
and Parisot were colleagues in the New lies midway between Toscanini's knife - the past fifteen years. Their efforts,
Music Quartet. edged galvanism and Klemperer's sober thanks to some clever casting improvisa-
The Yale's most impressive and im- deliberation. H.G. tion, produced two amazingly successful
mediately recognizable attribute is its recordings of Boris Godunov, and one
radiant sound (illuminated by Vanguard's not so successful performance of Glinka's
sunny ambience). Here is a group with BERWALD: Symphony No. 5, in C A Life for the Tsar.
a truly unified line of tone, from ( "Singulière ") -See Mendelssohn: When Boris number two was taped in
Parisot's assertive cello through the in- Symphony No. 5, in D minor, Op. Paris several years ago and a chorus
quisitive and searching lyricism of Erie's 105 ( "Reformation "). was required, Christoff suggested im-
violin. Firm intonation seems less a porting the ensemble from his native
goal than an easily maintained stand- opera house in Sofia, Bulgaria; solo
ard. The rich suspended lines of the .!/ BLOCH: Schelomo; Israel Symphony members of the company would also
Lydian molto adagio bring to the fore be useful for filling in the opera's numer-
the Yale's incredible facility to play Zara Nelsova, cello (in Schelomo); ous short character roles. Evidently the
seemingly indefinitely with dead -eye ac- Blanche Christensen and Jean Basinger plan worked to everyone's satisfaction,
curacy. Fraenkel. sopranos, Christina Politis and because last year EMI brought the Sofia
If there is one thing to quibble over, Diane Heder, contraltos, Don Watts, National Opera to Paris in toto- soloists,
it is that these artists play almost too bass (in the Symphony); Utah Symphony chorus, and orchestra -to support their
beautifully. I make this statement warily, Orchestra, Maurice Abravanel, cond. noted former colleague in this first stereo
for it might be taken to mean that they CARDINAL VCS 10007, $3.50 (stereo recording of Prince Igor. I say "support"
are content to play for beauty of tone only). advisedly, for there can be little ques-
alone, at the sacrifice of depth. In fact, tion about who dominates the perform-
they delve penetratingly into the murky As far as such a dangerous word as ance: with the incredibly vital force of
tasy world. Yet there are moments -

and explorative areas of Beethoven's fan-
usually calling for a certain abrasiveness
"authoritative" may be applied to mu-
sical performance, Zara Nelsova's in-
terpretation of Schelomo deserves it,
his personality and the cutting power
of his voice, Christoff takes over com-
pletely whenever his boisterous Prince
(as at the beginning of the alla marcia. for she performed and recorded the Galitzky or smooth Khan Konchak is on
where a strong tonal contrast is implied
after the seventeen- minute adagio)
when the players seem unwilling to
- work with the composer to his enthusias-
tic approval. Her latest recording, issued
now on Vanguard's new middle -price
microphone.
The precedent for one singer in these
two roles dates back to Chaliapin.
spoil their gorgeous sound even for the label, has the advantage of a finer or- Technically, of course, there is no prob-
sake of the music's more cogent de- chestral accompaniment than Bloch him- lem since the Prince vanishes after Act I
mands. self could provide. This Schelomo seems and the Khan appears only in Acts II
Yet this is a quibble, in terms of a to me just about ideal. The solo part is and III, and one can't object to the
performance of such substance and in- wonderfully exciting and expressive with- custom on this recording for Christoff
tegrity. S.L. out ever becoming fulsome, and it is is in generally splendid vocal condition
A closer look at the KLH* Receiver.
Reception
On both AM and FM, the stations. selectivity and AGC char-
KLH' Receiver is designed On AM, the receiver is acteristics, you will also
to provide effective recep- designed to provide a be able to pick out stations
tion characteristics. On maximum of musical quickly and comfortably
FM, its excellent IHF pleasure from a less -than- on the crowded AM dial.
sensitivity (2.5 microvolts) ideal medium. To do so The AM and FM sec-
is supplemented by quick required steering a careful tions, completely inde-
limiting that provides 40 middle course between pendent of each other
db of quieting at 4 micro- very wide bandwidth (fine throughout, tune easily
volts and full suppression for getting optimum high - and precisely. As with all
of background noise at frequency response on the of our other tuner circuits,
well under 10 microvolts. few really good broadcasts, we provide vernier tuning
Stations that "come in" at but prone to interfering action, which we believe
all are almost certain to be whistles and "hash ") and to be simpler, more precise,
fully listenable. And effec- the easily- engineered and far more trouble -free
tive sensitivity is increased narrow bandwidth char- than slide -rule, dial -cord
still further by excellent acteristic that provides tuning. Tuning ease is also
selectivity, which prevents neither trouble nor musical aided by a meter that
strong stations or spurious sound. We think you will serves as a "zero- center"
signals from interfering find our choice audibly indicator for FM and a signal -
with reception of weak right. Because of excellent strength meter for AM.
Convenience and
Flexibility
The KLH Receiver is
designed to offer every
control facility likely to
add to enjoyment of music
at home. It is also designed
to be positive and easy to
operate, without a con-
fusing clutter of control
features. Everything from
switches (push-to- operate,
push -to- release) to panel
graphics is aimed at clear,
unambiguous identification
and operation.
The receiver will power Power
two stereo pairs of The KLH Receiver is for loud listening levels at a soul- satisfying level.)
speakers, together or inde- powerful enough to drive with demanding musical By the most stringent
pendently. It has a front - virtually any loudspeaker material. (While most rating method, with both
panel headphone jack, and now made. We could call music makes only channels driven simultane-
the provisions for speaker its amplifier "100- watt" by momentary demands on ously into 8 ohms, the KLH
shut -off permit listening today's 4 -ohm rating amplifier power, a pipe Receiver will deliver at
to headphones in one room method, but we believe organ or other instrument least 25 watts continuously
and speakers in another. that its IHF power into with significant bass per channel (50 watts in
There are rear -panel out- 8 ohms -better than 75 output may call for a great stereo).
puts and inputs for tape watts -is the more mean- deal of steady -state power. Thanks to excellent
recording, and an extra set ingful rating for most of Without sufficient con- stability and overload
of inputs for connection of the speakers now avail- tinuous power, an characteristics, it "sounds"
a second recorder or other able, including our own. amplifier may sound bass - powerful-with no sense
music source. In addition to its IHF shy, "mushy," or raucously of strain or compression at
Speaker connections stereo power, it offers the distorted when you listen peak orchestral levels. Its
don't require a screw- healthy proportion of to an organ or the massed solid bass power reinforces
driver. We provide simple continuous power needed drums of a marching band this impression.
knurled connectors on
terminal posts. (No more
searching for the Price:
mysterious disappearing The Suggested Price of the KLH' Receiver
screwdriver, no need to (KLH Model Twenty- Seven) is S299.95.t
steal a table knife from the We believe it is everything a receiver should be.
silverware drawer.) At any price.
Panel -mounting can be For further information write to KLII,
achieved easily by removal 30 Cross Street, Cambridge, Mass. 02139 (Dept. FR6
of the walnut side panels
and use of the simple I Ai
(slip -in) front -locking
clamps we provide. SLIGHTLY HIGNER IN THE NEST A TRADEMARK OF KLH RESEARCH AND DEVELOPMENT CORK
JANUARY 196S 71
-he begins the Plologue sounding a bit Besides the excision of Act Ill there are looking for benign gravity rather than
raspy perhaps, but thereafter settles down numerous internal cuts, including, in- austerity, has come up with a perfect
to giving us some really first -class sing- explicably, about twenty -four score pages choice for the part. The conductor is
ing. Not surprisingly, he has the time of from the overture. even more fortunate in his soprano solo-
his life with Galitzky, wining, wenching, If you can find it, the MK recording ist; Agnes Giebel's ravishing, flute -pure
and teasing the daylights out of poor by the Bolshoi is still the Prince Igor singing of the fifth section is the most
Yaroslavna, Igor's rather stuffy wife. He to have despite the poor sonics. As for sublimely beautiful I have ever heard.
catches the rough humor of the part admirers of Christoff, they would do Helen Watts sings her Alto Rhapsody
perfectly while hinting that beneath the well to wait and see if Angel will gather with the seraphic, celestial quality which
bluff exterior there lurks a Mephisto- J his contributions onto a highlights disc. made Kathleen Ferrier's interpretation
phelean villain. P.G.D. so admired. There are other, earthier,
Christoff's Konchak is a shade less ways to do it of course, but to make
impressive-only, however, when meas- the Watts /Ferrier method work requires
ured against the really stupendous per- BRAHMS: Ein deutsches Requiem, an awesome combination of superlative
formance of Mark Reizen on the im- ( Op. 45: Rhapsodie, Op. 53 ( "Alto musical and vocal sensitivity. Miss Watts
ported MK recording. Christoff's Polov- N Rhapsody"); Nänie, Op. 82 and M. Ansermet have produced a
tsian chieftain is properly suave and hos- classic here. Similarly, the conductor's
pitable to his Russian captives, but I Agnes Giebel, soprano, Hermann Prey, reading of Nänie (based on Schiller's
miss Reizen's veiled, threatening tone, baritone (in the Requiem); Helen Watts, poetry) is wonderfully cogent and per-
the iron-fist -in- the-velvet -glove manner. contralto (in the Rhapsody); Les Choeurs ceptive.
And Christoff's occasional fits of laughter de la Suisse Romande et Pro Arte de This album might well be the crown-
here sound rather stagy. Unfortunately, Lausanne; Orchestre de la Suisse Ro- ing achievement of Ansermet's long and
Angel follows tradition by omitting Act mande, Ernest Ansermet, cond. LONDON distinguished phonographic career. 1
Ill, which means that we only hear A 4265 or OSA 1265, $11.58 (two discs). know that I shall return to it many,
half the role. Granted that the third act many times: such penetrating, unas-
is probably more Glazunov than Borodin, Ansermet's way with these Brahms works, suming musicianship borders on genius.
it nevertheless does fill out the character the German Requiem most particularly, H.G.
of Konchak and also clarifies a few might be likened to the restoration jobs
obscure points in an unbelievably diffuse lovingly done with some of Rembrandt's
and ill -organized plot. Surely, Christoff canvases. The music, like the paintings, BRAHMS: Quintet for Piano and
could have been persuaded to sing the shines with renewed, pristine, brightly Q Strings, in F minor, Op. 34
Khan's aria from this act as an addenda hued color and may take some getting 110
to Side 6. used to from those who have become Artur Rubinstein, piano; Guarneri Quar-
This leaves us with the (presumably) accustomed to dull browns and murky tet. RCA VIcroR LM 2971 or LSC 2971,
leading singers of the Sofia National grays. Ansermet's performances here are $5.79.
Opera-and here, I'm afraid, the land- gentle and lyrical, but the prevailing inti-
scape clouds over considerably. The only macy never includes that soap -box kind Brahms made three tries at this work
conceivable way to approach Prince Igor of Gemiitlichkeit beloved by some Vien- (if so tentative a word as "try" may be
is to find six generously endowed singers nese specialists. It is surprising to hear pardoned in reference to such confident
who can do full justice to the fine tunes how close this Requiem can sound to music) before he reached the solution
liberally distributed throughout the score. Faurés, and even more surprising to dis- that satisfied him. He wrote the piece
There is precious little else to this color- cover how successful such an approach first for string quintet (two cellos), then
fully costumed concert than its pleasing proves. The bright, reedy -pure, almost took Joachim's word for it that few
melodies: the characters have potential boy -sopranoish hue of the Swiss chor- ensembles this side of heaven could do
interest, but the only one with anything isters helps the effect along. So does M. justice to the climaxes: he next arranged
to do other than sing to the moon or Ansermet's unflagging endeavor to exit for two pianos (this is published as
wring his hands is Galitzky. So despite pose syncopes, pizzicatos, woodwind in- Op. 34b); finally, he reworked the score
the careful musicianship and honest terjections, and other such aspects of the for piano and string quartet. There it
energy of Mmes. Wiener and Penkova scoring capable of alleviating the dirge- stands, full of joy, triumph, darkness,
and Messrs. Todorov and Chekerliiski, like bottom-heaviness of the cellos and and surging power, for those who care
their no more than serviceable vocal
qualities are a definite handicap to one's
enjoyment of the performance. Julia
contrabasses. The outer movements,
though never hurried. have a cameo
purity and melos: of sentiment, there is
to plunge in.
The best ensembles have plunged
among them, the Juilliard with Fleisher,
-
Wiener does add a nice sense of urgency plenty; of sentimentality, nary a trace. ,the Budqpest with Serkin, and most re-
and despair to the Finale of Act I as The second and sixth sections (this cently RCA's distinguished company.
the Polovtsian hordes descend upon Requiem, when you think of it, is in arc Comparisons are hard, because the Rub-
Putivl; but her Slavic tremolo does not form like the Fourth and Fifth Bartók instein /Guarneri performance is so good
fall graciously upon the ear and as a Quartets!), so often exhibitions of mus- -free, sweeping, rhythmically incisive,
result her two long laments are rather cular energy, are crisply pointed, quite almost savagely strong in certain of the
tough going. Chekerliiski has a big, burly, brisk, and basically understated as An- climaxes -and so is the Serkin /Budapest.
somewhat colorless baritone, frayed up sermet gives them. The trombones in (If the chips were down, I would have
top and weak in the lower reaches; his those movements are more veiled than to give up the Fleisher /Juilliard, fine as
Igor is forthright, even noble at times, usual, though easily audible. Finally we it is; its tight control, its preference for
but more often than not his technical come to the central movement, which understatement, its somewhat cerebral at-
limitations are all too evident. Tenor for me is the high spot of Ansermet's titude yield, in the long run, less pleas-
Todorov and mezzo Penkova are at least conception (as well as its obvious cor- ure.)
enthusiastic in their love- making. but as nerstone from a structural standpoint). This disc represents the first collabora-
singing it sounds labored and callow. The conductor lets it waft gently upward tion between Rubinstein and the Guar-
The chorus walks off with top musical like a prayer. He allows plenty of leeway neri, and it is a splendid thing to hear.
honors-a large group evidently, but with between the phrases and at no time har- The balances are exactly what they ought
a lovely over -all blend and quite a fabu- ries the music into moving faster than to be, nobody gets in anybody's way,
lous control of choral color and dynamic its own heartbeat. How clear, firm, and everybody sees eye to eye on the man-
nuance. They have been recorded a bit flexible it sounds when allowed to ner in which shared phrases ought to be
too distantly for full effect in the breathe! played. And the best of it is that this
Polovtsian Dances, however. The orches- Hermann Prey is a lithe baritone of all seems perfectly natural; the vitality
tra plays smartly under Semkow, and course, not the darkly menacing Kipnis/ springs from deep sources in both parties,
the engineering. though perhaps too con- Jerome Hines /Kim Borg /Martti Talvela and nothing can damp it. It would not
servative and lacking in spaciousness for type of singer sometimes used for the be fair to leave unmentioned one or two
this lush music, is tolerably well done. third movement. Ansermet, obviously isolated spots in the Serkin /Budapest ver-
72 CIRCLE 54 ON READER- SERVICE CARD --).
Several interesting facts about the design of the new Dual 1015:
after you read them, you may wonder why other automatic turntables aren't made this way.
You've probably noticed that many Dual's cue -control is accurate and
of the new automatic turntables, in several gentle. Rate of descent is 0.5cm /second and
price ranges, offer features like anti -skating, controlled by silicon damping and piston ac-
cueing, special motors of one kind or another, tion (which also prevent side -thrust from anti -
plus some pretty fancy designs for overall app- skating). And the cue -control works on auto-
earance. matic as well as manual start.
But our features are different be- Here are a few more things that
cause we don't offer them just for the sake of should interest you:
offering them. They are there to perform a real Our hi- torque motor is a constant
function. With precision and accuracy. speed motor. (It maintains record speed within
Take our anti -skating control. 0.1% even if voltage varies from 80 to 135 volts.)
It's there because, quite simply, our It's quieter and more powerful than a syn-
low -mass tonearm skates. That isn't something chronous motor, and is precisely linked to the
to be ashamed of. It indicates bearing friction platter to turn the record accurately. Not just
so low (less than 40 milligrams) that there's no itself. Our counterbalance has practically no
internal resistance to skating. Even at '/a -gram. overhang (for compactness), and locks in posi-
And that's not all. tion to prevent accidental shifting.
Our anti -skating control is continu- By the way, about that fancy de-
ously variable and dead -accurate. It doesn't sign for overall appearance:
under -compensate or over -compensate. This We know that a lot of you wouldn't
means the stylus will track with equal force on even consider a tcp, precision product if it
both walls of the stereo groove. didn't look good.
Okay, now for our cueing control. With all that precision, and a price
The purpose of cueing is to lower of only $89.50, the Dual 1015 gets better look-
or lift a stylus at a predetermined spot on a ing all the time. (So do all the other Duals, from
record. Accurately and gently. If it does the lOIOS at $69.50 to the 1019 at $129.50.)
neither, or just one of these things, it's not cue- United Audio Products, Inc., 535
ing. Madison Ave., New York, N.Y. 10022 Dual 1015
sion that I prefer (the pungence of the qualities that make for such success in that makes Furtwängler's performance
cello beats at the opening of the Scherzo, the Bruch seem, however, a little alien unequaled in my experience, whether on
the bouncy lightness of Serkin's dotted- to the Franco -Spanish idiom of Lalo. records or in the concert hall. Though
rhythm figures in the first movement), The tone is a bit overrich. the phrasing the sound is dated, the vividness of the
but the new version is worthy to stand a little stiff, and the rhythm lacking in musical experience emerges undimmed.
beside the older, and what more need the lighter spring needed in this music. To try to sum up this conflicting list
one say?
According to the notes by RCA Vic-
tor's Max Wilcox, who produced the{
record, more Rubinstein/Guarneri col-
laborations are to come -Schumann,
-
I, Francescatti and Szeryng have ap-
"roached this music with aristocratic 1 c
temperament.
Nor can I in all honesty avoid point-
ing to rare but very disturbing blemishes
of merits: for his power and nobility,
Furtwängler remains my first choice; for
sheer technical quality of reproduction,
the recommendation must go to Mehta-
for whom, by the way, the Vienna Phil-
Brahms, and Fauré piano quartets, etc. in Stern's performance. In the very open- harmonic plays even more superbly than
Let's hope the promise is kept. S.F. ing flourish of the Lalo, his aim misses it does for Schuricht; Jochum on Helio-
both the pitch and tone of the high E, dor remains my preference in the bargain
with the result that the listener is badly area. But for a sound, always sensitive,
BRAHMS: Sonatas for Clarinet and jarred at the very beginning of what is and often exciting modern version, ad-
Piano: No. 1, in F minor, Op. 120, an otherwise technically secure perform- mirably recorded (though in my copy
No. 1; No. 2, in E flat, Op. 120, ance. A similar failure with a high note very badly pressed), Haitink cannot be
No. 2 in a crucial phrase can be heard in the bettered. B.J.
finale of the Bruch, again in the climac-
Harold Wright, clarinet; Harris Gold- tic note of the main phrase.
smith, piano. CROSSROADS 22 16 0141 or Stern's solo performance is surrounded, CLEMENTI: Trios for Piano: No. 1,
22 16 0142, $2.49. supported, complemented, and enhanced in D; No. 6, in C ( "La Chasse ");
by the Philadelphia Orchestra at its best No. 8, in F-See Stradella: Sin-
Aside from the question of viola versus -in performance and recording. P.H. fonias a tre.
clarinet there are basically two ap-
proaches to these products of Brahms's
twilight years. The more immediately ef- BRUCKNER: Symphony No. 9, in D L' CONSTANT: 24 Preludes for Orches-
fective is to treat them as reassertions minor (Original Version) tra
of earlier days -that is, impulsive, im- tNigg: Concerto for Violin and Or-
petuous, and robustly romantic. Wright Amsterdam Concertgebouw Orchestra, chestra
and Goldsmith have decided upon the Bernard Haitink, cond. PHILIPS PHM
alternate course; they see in these two -t D 500162 or PHS 900162, $5.79. Christian Ferras, violin (in the Nigg);
sonatas the serene reflections of a master Orchestre Philharmonique de l'O.R.T.F.,
musician, the final gentle glow in a long Vienna Philharmonic Orchestra, Carl Charles Bruck, cond.; HEUODOR H 25058
and productive life. Schuricht, cond. SERAPHIM 60047 or S or HS 25058, $2.49.
These are not "exciting" performances. 60047, $2.49.
They are, however, intelligent, well inte- This extremely interesting disc intro-
grated, and comfortably lyrical. Wright's The Schuricht recording of Bruckner's duces two French composers who are
mild- mannered vibrato is particularly unfinished last Symphony has been avail- well known abroad but who, to my
suitable for the reflective nature of his able in Europe for about four years. The knowledge, have never appeared in Amer-
and the pianist's vision. Tempos are performance is a cogent one; and if you ican record lists before.
broad and spacious; and though I find Jochum (on Heliodor) too dilatory, The 24 Preludes for Orchestra by
wouldn't have minded an occasional the new issue may enjoy your preference Marius Constant last fifteen minutes.
touch of emotional vehemence, within as far as the bargain field is concerned. Some of the preludes, according to the
the context of these artists' interpretation For sanity, strength, and directness -ex- jacket notes, are only six seconds long,
there is a healthy degree of elasticity and cept in the rhythm of the opening bars, but they flow one into the other and
movement. which Schuricht, like most conductors of the total effect is of a single composi-
Equal partnership is affirmed by the this work, distorts -this performance is tion. Its primary emphasis is upon vir-
generally excellent balances. Good sound. admirable, and it is also very well re- tuoso orchestration, beginning with a
S.L. corded. dense, rhythmless sheet of sound such
For my taste, however, Schuricht as one associates with electronic music
drives rather too briskly through the outer and going on to all manner of sparkling,
BRUCH: Concerto for Violin and movements. Haitink's relaxed, finely pungent, and entertaining devices. Con-
Orchestra, No. 1, in G minor, Op. judged performance, by contrast, takes stant is perhaps best known as com-
26 its place among the very best available. poser for Roland Petit's Ballets de Paris,
fLalo: Symphonie espagnole, Op. 21
Isaac Stern, violin; Philadelphia Orches-
The recording does not quite rival the
grandeur and richness London achieved
on one 64- minute disc! -for Mehta, but
- and there is something of the spirit of
ballet music about this score too; it is
essentially light and entertaining, and
tra, Eugene Ormandy, cond. COLUMBIA Haitink's over -all view of the work is as such is an extremely successful com-
ML 6403 or MS 7003, $5.79. more satisfying than Mehta's, which, position.
deeply moving as it is, out-Jochums The Violin Concerto by Serge Nigg
In this kind of late Romantic music Jochum in its overinsistent attention to is something else again. Its point of
Stern, Ormandy, and the Philadelphia detail. departure is not so much virtuosity as
Orchestra are perfectly matched, pro- Of the other performances, Walter's the broad lyricism of which the violin
ducing what modern Europeans now is vitiated by the thin, utterly un -Ger- is capable, and this is superbly exploited,
identify as a characteristically "Ameri- manic sound of the Columbia Symphony especially with Ferras as soloist. The
can" instrumental sound -big, a bit brass. His is a well- shaped, sensitive read- idiom of the work, if it is possible to
brash, expressive but avoiding the ex- ing, but it is rather deficient in sheer im- imagine such a thing, lies somewhere
tremes of both vulgarity and prettiness. pact. Jochum's newer performance on between the Prokofiev violin concertos
On this occasion, the Bruch fares best Deutsche Grammophon does not seem and the Berg; at all events, this is a
in Stem's hands. The slow movement, to me a sufficiently striking advance over beautiful and serious piece and one that
the best music in the plea, receives a his admirable Heliodor disc to justify its should have considerable use if the vio-
solo performance that should be re- much higher price. linists who perpetually say they are look-
quired listening for every young musi- All of which leaves us with Furt- ing for new material are really telling
cian- violinists and others -as a lesson wängler. Like Schuricht's, Furtwängler's the truth.
in just how far the expressive resources first -movement tempo is unusually fast. Recording is very good, and perform-
of phrase, timbre, vibrato can be pushed But mere briskness is one thing, elemental ance is apparently altogether authorita-
without violating the music. The very force another, and it is the latter quality tive. A.F.
Our new 711B
has been influenced
by the company
it keeps. Matter of fact, Altec probably sup-
plies more professional audio equip-
ment for recording and broadcast
studios, concert halls, stadiums and
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In the amplifier section, the 711B
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of ± I dB, 15- 25,000 Hz. Automati-
Never underestimate the importance of facturer in the field. cally resetting circuit breakers protect
good heredity. Or of good environ- As a result, what's new to others is the components, and a built -in FM mut-
ment. Our 71 I B Stereo FM Receiver pretty old hat to us. Solid state, for ing circuit provides noise -free tuning.
has both going for it. example. We pioneered in the use of Obviously, the 7 I B has the latest
1
From concept to production line, it's transistors for audio circuits over 10 of everything. We wouldn't consider
shared the attention and concern of the years ago, developing special amplifiers
anything less.
same hands and minds that produced that are used by telephone companies
Take a look at it soon, at your Altec
other fine Altec audio equipment. throughout the country, to give you
dealer's. And while you're there, ask
Equipment which has already made its better service.
mark in the world, in professional re- With a background like this, it for your copy of our new 24 -page
cording studios such as Paramount stands to reason the 711B would be folder on stereo components and sys-
Pictures, ARC -TV, Disney Studios, and something special. That it would have tems. Or write directly to us.
others. As well as in entertainment an FET front end and integrated cir- The 71 B is yours for $399.50. And
1
centers like the Los Angeles Music cuits as a matter of course. (Fact is, if you want to hear it at its best, choose
Center, Lincoln Center's Philharmonic there are two of them in the IF strip, a pair of matching Altec speaker sys-
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-I Division of
2,QP7 Ling Altec, Inc.,
I naheim, Calif. 92803

JANUARY 1968 75
DVORAK: Symphony No. 8, in G, sic well. Fournet evokes sensitive and is particularly regrettable in Miss Lerer's
Op. 88 sensuous phrasing and harmony from the case, since she has a large part and a
orchestra and chorus, though I miss the promising voice.
Hamburg Philharmonic Orchestra, characteristically fast vibrato of the The best of the principals is Alexander
Charles Mackerras, cond. CHECKMATE French winds and the rather cold color Young as Hercules' son Hyllus: his sing-
76006, $3.50 (stereo only). of a French chorus; it all sounds a ing combines forthrightness with sensi-
trifle robust and Central European. P.H. tivity, and his embellishments are the
Mackerras and his able orchestra give most accomplished to be heard in the
a performance of what might well be set (except for those in Martin Isepp's
called DvoMk's "Pastorale" reminiscent HANDEL: Giulio Cesare stylish continuo). Teresa Stich -Randall
in its essentials of Szell's Cleveland ver- is in good form as the young captive
sion. One finds much the same blend of Beverly Sills, Norman Treigle, et al.; princess Iole, drawing a firm, accurate
taut rhythm and superimposed geniality Chorus and Orchestra of the New York line and producing much beautiful tone.
here. The orchestral playing is rich and City Opera, Julius Rudel, cond. Her attempts at trills are more like
smooth, yet the discipline is always ap- wobbles on one note, but this is at least
parent-even in the expansively paced For a feature review of this recording, preferable to Maureen Forrester's bland
trio to the third movement, where see page 63. ignoring of the whole trill problem.
Mackerras, like Szell, urges his strings There is something oddly domestic -
to swoop rather more than you might sounding about Forrester's queen: even
expect. At every turn, the folkish ele- HANDEL: Hercules when singing at her best, as in several
ments in the music are played down in
favor of a more generalized kind of ro-
manticism. The impressive grip of a
Teresa Stich -Randall (s), Iole; Norma
Lerer (ms), Lichas; Maureen Forrester
of her florid arias, she sounds totally
uninvolved in the words and the drama
"Resign thy club and lion's spoils, and
-
structurally oriented musician is unmis- (c), Dejanira; Alexander Young (t), fly from war to female toils!" might be
takable. Hyllus; Louis Quilico (b), Hercules; a mild plea to an erring husband to
Of recent stereo editions (I have Baruch Grabowski (bs), Priest of spend less time at the Rotary and more
heard all except the Karajan) I would Jupiter; Gerhard Eder (bs), First Tra- at home helping with the dishes, rather
rank the present brilliantly engineered chinian; Martin Isepp, harpsichord; Vi- than the bitterly scornful accusation of
disc alongside the recommended versions enna Academy Chorus; Vienna Radio degeneracy Handel and his librettist
of Kubelik (DGG), Munch (RCA Vic- Orchestra, Brian Priestman, cond. RCA Thomas Broughton intended.
tor), and Szell /Cleveland (Epic). I will VICTOR LM 6181 or LSC 6181, $17.37 Still, with all these shortcomings, the
add, though, that for myself I'd sacri- (three discs). fire, grandeur, and beauty of the score
fice a wee bit of sonic luster (and save remain discernible. RCA Victor has done
more than a wee bit of cash) to enjoy Simply to list the weaknesses of this dis- its best by the set, presenting it with
the truly inspired, superbly subtle Szell/ appointing set would make too depress- a handsome booklet containing pictures,
Concertgebouw performance recently re- ing reading. The Handel Society of notes, and full text. B.J.
issued on London's economy Richmond New York, under whose auspices it ap-
label. H.G. pears, has already gone under as a result
of losses sustained through its champion- HAYDN: Die Jahreszeiten
ETLER'TriPtr b,.24441e.40- ship of Handel opera, and the last thing
FRANCK: Psyché I want to do is to discourage future en- Gundula Janowitz, soprano; Peter
terprises in the same field. So let me Schreier, tenor; Martti Talvela, bass;
Czech Philharmonic Chorus; Prague begin by saying that Hercules is a mas- Wiener Singverein; Wiener Symphoniker,
Symphony Orchestra, Jean Fournet, terpiece of sublime inspiration -in his Karl Böhm, cond. DEUTSCHE GRAMMO-
cond. CROSSROADS 22 16 0117 or 22 16 excellent notes, Winston Dean pairs it PHON SLPM 139254/56, $17.37 (three
0118, $2.49. with Semele as one of "the two greatest discs, stereo only).
secular musical dramas in the English
Psyché, rather than the more obvious language" -and that there is much pleas- Two aspects of this performance of The
Symphony in D minor, may well be re- ure to be had from it even in a per- Seasons raise it far above the average.
garded as Franck's major orchestral formance as inadequate as the present One is the singing of Miss Janowitz. I
work (its inclusion of brief choral pas- one. have previously compared it with a well -
sages in no way interferes with its But the weaknesses are serious. To played oboe. Here, in addition to the
essentially orchestral nature). The origi- begin with, the recording itself is un- smooth production (effortless even on
nal and creative aspect of Franck at his grateful in tone, badly balanced (with top) of firmly centered tone, there is a
best lies in his penchant for chromatic the orchestra seemingly far behind the feminine warmth that I have not noticed
harmonies and for slithering melodic de- singers), and flawed by frequent preëcho in it before. Everything Miss Janowitz
velopment-the special achievement of and occasional dropout. Then the con- does in this performance seems to me
a Flemish- German composer, trained in ductor. Brian Priestman, seems unable thoroughly enjoyable. And so is almost
France but still under the spell of the to keep a firm grip on tempos (except everything Böhm does. All the tempos,
Wagner of Tristan and Parsi/al. The around Side 4, where things go better which are generally lively, appear to be
subject matter of Psyché and Franck's for a while) or to draw really crisp just right. He brings out the charm
treatment of it in an over -all structure playing and singing from his mediocre of such movements as the duet and
in which the five sections are musically orchestral and choral forces. chorus near the end of Spring and
interrelated are perfectly mated here. A further problem is language: not Hanne's folklike song with chorus in
The music gains through cumulative im- only does the chorus sound incorrigibly Winter; there are real power and majesty
pact: thus I find the section "Psyché et foreign -three of the soloists are obvi- in the chorus giving thanks to God that
Eros" -often played on its own-far ously uncomfortable singing in English. ends Spring, a fine storm in Summer:
more interesting and musically relevant Louis Quilico makes a virile Hercules, the hunting scene has a momentum that
in the total context than in isolated but he uses his fine voice in a heftily sweeps the listener along with it. Indeed.
performance. nineteenth -century manner; and apart in an aria like the final one, for bass,
This is the first stereo representation from his general linguistic difficulty he the orchestra is more eloquent and dra-
of the complete Psyché score-in fact, really ought to have spent five minutes matic than the soloist -a situation for
the only available recording, Van Otter - with a classical dictionary and learned which Haydn is more responsible than
loo's mono version for Epic having been how to pronounce such names as Cy- Talvela. There are one or two spots
out of print for some time. Short of a therea, Eurystheus, and even his own that could have been improved: a finely
really idiomatic performance by a major family name Alcides. The two Argentini- sung soprano melisma in the duet in
French orchestra and conductor, this ans in the cast, Norma Lerer and Baruch Autumn loses its effect because the
performance by a Czech group under Grabowski, sound still further out of orchestral syncopations are not quite
a good French conductor serves the mu- their depth with English words, and this with it, a woodwind is flat in the C
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JANUARY 1968 77
minor chords that close the Introduction Rollo, one of Ives's favorite characters. Institute; Moscow Philharmonic Sym-
to Winter. But otherwise every orchestral He represents everything that is timid phony Orchestra, Dmitri Kabalevsky,
point is tellingly made. and conventional in art and life, and in cond. MELODIYA /ANGEL SR BL 4101,
The chorus too does excellent work, this movement he tries, as he himself $11.58 (two discs, stereo only).
but in contrapuntal passages the weak- would doubtless say, to pour oil on
ness of the tenor section sometimes blurs troubled waters in a series of marvelously Kabalevsky has written some very good
the texture. Schreier sings a quiet, lyric effusive cadenzas. At least one of them is things, but the suffocatingly official
piece like the Cavatina in Summer received con fistiswatto. text by one Robert Rozhdestvensky with
nicely, but most of the time he strikes But the great thing about the Second which he is saddled here would stop a
me as a good musical mind exercising Quartet is its finale, The Call of the Mozart cold in his tracks. Sounding
control-not always successfully -over Mountains. This is Ives's Heiliger Dank - vaguely like a cross between Prokofiev's
an organ that is not firmly anchored. gesang. It is one of the truly sublime Alexander Nevsky and the Verdi
Talvela appears to be a skillful per- moments in modern music, and in all Requiem, this work lacks the fire and
former, but his voice sounds somewhat music. To say more would turn this salt of either. Only in some of the
constricted or muffled; it seldom rings review into one of those essays on orchestral interludes can one sense the
out with the fullness and roundness of transcendentalism and intuitions of the warmth and fineness of which Kabalev-
which it hints it is capable. divine which English writers produced sky is capable.
The work is performed complete, and after the Budapest recorded the Bee- Part of this sad effect is due to
the sound is first -rate. On balance, then, thoven quartets to commemorate the the straining, wobbling, and yelling of
I prefer this set to the Nonesuch version centenary of that composer's death in baritone Valaitis and the soggy work of
(reviewed in these pages in January 1927. the choirs. Valentina Levko is first -rate,
1967), which is cut and has its own
ups and downs. N.B. V
r The new Juilliard disc competes with
another, on Turnabout 34157, wherein
and her singing provides one of the few
bright aspects of this dismal busi-
pi)the Kohon Quartet does the same two ness. A.F.
works. Both recordings are excellent, but
IVES: Quartets for Strings: No. 1; the Kohon performance of the Second
No. 2 and more important of the quartets is de- LALO: Symphonie espagnole, Op. 21
cidedly the better. The Kohon version -See Bruch: Concerto for Violin
Juilliard Quartet. COLUMBIA ML 6427 or of Ives's counterpoint is much clearer, and Orchestra, No. 1, in G minor,
MS 7027, $5.79. the quotations (from the Pathétique and Op. 26.
the Second Symphony of Brahms as well
Hearing the two string quartets of Ives as from hymn tunes and popular songs)
in immediate succession is a little like
hearing one of the shorter and lighter
quartets of Beethoven's Opus 18 follow-
detach themselves more readily from
their contexts, and-the main thing -
The Call of the Mountains is a bit closer
LEHAR: Das
(excerpts)
Land des Lächelns
ed immediately by his huge Opus 132. to the Pearly Gates. But the Kohons, Overture; Immer nur lächeln. Bei einem
The First Quartet was written in 1896, having done so well on the Second Tee à deux; Von Apfelblüten; Act I
when Ives was a twenty- one -year old Quartet, play the First in an offhand, finale; Im Salon zur blau'n Pagode; Wer
sophomore at Yale. It opens with a strict, dutiful kind of way and miss almost Trat die Liebe; Meine Liebe, deine Liebe;
scholastic fugue on a Congregational everything in it that is worth hearing. Dein ist mein ganzes Herz; Ich möcht
hymn tune; the other movements are One merely needs to compare the open- wieder einmal die Heimat sehn; Zig, Zig,
known as Prelude, Offertory, and Post- ings of the two records of No. 1. Ives's Zig; Wie rasch verwelkte doch; Act III
lude, but there is nothing churchly or fine fugue is marked Andante con moto. finale; Dieselbe sonne-Liebes Schwes-
organlike about them, and the subtitle, The Juilliards take it Andante con moto; terlein.
A Revival Service, which is often at- with the Kohons it is a brusque Allegro
tached to this work, is merely a bit of moderato; and so it goes all the way Dagmar Koller, soprano; Valerie Good-
folksy hard sell. The Prelude is a scherzo, through. The Juilliard version is full of all, soprano; Giuseppe di Stefano, tenor;
the Offertory is a slow movement in lovely touches and refinements which Heinz HoleLek, baritone; Orchestra of
ABA form, and the Postlude ends it all the competition was unable to see. the Vienna Volksoper, Heinz Lamprecht,
Allegro marziale. The whole piece is as There is a third record of the Second cond. LONDON OM 36052 or OS 26052,
tuneful and beguiling as only youthful Quartet, by the Walden Quartet, on $ 5.79.
Ives can be, with marvelous lurches from Folkways 3369, but it was made twenty
key to key in place of modulation, and years ago, did not employ the best re- Praise with faint damns for this generous
numerous bonbons fresh from Herr cording techniques of its period, and no disc of good- tempered (and mostly well -
Dvorák's melodious Konditorei. longer even sounds like a string quartet. tempered) music, a first -rate operetta
By 1913, when the Second Quartet was Putting it on the turntable after Juilliard from the hand of Vienna's most genial
completed (after six years of work), and Kohon, it seems to present the music waltz king. The Land of Smiles is a
Ives had entered a totally new world. on some weird electronic instrument, bit of chinoiserie dating from the Twen-
He had abandoned tonality and the and for this reason it must be eliminated ties, when such things were specially
closed forms associated with it; his style from the running except as a document: liked, and when Lehár's melodic gift
was now one of open forms, immensely it was one of the very earliest complete was at its most potent. If Smiles has not
complex and immensely dissonant coun- recordings of a work by Ives ever is- the sheer momentum and zip of, say,
terpoint, a rhythmic texture so involved sued. The Merry Widow, it compensates with a
as frequently to demand the barring of If you want the best of these quartets full ration of gentle and appealing melo-
taneously, and-among other things

a kind of Joycean stream-of-conscious-
-
the four voices in different meters simul- on contemporary records, buy the Juil-
liard and the Kohon, split them down the
middle. and join the Juilliard's face con-
dies. Here is a Viennese girl falling in
love with a visiting Chinese prince,
following him home to Peking, learning
ness series of allusions to the music of taining No. 1 to the Kohon's side of there that East is one thing and West
other composers. No. 2. A.F. another; going home. Only forty years
Ives said the Second Quartet was "for old it may be but it is nevertheless
four men who converse, discuss, argue a period piece more remote from our
(politics), fight, shake hands, shut up KABALEVSKY: Requiem to the time -and our China-than Sumer is
-then walk up the mountainside to view Memories of Those Who Were icumen in.
the firmament." The three movements Killed in the Struggle Against Smiles is all escape of course; but
bear titles that really mean something: Fascism, Op. 79 there is nothing very arduous on the
Discussions, Arguments, and The Call of way and lots to enjoy when you arrive.
the Mountains. Arguments is distin- Valentina Levko, mezzo; Vladimir Va- Many of the tunes will be familiar,
guished by the personalization of its sec- laitis, baritone; Moscow Chorus and most specially "Dein ist mein ganzes
ond violin part. The second fiddle is Children's Chorus of the Art Education Herz" (which does not, as sgmebody
PERFORMANCE STUDIO PRO 120 SPECIFICATIONS
AMPLIFIER SECTION:
IHF Power Output: 120 watts total, IHF Standard Damping Factor: 50 to 1
at 0.8% THD, 4 ohms (60 watts per channel)
- - -
Noise Level: (Below rated output) Tape monitor:
RMS Power Output: 30 watts RMS per channel at - 83 dB Auxiliary: - 80 dB Phono: - 60 dB
0.3% THD, 8 ohms Tape Head: - 63 dB
Frequency Response:
100 kHz
10, -3 dB from 10 Hz to
- -
0.4 Volts
1 mV at 500 Hz
Auxiliary: 0.4 Volts -
Input Sensitivity: (For rated output) Tape Monitor:
Tape Head:
Phono: 4 mV at 1 kHz
Power Bandwidth: 10 Hz to 40 kHz, IHF Standard
Intermodulation Distortion: Less than 0.5% at any
combination of frequencies up to rated output
ohms-
Input Impedance: Phono and Tape Head: 47,000
Tape Monitor: 250,000 ohms
Auxiliary: 10,000 ohms
-
Tone Control Range: ' 18 dB at 20 Hz and 20 kHz Load Impedance: 4 to 16 ohms
FM TUNER SECTION:
Sensitivity: 1.6 AV for 20 dB of quieting, 2.3 p Separation: 40 dB at 1 kHz
for 30 dB of quieting, IHF
Frequency Response: ± 1/2 dB from 20 to 20,000
Selectivity, Alternate Channel: 55 dB
Hz
Drift: 01%
Capture Ratio: Less than 1 dB Distortion: Less than 0.5% at 100% modulation =
75 kHz deviation
Image Rejection: Greater than 90 dB
IF Rejection: Greater than 90 dB Multiplex Switching: Fully automatic logic circuit
GENERAL:
Dimensions: 41/2" H x 163/8" W x 12" D (including Complement: 31 Silicon & MOSFET transistors
knobs) 21 Diodes
Weight: 17 lbs. 2 integrated Circuits (each containing 10 tran-
Amplifier Protection: Three 1- ampere circuit sistors, 7 diodes, 11 resistors)

breakers
MADE BY UNIVERSITY SOUND IN OKLAHOMA
Performance like this would be con- so you can be absolutely sure the Studio
sidered excellent in receivers costing as Pro 120 will perform exactly as we say it
much as $600. In a receiver costing will. Hear this fine new receiver perform
j
$379.50 ** it might be considered unbeliev- now, in your University dealer's show-
able. That's why we submitted the Studio room.
Pro 120 to two of the nation's leading ** Manufacturer's suggested resale price.
independent testing firms. They ran it

through every test in the book and - - r UNIVERSITY SOUND
certified every one of its specifications 9500 W. Reno Oklahoma City, Oklahoma
Desk #A -81
UNIVERSITY STUDIO PRO 120
University it the proprieta.y trade name of University Sound © 1967

JANUARY 1968 79
recently suggested, translate into Thine Music for string orchestra. Its four con- now begins, achieves much in places, but
Is My Goose's Heart) so long associated tinuous sections are laid out in some- viewed over-all it is something of a dis-
with Richard Tauber. Apart from Tauber thing like the arch form favored by appointment.
(for whom Lehár wrote the role of Bartók, to whose memory the work is The conductor is at his best in the
Prince Sou -Chong and many other parts) dedicated. Composed in 1958, soon after outer movements. The opening Andante
it is surprising to note how many re- the events that liberated Polish composers comodo is given a pronounced character
nowned singers were sufficiently at- from state direction, it shows the be- of its own, so that the subsidiary tempos
tracted by the music of Smiles to make ginnings of the serial influence that has are felt very much as modifications of
records of it. The list includes Vera subsequently had so strong an effect on an always latent basic pulse whose re-
Schwarz, Aulikki Rautawaara, Irene much Polish composition -but, in spite turns are managed with a fine sense of
Eisinger, Maria Reining, Helge Ros- of serial elements, its pervasive chromati- inevitability. The slow Finale has many
wänge, Jussi Bjoerling, Richard Crooks, cism neither is nor sounds essentially impressive moments: particularly fine is
and even Lauritz Melchior. Early in the dodecaphonic. What makes it a small the ecstatically luminous string tone just
LP era there appeared an Angel two-disc masterpiece is the dramatic force created before the return to Tempo I a few pages
set with Elisabeth Schwarzkopf and by the unity of technical means with before the end.
Nicolai Gedda that I seem to remember expressive intent, and ;n particular the But Kubelik's rhythmic grip wavers
sounded pretty good. use of the augmented fourth as a sort in a slow conclusion of the first move-
In 1966 Smiles was freshly and most of "freezing agent" to arrest the development, and his second and third move-
successfully revived in Berlin. That ment of the questing chromatic lines ments are altogether less successful. The
production moved on to Vienna, then to with which the work begins. Once we tempo relationships of the Ländler are
Expo 67, and has been touring a num- have experienced the chilling effect of not convincingly established, and in the
ber of U.S. cities. The present disc the tritonal passage that brings them to textures of this movement important
lines sometimes get lost -among them
stems from that revival (which also
featured Giuseppe di Stefano in the
lead). It offers a generally proficient
a halt, all later developments take on
a profoundly moving dramatic irony
these sinuous lines think they can go
- the contrabassoon part two pages before
the end. The gait of the Rondo Burleske
and vocally attractive cast and in partic- anywhere, but the victory of the aug- is altogether too accommodating to real-
ular a well -sung (if not fully idiomatic) mented fourths has shown us that they ize the martinetish sarcasm of the music.
performance in the leading lady role can go nowhere. As a whole, then, this performance
by Valerie Goodall, who is a Texas -born The other two pieces do not attain cannot be considered a match for Bern-
soprano now singing in Europe. Two the same profundity, but they are both stein's, which I find the most powerful
Viennese singers do well too: soubrette attractive in their very different ways. of the modern versions, nor is it so
Dagmar Koller and baritone Heinz The 1954 Concerto for Orchestra is an well recorded: the sound is very good,
Holeèek. Heinz Lamprecht's conducting exuberant work which develops a folk but not always ideally clear. And if you
comes obviously from a stylish and as- theme in a variety of individual ways, are prepared to put up with antique re-
sured hand. it already has the composer's char - cording, Horenstein's Ninth remains un-
So we come at last to the singing acteristic rhythmic clarity and sense of
C, rivaled. Perhaps the forthcoming Solti
of Giuseppe di Stefano, which is the color. Venetian Games, composed in will alter the picture. B.J.
principal feature of this issue and oc- 1961, uses aleatory techniques in com-
cupies more than half of the disc. It is bination with more traditional methods.
a ringing voice and it makes an exciting Especially in the prominent exploitation MENDELSSOHN: Symphony No. 5,
sound; in a theatre its keen -edged in- of repeated -note figures, the writing sug- in D minor, Op. 105 ("Reforma-
tensity might well be triumphant; but at gests the strong influence of Varèse, but tion")
home we hear too much that is just plain Lutoslawski's personality is discernible fBerwald: Symphony No. 5, in C
loud and raw. This is a Sicilian boat- in many imaginative and poetic touches. ( "Singulière ")
man, not a Chinese prince. Every now Rowicki's performances of all three
and again (the very opening of "Von
Apfelblüten" for example) he shows
works seem exemplary -I cannot judge
his handling of the aleatory elements in
Cincinnati Symphony Orchestra, Max
Rudolf, cond. DECCA DL 10144 or DL
how softly and tenderly he can sing: Venetian Games since I have been un- 710144, $5.79.
but ten bars later he is belting it out like able to find a score, but elsewhere there
Sophie Tucker. Di Stefano has superb can be no doubt of his precision and It was apparently Rudolf's intention to
diction, really quite remarkable, but it conviction. The recording is exception- pattern his reading of the Mendelssohn
serves mainly to reveal a distinctly low - ally lifelike, and my review pressings Reformation on the Toscanini recording
bred -not just foreign -German accent. had the best surfaces I have heard (or (still available, and in very good sound);
Harsh? I went back to the record rather not heard) from American but whereas the latter was permeated
player and heard it all again. There Philips in a long time. What we need with ardent nuance and was thoroughly
are good things about his singing, lots now is the 1964 String Quartet: a Polish charged by the NBC Orchestra's shim-
of them; but there is a want of charm. recording of this magnificent work has mering execution, Rudolf's version at
And charm is to Lehár what cream is been made by the LaSalle Quartet of times veers towards Kappelmeisterish
to Viennese coffee. "Dein ist mein Cincinnati, and someone should make it stolidity. Since portions of the slow move-
ganzes Herz" is straight from the school available here. Meanwhile, the present ment, where the demands for musicality
of Mario Lanza; so for me it's back to record is highly recommended. B.J. are more easy to come by, are superbly
...Tauber and Gedda. G.M. personal and twinkling in Rudolf's ac-
count, I hesitate to place the blame sole-
MAHLER: Symphony No. 9 ly upon the conductor's shoulders. Let us
LUTOSLAWSKI: Concerto for Or- say that the Cincinnati Symphony, while
chestra; Funeral Music; Venetian Bavarian Radio Symphony Orchestra, capable and constantly improving, is
Games Rafael Kubelik, cond. DEUTSCHE GRAM- not yet geared to incandescent playing. I
MOPHON SLPM 139345/46, $11.58 (two applaud Rudolf's intent to cleanse away
Warsaw National Philharmonic Sym- discs, stereo only). the Victorian dross from this often mis-
phony Orchestra, Witold Rowicki, cond. handled score; I wish that I could be
PHILIPS PHM 500459 or PHS 900159, Kubelik's old recording of Mahler's No. more enthusiastic about his actual ac-
$5.79. 1 with the Vienna Philharmonic was so complishment.
good that the announcement of a new Berwald's Singulière is recorded here
Witold Lutoslawski (b. 1913) has made complete set of Mahler symphonies un- for the third time. Two of this corn-
less of a splash than his younger com- der his direction was welcome, even poser's known five symphonies (a sixth
patriot Penderecki in the current wave though, if anyone ought to make a new has been lost) continue to grow moss:
of interest in modern Polish music but intégrale, it is the shamefully neglected it would be nice to discover what they
he is no less important a figure. Particu- Jascha Horenstein. Kubelik's No. 9, with sound like. Rudolf tends to solidify Ber-
larly impressive here is the Funeral which his Deutsche Grammophon series wald's terse cadential stops just as
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125 stations received on a mono Dynatuner in northern New Jerséy,
an on- the -scene comparison can
and more than 60 stations received in Baltimore, Maryland on a
establish relative performance. Since simple indoor folded dipole antenna. All were logged on Dynatuners
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JANUARY 1968 SI
Schmidt -Isserstedt did on his Nonesuch The Allegri treat these two quartets hails it as "The exciting sequel to
version. Markevitch (DGG), on the other (the initial pair of the six dedicated to Carmina Burana" and the first recorded
hand, accentuated the very abruptness Haydn) as emotionally distinct entities, version to include the work's complete
his confreres seek to minimize. It all stressing the boldly individualistic tenor and unexpurgated text in English trans-
amounts to a matter of whether you want of Mozart's endless range of expressivity. lation. Both statements are matters of
your Berwald romantic in the fashion The assertive opening bars of the fact, and succinctly summarize the disc's
of Le Carnaval romain (Markevitch) or K. 387 establish the basic character of basic sales appeal.
romantic in the fashion of Schumann's the work; the musicians flex their muscles As in his record of Carmina Burana,
Second (Schmidt -Isserstedt and Rudolf). vigorously, mindful of the music's direct- Ormandy's performance reveals vigor, en-
The work makes interesting listening ness, yet at no time is there the remotest thusiasm, and a keen ear for balancing
either way. H.G. threat of ripping apart the fabric through Orff's diverse and unusual timbres and
overindulgence. K. 421 finds the Allegri sound masses. The percussive score calls
similarly occupied with projecting the for only a small portion of the Phila-
MOZART: Concerto for Piano and music in a bold, intense manner. Cast delphia Orchestra, plus several pianists.
Orchestra, No. 20, in D minor, K. in D minor, this Quartet betrays a de- The latter perform in a superbly inte-
466; Sonata for Piano, No. 17, in gree of unrest -alternating between the grated, though anonymous, fashion, and
D, K. 576 introspective melancholy of the andante the Temple University Choirs sing with
and the nervous anxiety of the first clarity and brilliance, managing, most im-
Daniel Barenboim, piano; English Cham- movement-that was to culminate in the portantly, not to sacrifice beauty of tone
ber Orchestra, Daniel Barenboim, cond. exhausting emotionalism of the great G in projecting the rhythmic thrust of the
ANGEL S 36430, $5.79 (stereo only). minor String Quintet. The Allegri brings score. Both Miss Biegen and Mr. Kness
these implications to the fore; at all times fill their solo roles with vocal skill and
It is sadly apparent from this release they maintain an urgency, a feeling of an almost mocking style of expressive
that Barenboim is not yet ready to as- pain evident whether the music is tender, exaggeration. All in all this is a much
sume the conductor's baton, certainly bold, somber, or simply straightforward. finer performance, at a higher price,
not while directing from the keyboard S.L. than the Czech version on Crossroads.
at any rate. From the outset he allows This record will probably receive con-
a latitude of precision that would em- siderable attention by virtue of the
barrass a sophisticated student orches- MOZART: Symphonies: No. 39, in printed text accompanying it. Up to now,
tra. The opening movement is a study E flat, K. 543; No. 40, in G minor, explorers of pornography have been frus-
in laissez -faire musicianship, where or- K. 550 trated by the fact that the most lurid
chestral entrances coincide with appro- sections of this text are not to be found
priate moments on the piano less by New York Philharmonic, Leonard Bern- in the original Catullus poems but were
plan than by chance. The finale is a stein, cond. Columbia ML 6429 or MS penned by Orff himself. Having in the
complete disaster for the orchestra. Bar - 7029, $5.79. past year reviewed one new recording
enboim's tempo could well have precipi- of Carmina Burana and two of Catulli
tated ulcers in the musicians, who must An oddly matched pair of recordings, Carmina, a process requiring extensive
have realized the impossibility of the this. The E flat Symphony is close -up comparative listening, I can no longer
situation. The woodwind players scurry in sound, on the coarse side; the G minor refrain from expressing my disgust for
about like so many Daffy Ducks, quack- is more distant, well balanced, perhaps these works. Not only in the texts bor-
ing desperately and producing some of even a little anemic. And there are similar rowed or fabricated but also in the naked
the ugliest sounds I have ever heard differences in the performances, with the physical impact of the music, they are
from any orchestra's wind section. orchestra playing more delicately in the pervaded by an atmosphere of deca-
Worse than all this, Barenboim's per- G minor (the Trio of the Minuet is espe- dence, of "camp" at its worst, of musical
formance as pianist indicates that this cially well done), rather less so in K. 543, devices simplified and degenerated into
generally intelligent and sensitive Mo- where important matters in the winds are their commonest and most vulgar ap-
zartean has started wearing his heart on often lost and there is a serious shortage peal. P.H.
his sleeve and seems to be indulging in of really soft playing.
the most vulgar kind of virtuosic insensi- In any case, neither performance has
tivity. Long distorted diminuendos, fussy the special vitality that marked Bernstein's PENDERECKI: St. Luke Passion;
and uncalled -for sudden color shifts, and recent Vienna recording of the Linz Sym- Threnody to the Victims of Hiro-
overzealous dynamic contrasts threaten phony. Without that kind of virtue, I'm shima
the ear. This playing does not seem like reluctant to recommend a recording that
that of the same pianist who at sixteen doesn't make the necessary separation of 1
Stefania Woytowicz, soprano, Andrzej
seemed destined to become a first -rate first and second violins: such a passage Hiolski, baritone, Bernard Ladysz, bass,
interpreter of Mozart. The Sonata is less as the piling -up of imitations in the Leszek Herdegen, speaker, Boys' Chorus,
severely afflicted with theatrics than the Minuet is vastly more effective -and Mixed Chorus, Orchestra of the Cracow
Concerto, but even here there is a dis- comprehensible -with that separation (cf. Philharmonia, Henryk Czyz, cond. (in
quieting degree of cheap display. S.L. the Klemperer recording). Is this really a the Passion); Warsaw National Philhar-
lost cause? Now that we have stereo, monic Symphony Orchestra, Witold
everyone seems to be doing away with Rowicki, cond. (in the Threnody).
MOZART: Quartets for Strings: No. one of its oldest and most valuable musi- PHILIPS PHM 2501 or PHS 2901, $5.79
14, in G, K. 387; No. 15, in D cal justifications. D.H. (two discs).
minor, K. 421
PENDERECKI: St. Luke Passion
Allegri Quartet. WESTMINSTER XWN NIGG: Concerto for Violin and Or-
19133 or WST 17133, $4.79. chestra -See Constant: 24 Preludes Stefania Woytowicz, soprano; Andrzej
for Orchestra. Hiolski, baritone; Bernard Ladysz, bass;
Imagine one of those innumerable com- Rudolf Jürgen Bartsch, speaker; Tölzer
petitions where the god of technical Boychoir; Cologne Radio Chorus and
mastery reigns supreme. In such a do- ORFF: Catulli Carmina Symphony Orchestra, Henry Czyz, cond.
main the Allegri Quartet might conceiv- RCA VICTROLA VIC 6015 or VICS 6015,
ably be eliminated before the semifinals, Judith Blegen, soprano: Richard Kness, $5.00 (two discs).
eschewing as they do the obsessive per- tenor; Temple University Choirs: Phila-
fectionism of technique characteristic of delphia Orchestra, Eugene Ormandy, I wrote at some length in these pages
so much music making today. However, cond. COLUMBIA ML 6417 or MS 7017, last April about this masterly work, in
in those spheres where intelligence and $5.79. which one of Poland's leading avant -
intuition coexist Euterpe would find in garde composers has bridged centuries of
these musicians devoted followers. The blurb on the cover of this record musical technique and expression to pro-
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83
JANUARY 1968
duce a Passion setting. as I said then, No. 2, in G; Chose en Soi, Op. 45a;
"of shattering dramatic impact and pow-
BACH'S SEAL erfully individual inspiration," which
Chose en Soi, Op. 45b; Three Pieces,
Op. 59; Music for Children, Op. 65;
will sustain comparison to Schoenberg's
OF APPROVAL Moses and Aron for its close -knit weld-
ing of philosophical idea with musical
Pensées, Op. 62.
György Sándor, piano. Vox SVBX

medium." Since then, repeated hearings 5408/09, $9.95 each three -disc set (stereo
have done nothing to change my feelings; only).
the Passion has enjoyed a triumphant
English premiere; and by the time this Save for the great romantic and histor-
review appears the first American per- ically misplaced figure of Sergei Rach-
formance (in Minneapolis under Stani- maninoff, Prokofiev was, of all the im-
slaw Skrowaczewski) will have taken portant composers of the first half of
place. this century, the most active and brilliant
Now two recordings make a simultane- concert pianist. It is no wonder that he
ous appearance in the domestic catalogue. left a whole literature of works for the
The Victrola, licensed from Harmonia instrument that parallels in scope and
Mundi, was, I believe, made just after the emotional variety his output in sym-
world premiere, which took place in phonic and other large media. The now
Münster Cathedral, Germany, on March well -known traits of his musical person-
Two new ARCHIVE stereo re- 30, 1966. The Philips release presents the ality- ranging from neoclassic lyricism
cordings that might well win recording (made a little while later, after to sardonic and driving dynamism and
the master's favor: four canta- the Cracow premiere) that, in its im- including an eye (as well as an ear) for
tas in definitive performances ported form, occasioned my April a potential public- combine to make for
review. The Victrola is, of course, a bar- uncommonly direct communication.
by the Munich Bach Choir and gain label issue. But in terms of price With this Vox set we are given Proko-
Orchestra under the inspired there is nothing between the two releases, fiev's piano music in one big package,
direction of Karl Richter, and since Philips has not only added Ro- all the solo works recorded by György
three motets sung by the noted wicki's fine performance of the Threnody Sándor, an artist whose considerable
to the Victims of Hiroshima (also avail- pianism is matched by his long contact
choir of Bach's own church, able on PHM 500141 /PHS 900141) as a with contemporary and recent music.
led by Kurt Thomas. bonus, but is marketing the two records The musical coherence of the entire set
J. S. BACH: CANTATAS NOS. 55, for the price of one. is its most positive virtue, as though
A choice between the two sets may Sándor had grown along with the chang-
189: "Ich armer Mensch "; "Meine thus be made simply on grounds of qual-
Seele ruehmt und preist" -Ernst ing and developing mind of Prokofiev.
ity. I find the Philips the more satisfying His playing of the slower, lyrical sections
Haefliger, Munich Bach Choir and performance. Three of the soloists, as of the later sonatas, for example, exhibits
Orchestra /Karl Richter MOTETS well as the conductor, are common to the added depth of inner expressivity
NOS. 228, 229, 230: "Fuerchte dich both versions, and in both their work is that distinguishes the more mature Pro-
nicht "; "Komm, Jesu, komm "; "Lo- equally admirable. It is the fourth soloist, kofiev from the occasionally sentimental-
bet den Herrn" -St. Thomas Choir, the Evangelist, who tips the balance de- izing composer of the low opus numbers.
Leipzig Gewandhaus Orchestra/ cisively in favor of the Polish perform- And as for the virtuosic passages so often
Kurt Thomas. 198 401 ance: Rudolf Jürgen Bartsch delivers his treated in an indiscriminately athletic
part in a mannered style which comes no- manner, all of them in all musical con-
J. S. BACH: CANTATAS NOS. 26, where near the grandeur and dignity of texts as precipitous (the composer's own
108: "Actus Tragicus"; "Ach wie Leszek Herdegen's more restrained yet word for the stunningly kinetic finale of
fluechtig"- Ursula Bickel, Hertha far more eloquent reading. the Seventh Sonata), to these Sándor
Topper, Ernst Haefliger, Theo Of the actual recordings, the Victrola brings a Lisztian slam -bang when it's re-
Adam, Munich Bach Choir and Or- sometimes achieves greater clarity of de- quired, but he also endows other mo-
tail than is possible in the church acoustic ments of sheer pianistic brilliance with a
chestra/Karl Richter. 198 402 of the Philips. To my mind, however, the more paced stride or a tersely ironic
Other ARCHIVE stereo releases Philips sound is more appropriate to the twist.
for the discerning collector: mystery and drama of the work. At the Of the nine sonatas (there were
same time. I must warn prospective pur- sketches for a tenth and ideas for an
FESTIVAL BAROQUE MUSIC chasers that. at least in my copy, Philips' eleventh at his death in 1953) Prokofiev
FOR WIND INSTRUMENTS by surfaces are much noisier than RCA's. reached his consummate pianistic expres-
Berger, Christian, Franck, Haus- Both sets come with texts and transla- sion in the grand group of three -Num-
mann, Scheidt, Schein, Schmelzer, tions. I prefer RCA's typography, but the bers Six, Seven, and Eight, Opp. 82, 83,
Speer- Ensemble Musica Antiqua/ Philips is more clearly and helpfully laid and 84. These are monumental displays
René Clemencic. 198 405 out. and the translation used by Philips of every conceivable virtuosic device and
is more literal and thus more useful. B.J. instrumental sonority, but they are also .
OBRECHT: MISSA SUB TUU111 true statements of all the facets of his
PRESIDIUM CONFUGIMUS personality. There is the mechanistic,
OKEGHEM: MISSA MI MI -Cap- PROKOFIEV: Complete Music for brutally cold realism of the opening of
pella Lipsiensis/ Dietrich Knothe. Piano Solo the Sixth, the long richly embroidered
198 406 song of the middle movement of the
On SVBX 5408-Sonatas for Piano: No. Seventh. The Ninth, Op. 103, represents
I, in F minor, Op. 1; No. 2, in D minor, a return to his earlier neoclassicism and
Op. 14; No. 3, in A minor, Op. 28; No. 4, a more serene philosophy. There are curi-
ARCHIVE in C minor, Op. 29; No. 5, in C, 38/135:
Etudes, Op. 2; Four Pieces, Op. 3; Four
ous. for Prokofiev, formal experiments,
anticipating thematic material of move-
PRODUCTION Pieces, Op. 4; Toccata, Op. 11; Ten Epi-
sodes, Op. 12; Five Sarcasms, Op. 17;
ments to come. These sonatas are only
for the most adept technicians. The one -
Archive Records
Twenty Visions Fugitives, Op. 22; Tales movement fantasy labeled as the Third
re distributed by MGM Records, of an Old Grandmother, Op. 31; Four Sonata, composed "from old notebooks,"
division of Metro-Goldwyn -Myer Inc. Pieces, Op. 32. On SVBX 5409-Sonatas has a special flavor of appealing roman-
Seal used by Bach on his Leipzig letters, for Piano: No. 6, in A, Op. 82; No. 7, ticism. If it is true that a composer can
from Bettmann Archive. n B flat, Op. 83; No. 9, in C, Op. 103; sin only by being boring, Prokofiev did
Sonatinas, Op. 54: No. 1, in E minor; not stray. Even the short First Sonata,
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JANUARY 1968 85
written at age fifteen, is of more than spite such advantages are the coy inter- emphasis on woodwind and string en-
historical interest. pretative mannerisms, the arbitrary tempo semble. Reiner achieves a more diffuse
Among the shorter pieces, all of them variations, the tendency to languish, and ambience, allowing soloists or sections
here included, are the minor masterpieces, what seems to me to be the conductor's more distinctive character and giving the
some of them still comparatively un- almost cynical lack of belief in the magic brass sound an almost Verdian weight.
known and rarely played. There is Music of Rimsky's fairy -tale spinning. The or- Szell's choice of overtures avoids some
for Children, for instance -really not chestral playing and sonics are a sheer of the obvious ones and offers at least
quite the educational pieces the com- delight in themselves, but for Schehera- two that are, so far as I can determine,
poser intended them to be but which zade the preferred versions still remain first representations on records-// Viag-
Sándor plays naïvely and simply as the incomparable ones by Beecham for gio a Reims and I! Turco in Italia.
though he were speaking to the young Angel and by Ansermet for London. Predictably, the Cleveland Orchestra
and himself enjoying the unusual com- R.D.D. performs brilliantly and has been re-
binations of descriptive sound. Prokofiev corded comparably. But I wonder where
apparently had a fondness for these un- the usually scholarly Dr. Szell found his
pretentious pieces, for it is said that in ROSSINI: Overtures: Il Viaggio a reading of the first drum roll in La
preparing a three -volume collection of Reims; La Scala di seta; L'Italiana Gazza ladra: in my score, each of the
his works he mercilessly deleted com- in Algeri; La Gazza ladra; Il Turco two alternating snare drums is marked
positions from other previously published in Italia piano before they join in a crescendo to
sets but asked to keep all but three of forte, but this performance begins forte
the dozen items making up Music for Cleveland Orchestra, George Szell, cond. in a way that weakens a very effective
Children. The Pastoral Sonatina, the COLUMBIA ML 6431 or MS 7031, $5.79. theatrical opening. P.H.
third of Op. 59, has this same clear and
nicely balanced quality. Despair, the third Something in the Rossini overtures en-
of Op. 4, with its persistent ostinato, can gages the attention of some of our great- SCHUBERT: Symphonies: No. 1, in
be a monotonous thing despite its brevity, est virtuoso conductors. Toscanini's still D, D. 82; No. 2, in B flat, D. 125
but the performance here is varied and unequaled readings can be explained in
almost dramatic, avoiding sentimentality. terms of national affinity, but the same South German Philharmonic Orchestra,
Suggestion diabolique, the famed finale repertory also fascinates such Central Karl Ristenpart, cond. CHECKMATE 76005,
of Op. 4, is tossed off as exactly the European baton technicians as Fritz $3.50 (stereo only).
piece of brittle realism it is. The latter, Reiner and George Szell, and I recall
incidentally, is one of the daring short a superb performance of the overture to SCHUBERT: Symphonies: No. 1, in
youthful pieces that drew attenton to 1! Barbiere di Siviglia on a prewar Poly - a D, D. 82; No. 3, in D, D. 200
Prokofiev in 1908, one listener- critic dor record by Furtwängler.
dubbing it the "Wild Sabbath of Dirty-
Faced Devils Dancing in Hell."
In the case of Toscanini, Reiner, and
Szell one explanation is that none of the
J Nordwestdeutsche Philharmonic, Georg
Ludwig Jochum, cond. MONITOR MCS
There are dances, gavottes, marches, three ever lost his feeling for the theatre, 2121, $2.50 (compatible disc).
minuets, and waltzes in sets such as Opp. and the Rossini overtures are distinctly
12 and 32, all with special Prokofievian theatre pieces. The form is simple: an No contest here! Ristenpart and his
rhythms and an inexhaustible store of arresting introduction, a lively sonata Stuttgart crew turn in performances that
unexpected harmonic and tonal devia- form devoid of intellectual complications, are musical enough, but rather crude and
tions. There are the four evocative Tales in which the development and coda usu- elemental. Although this conductor ob-
of an Old Grandmother, which lie some- ally consist of prolonged and gradual tains a sturdy, Beethoven Seventh-like
where in the realm of half- remembered crescendos, the most obviously theatri- rhythm for the finale of the Second and
fantasy. Sándor has given his closest at- cal device possible. Such overtures re- draws some appealing warmth from his
tention to these and the other miniatures, quire a conductor who can control a players in that work's variation move-
as well as the epic works. crescendo carefully, but great masters ment (despite overly deliberate tempos),
A scholar (he is in fact a Prokofiev like Toscanini, Reiner, and Szell prove there is a preponderance of choppy
editor) as well as an artist, György distinctive in their ability to find plenti- baroque -style phrasing, a certain rawness
Sándor brings to his performances both ful musical interest beyond the cre- of ensemble tone, and much too little in
authority and a sympathetic freshness scendos. the way of true pianissimo playing. The
of interpretation. In sum, these Vox discs Toscanini's incomparable shaping of close -up style of reproduction serves to
make a most significant contribution to the singing Andantes and chattering accentuate the mediocrity of the exe-
the Prokofiev discography. E.H. Allegros of Rossini produced phrases that cution.
literally demanded continuation and led Put on the disc by "the other" Jochum
cumulatively and inevitably to the ob- (Georg Ludwig is the brother of the
RIMSKY-KORSAKOV: Scheherazade, vious crescendos. Szell and Reiner dwell more renowned Eugen) and you en-
Op. 35 more on melodic and textural detail than counter a more rarefied plane of musical
Toscanini did, at some loss of the existence. Here the playing is not only
Michel Schwalbé, violin; Berlin Philhar- urgency of the grand line, but they often fleet and clear -headed, it is marvelously
monic Orchestra, Herbert von Karajan, find more Rossini wit than Toscanini pointed and eloquent as well. Jochum
cond. DEUTSCHE GRAMMOPHON SLPM did in his singleminded pursuit. Reiner, makes the best possible case for the
139022, $5.79 (stereo only). in fact, finds more witty turns of phrase First -which is, for all its derivative
and echoing themes than Szell does: nature, a charmingly naïve little opus.
Like several earlier Von Karajan ver- Reiner seems more spontaneous and, in In the far better No. 3, the conductor
sions of symphonic showpieces, this this music, almost Puckish; Szell never is nothing short of sensational: sensitive
Scheherazade recording (his first, I be- lets us forget that music is a serious mat- to every facet of the writing, whether
lieve) is at once awesome and exasperat- ter. rhythmic, harmonic, or structural. The
ing. Under his assured control the Berlin In terms of orchestral sound the playing manages to be exquisitely sub-
Philharmonic sounds unquestionably like Toscanini performances, some of which tle, minutely colored, and at the same
an internationally top- ranking orchestra, are now turning up on Victrola, leave time miraculously perky and unaffected.
and the recording is DGG's most limpid- much to be desired; but no hardness or The Hamburg orchestra Jochum leads
ly smooth and bewitchingly sweet. The opacity of texture can diminish the here seems absolutely of top virtuoso
sonics seem superbly natural too, even rhythmic force of the Maestro's readings. class. Such feathery, humorous, eventful
in the covering up of some score details Though Szell's recording postdates Rein- playing is reminiscent of the NBC Sym- 1
(such as various piano and pianissimo er's by some seven or eight years, the phony under Toscanini and Cantelli.
percussion passages) which normally major sonic difference between their Monitor's reproduction is crystalline and
would be covered up in a concert per- discs lies in the sound of the respective focused, with the interplay of winds and
formance heard from midway back in orchestras in their own halls. Whereas strings felicitously balanced. The hall
the hall. What remains exasperating de- Szell produces a hard, lean sound with is apparently large and the microphoning
moderately distant, conditions here con-
ducive to airy ambience rather than
to bassiness or reverberation. H.G.
SCHUMANN: Quartets for Strings,

Op. 41: No. 1, in A minor; No. 2,
AILAST! "inc "...
in F; No. 3, in A; Quintet for
Piano and Strings, in E flat, O¢. 44
Christoph
Quintet);
Eschenbach, piano (in the
Drolc Quartet. DEUTSCHE
¡EßALOI GIOCONDA
GRAMMOPHON SLPM 139143/44, $5.79
each (two discs, stereo only). with. an ali -star cast including
SCHUMANN: Quartets for Strings,
r Op. 41: No. 1, in A minor; No. 2,
in F
Parrenin Quartet. ODEON SMC 80908,
$5.79 (stereo only).
It would be difficult to find clearer dem-

onstration of the differences between
classical and romantic Schumann inter-
pretation than these two sets present.
LAMBERTO
And since each approach necessarily pre-
cludes a facet of the music to be heard
in the other, both are to be warmly
welcomed.
GAROELU
The Drolc gives us a firm, metrical conducting the orchestra
Schumann. These players are at pains to
and chorus of L'Accademia THE RCCORD.
define every rhythmic ambiguity, and
clarity -even asperity -of texture is di Santa Cecilai -Rome ï
WORTH W PIING FOR
stressed above mystic atmosphere. The
music's quirky capriciousness is not ex- Stereo OSA 1388
actly overlooked, but it emerges from the
Drolc performances more as gruff idio-
syncracy than as whimsical playfulness.
Most important of all, the Drolcs dig into
the inner voice sforzandos and make the
oft encountered phraseological fragmen-
tation as prickly as posssible. thus bring-
ing to the fore a definite kins.hip between
Schumann's essays and the searing, philo-
sophical utterances of late Beethoven.
Certainly the quiet opening of the A
minor Quartet in the Drolc performance
has some of that raw asceticism we know
so well from the opening fugue of Bee-
thoven's Op. 131.
The Parrenin Quartet's Schumann, on
the other hand, is woven from silk rather
than forged from bronze. Some of their
tempos are faster than those of the Drolc
performances, others are slower by quite
a considerable margin. They are much
more plastic in their application of
rhythmic leeway. and altogether less
stern in their lyricism. While the listener
gets from this approach a far better idea
of the potential richness and variety of
Schumann's instrumentation than the
Drolc affords, some of the sheer weight
and intellectual stature is inevitably lost.
(Some of the aforementioned rhythmic
puzzles are also -intentionally-left hang-
ing in the air.) You might well find the
Parrenin readings more scintillant and
creative than those by the Drolcs; they
are unquestionably more perplexing,
more exuberant, and less rational. As
both groups are of exceptional virtuoso
caliber and are well recorded (the Par -
renins with more room ambience; the
Drolcs with more impact and dry detail),
4
a clear -cut choice between them is all but
impossible to make. Mélanfon
Eschenbach's presence in the Quintet
JANUARY 1968 87
seems to have a softening influence on David Oistrakh's approach to the Sibelius that strike me as most interesting. espe-
his colleagues. Here their phrasing is Concerto is burly and Slavic, displaying cially the use of resonance effects in some
more yielding, the accentuation less rig- a virile bravado that risks, but always of the later pieces. The first group of
orous and high- powered. This finely misses, technical disaster. It is, indeed, four is terse and pointillistic -the early
paced, subtly molded performance this virtuoso flirtation with danger, idiom of the "total- organization" crowd.
doesn't storm the heavens like the recent coupled with the appropriately broad In the next six, there are elements not
Serkin /Budapest version, yet no one is Slavic expressiveness, that is responsible precisely determined by the composer,
going to fault the present ensemble for for much of the excitement of the per- and a variety of subtle finger articula-
lack of vivacity. If yliu admired the formance. Rozhdestvensky, who gave tions. Some of these pieces are quite
monophonic Curzon and Schnabel inter- Szeryng a sympathetic collaboration, is long (up to twenty -two minutes); despite
pretations, you will probably warm to here, in keeping with his present soloist's the considerable tonal variety and the
this one. H.G. mood, far more fiery. His orchestra, un- spectacular virtuosity demanded of the
happily, plays with roughness of tone performer, I have not found them to wear
and raggedness of ensemble. P.H. well, at least on records. (Incidentally,
SHAPERO: Partita for Piano and how odd it is that the increasing use of
Small Orchestra, in C indeterminacy in composition has paral-
t ETLEF `1"ri ptyeh
Benjamin Owen, piano (in the Shapero);
SIBELIUS: Finlandia, Op. 26; Karelia
Suite, Op. 11; Pohjola's Daughter,
leled the rise of the fixed recorded
performance as our major means of
Louisville Orchestra, Robert Whitney, Op. 49; Valse Triste, O. 44; Lem - musical dissemination -or is it so
cond. LOUISVILLE LOU 674, $7.95 or LS / minkainen's Return, Op. 22, No. 4 peculiar? Perhaps the indeterminacy is
674, $8.45. a reaction to the prevalence of unalter-
/ HalléOrchestra, Sir John Barbirolli, able recordings.)
Harold Shapero describes his Partita as cond. CAPITOL P 8669 or SP 8669, Insofar as I have been able to check
a "neo- baroque piece in which I have $4.79. (not all the scores are available), Kontar-
combined tonal and serial elements." It sky's playing is remarkably accurate, and
sounds, however, like a round -trip ticket As an integrated program for continued the recording forms a striking documen-
through the styles, to quote Schoenberg's litsening to the "lighter" Sibelius, this tation of the "new" keyboard virtuosity;
famous phrase. Its unison -and -octave pas- record presents the very special problem whether the problem is a fast trill on a
sages in a very square major could easily of starting with the bombast of Finlandia; single note, rapid and widely spaced fists -
be rejected sketches for some labored, as a result, what follows may seem anti- ful of notes, or a quick series of widely
minor work of Beethoven, like the Triple climactic. These pieces are, however, varying dynamics, it presents no apparent
Concerto; the Aria, with its English very well performed. Barbirolli honestly difficulty. The sound could not be better,
horn solo accompanied by plucked respects each piece for what it is, and either.
strings, seems a parody of Berlioz; eschews inflating such fragile music as The composer's notes form a curious
Stravinskyan neoclassicism raises its Valse Triste, for instance, into symphonic document. After three paragraphs about
perky head here and there; the Burlesca proportions. the music, we get biographical notes
is full of jazz effects, and so on. Very None of these performances has been about composer and performer, a de-
thin, academic stuff. issued in this country before, though tailed timetable of the recording sessions
The Triptych by Alvin Etler on the Pohjola's Daughter was included, in an- with a description of the sound equip-
other side is actually a symphony and a other version, on a recent Vanguard ment and even the serial numbers of the
very good one, devoid of stylistic tricks record. P.H. pianos used, and finally a lengthy account
that are easily described, adhering to no of Kontarskÿ s intake of solids and
idiomatic camp, but strong, broad, liquids during the periods of recording,
powerful, intricate, and altogether beau- STOCKI-fAUSEN: Klarierstücke I- recounted with the loving precision of
tiful. This work may very well be the XI an Ian Fleming (if my arithmetic is
requiem for one of the noblest moments correct, the liquids come to some 4
in the history of music-the develop- Aloys Kontarsky, piano. CBS 32 21 0007 beers, 2 Cognacs, 1 Bloody Mary, 2
ment of the modern American symphony, or 32 21 0008, $11.58 (two discs). Scotches, 4 glasses of Williams -Birne,
as exemplified in works of Roy Harris, and 2.7 liters of Johannisberg, plus
Aaron Copland, Roger Sessions, George This recording, supervised by the com- assorted mineral waters and soft drinks);
Rochberg, and many others. This mani- poser, comprises the completed portions perhaps Craig Claiborne should be re-
festation has lost momentum in recent of a projected cycle of twenty -one piano viewing this record. D.H.
years-not, I suspect, because of the pieces. With the exception of Pieces IX
composers but because of the conductors. and X (which are dated 1954 -61), they
If there were even one conductor of a date from the years 1952 -56 and repre- STRADELLA: Sinfonias a tre: in D
major American orchestra who was in- sent relatively early stages in the com- minor; in D; in B flat
terested, it would still be going strong; poser's progress from conventional tClementi: Trios for Piano: No. I,
after all, it was a single conductor, Serge serialism towards works capable of plural in D; No. 6, in C ( "La Chasse");
Koussevitzky, who was responsible for realizations, such as Momente (Nonesuch 1 No. 8, in F
the whole thing in the first place. But H 1157 or H 71157) and the more
the latter -day Koussevitzkys seem inter- recent Mikrophonie I and II (CBS 32 11 Trio di Bolzano. WESTMINSTER XWN
ested only in reviving Mahler and ac- 0044). Although the composer's liner 19129 or WST 17129, $4.79.
companying big-name soloists. notes are curiously reticent on the sub-
Recording of the Shapero and the Etler ject, Piano Piece XI (1956) was his first To Stradella, who died at forty (in 1682),
is adequate, and the performances seem "open-form" piece: nineteen groups of goes the honor not only of having in-
first -class. A.F. notes are presented on a large sheet of fluenced Purcell in the use of ground
paper, with instructions for connecting bass but of having inspired Handel to
them in a sequence of the performer's the point of borrowing a tune for Israel
SIBELIUS: Concerto for Violin and on- the -spot choice; in the process, the in Egypt. Stradella's instrumental music
Orchestra, in D minor, Op. 47; groups may recur, but with different is given no space whatever in the refer-
Humoresques, Op. 89: No. 1, in tempos, dynamics, and articulations. ence books (much of his music is still
D minor; No. 2, in D Thus the present recording represents unpublished), but these sinfonias show
only one of a number of possible realiza- him to be adept at polyphony (his fu-
David Oistrakh, violin; Moscow Radio tions. gatos are among the best features of
Symphony Orchestra, Gennady Rozhdest- Stockhausen describes these pieces as these pieces), somewhat thin in melodic
vensky, cond. MELODIYA /ANGEL SR his "drawings"; although the colors play interest, and possessing a peculiar sense
40020, $5.79 (stereo only). a major role in most of his music, he of juxtaposition -a stirring Andante re-
occasionally restricts himself to the re- ligioso is cut precisely in the middle by
In contrast to Heifetz's diabolical bril- sources of a single piano. Paradoxically, one of the jolliest gigues imaginable.
liance or Szeryng's aristocratic lyricism, it is the coloristic features of these pieces But the works are worth hearing, and are
occasionally surprisingly ahead of their STRAUSS, RICHARD: Der Rosen- ments of the three principal female roles
time-a Siciliana in the D major Sin- karalier (excerpts) in Rosenkaralier would offer no great
difficulty of specification. The prescrip-
fonia strikes the ear as quite gallant in
spirit. What really puts the pieces over Act I: Da geht er hin ...Ach du bist
nieder dal: Act Il :.11ir ist die Ehre wider-
tion appears to be clear -cut and distinct:
a young, high, lyric soprano is needed
are the superbly sensitive and lively per-
formances. almost good enough to make fahren . . . Ich kenn' Ihn schon recht for the part of Sophie: a dramatic so-
one forgive the Trio Bolzano for having wohl. Mon Cousin: Zu lernt Ihro ich ein prano of vocal amplitude and tempera-
used a piano instead of a harpsichord. Zatrau'n; Act Ill: Ist ein trauen. mental warmth for the Marschallin: a
The Clementi are skillfully scored, boyish mezzo for Octavian. All neatly
nicely balancing violin and cello and Lisa della Casa. soprano (as the Mar- compartmented. Yet the performance
allowing the piano its just desserts as schallin in Act I. Octavian in Acts II history of the opera contains several in-
ringmaster. La Chasse, even gives evi- & Ill): Anneliese Rothenberger, so- stances of successful interpreters of one
dence of humor, and it is bright enough prano (as Octavian in Act I. Sophie of the roles switching to another. Since
to spice up any program of piano trios thereafter); Dresden State Orchestra, all three roles are important such a
you could name. Performances excellent. Rudolf Neuhaus, cond. ANGEL S 36436, change would not be a "promotion" but.
S.F. $5.79 (stereo only). bureaucratically speaking, a "lateral
transfer." Recently, there came the news
You might think that the vocal require- that Sena Jurinac, preeminent Octavian
STRAUSS, RICHARD: Le bourgeois
gentilhomme: Orchestral Suite, Op.
J 60; Der Rosenkaralier: First Waltz
Sequence, Op. 59
Friedrich Gulda. piano: Willi Boskovsky,
violin: Emanuel Brabec, cello; Vienna
Philharmonic Orchestra, Lorin Maazel,
cond. LONDON CM 9537 or CS 6537,
DON'T JOIN CLUBS!
$5.79.
Le bourgeois ;e'ntilhumnte Suite is of Now YOU can buy ANY

particular interest to Strauss enthusiasts,
as it is the first instrumental work written
after his retreat from the chromaticism
of Salome and Elektra. It is also note-
worthy for its use of a small chamber
4,1110 Nç
RECORD oOR TAPE
orchestra and for the virtuosic demands on ANY LABEL!
it makes on the players. The piece
abounds in solos (and not only for the
" eriory
k4R 4R
7
three instrumentalists given credit on WORLDS
' LARGEST SELECTION
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difficult. In addition, the ensemble re- w AT LOWEST DISCOUNT PRICES
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a Viennese waltz. While the music is TAPES -1/4 OFF CATALOG PRICE!
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sophisticated humor embodied in the -ion. You don't have to join any -
score. And the playing is really quite hing. You don't need a computer Initial
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NAME 11. Y. Slate
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Sales I
The sound quality is excellent on both
numbers. R.P.M.
JANUARY 1968 Ail
of the postwar age, was switching to the set of three interludes -was first pro- possible law of musical balance. In any
Marschallin; and two or three seasons duced in 1725, eight years before case, Koch puts himself still further out
ago, Lisa della Casa, most constant of Pergolesi's La Serva padrona. of court by indulging in severe internal
the Metropolitan's Marschallins, decided The two pieces are very similar in cutting in several numbers, and, worst
to try on Octavian's trousers. But proof plot: both concern the machinations of of all, by ending the final B flat major
is still needed that a single artist can be a scheming minx of a maidservant, and duet in the purely intermediate G minor
consummately successful in more than her outgeneraling of a pompous, doting of its middle section -the ear aches for
one of the three roles. This rather be- employer. The libretto of Telemann's the natural resolution, but it is not
wildering record proves no new case. piece was originally written in Italian forthcoming. If any cutting had to be
No doubt about it, Della Casa's state- by Pariati for Albinoni, who composed done, it should have taken the form of
ly and musically refined portrayal of the it in 1708 as an interlude (or, if you omitting a handful of numbers com-
Marschallin deserves the permanence of prefer, intermezzo) for his opera 4sfarto. pletely, and keeping the rest unmutilated.
recording: and Anneliese Rothenber- But the original printed libretto already But what we must really hope for is a
ger's dew -fresh Sophie should certainly contained additional German sections really complete version on three sides,
be available on disc. But Schwann al- and German translations of the Italian which could use the fourth for a collec-
ready lists six complete (or nearly so) sections by Praetorius, and there is little tion of Telemann's lightweight but at-
versions of the opera, including two re- reason to quarrel with the two new tractive songs.
vivals of historic recordings. (Incidental- recordings for using an entirely German Meanwhile, far the better of these two
ly, none of these currently available com- text. The work is a wonderful demon- bargain -label offerings is the Turnabout.
plete sets combines the three qualities of stration not only of the remarkably sus- Reiner Süss on World Series copes more
consistently distinguished singing, out- tained quality of Telemann's musical easily than Erich Wenk with the diffi-
standing conducting, and technical excel- invention but also of his gift for comic culties of the aforementioned falsetto
lence, though each of these desiderata is characterization of an unusually biting aria, but there the advantages of the
to be found somewhere in the list.) You kind. The hussy is delineated to the last Koch performance end. Yvonne Cian-
can see why record companies might be flick of tongue and slash of fingernail, nella and Erich Wenk have pleasanter
reluctant to venture upon a new complete and the old man is a dupe in the grand voices than their opposite numbers, and
four -disc version when there is already manner, yet by no means unbelievable. they are also more generous with the
so much competition. In his final, unavailing effort at defiance, necessary appoggiaturas. Rilling conducts
And so we have the present compro- by the way, he sings an aria which em- with greater spirit, and the Turnabout
mise, a beautifully sung and played offer- ploys falsetto to uproarious comic effect, recording is freer, more spacious, and
ing of good -sized extracts from the opera, imitating the gossip of idle women in a more natural in sound.
but a selection with certain deficiencies technically formidable one -man trio of But what really makes the World
of characterization. Side 1 has the Mar- bass, soprano, and alto voices. Series disc unacceptable is its grossly
schallin's famous monologue- sumptu- Superficially, the World Series record- overemphatic dramatic approach. No
ously given by Della Casa -and the en- ing looks more complete than the Turn- doubt many of us have our opinions
suing duet, with Rothenberger as an about, for the latter omits one of Ves- about the broadness of German comedy,
indifferent Octavian. Turn the record petta's arias entirely. In fact, however, but it should not be forgotten that Tele-
over and you find Rothenberger singing both versions are cut to accommodate mann was a man of wide culture and a
splendidly as Sophie in three extended them on a single disc apiece. Helmuth composer noted for his championship
duets with Octavian. However, at the flip, Rilling, on Turnabout, usually takes the of French elegance. Goose -Market or no
Della Casa turns into Octavian; and course of rounding off the da capo arias Goose- Market, I am sure he would never
though her singing is, as pure singing, with a simple repetition of the opening have tolerated all the beer -garden slurp-
impeccable, there is very little hint of ritornello, dispensing with the vocal re- ing, grunting, and cackling that con-
any character projection at all. We could turn. In the World Series version, on stantly disfigures the Berlin performance.
still be hearing the Field Marshal's wife the other hand. Helmuth Koch in three Rilling in no way underestimates the role
of a few minutes ago. This Octavian instances substitutes a dal segno treat- of the comedy; he simply gives it due
wears no trousers; she simply sings the ment for the da capo -in other words, play. without letting it overwhelm the
lovely music in an elegant soprano. he repeats the opening section, but shorn music.
That is the nub of it. A ship spoiled of its opening ritornello. Neither method The Turnabout jacket offers a brief
for a pfennig's worth of tar, a disc good is satisfactory, but the former seems to synopsis and a complete German libretto
in parts. Della Casa a splendid Marschal- me preferable: a frank abandonment of (including the aria omitted in the re-
lin, Rothenberger radiant as Sophie. You the tripartite form is less damaging than cording!). World Series has a synopsis
also get beautiful orchestral playing in the mangled effect of a da capo which but no libretto. B.J.
fifty minutes' worth of superb and flow- lacks its opening orchestral section but
ing melody, knowingly conducted by keeps its middle one, thus defying any
Rudolf Neuhaus and most proficiently WAGNER: Der fliegende Holländer
recorded in East Germany. G.M. (excerpts) -See Friedrich Schorr:
Vocal Recital, page 93.
TELEMANN: Pimpinone
ZELENKA: Suite in F; Simphonie d
Yvonne Ciannella (s), Vespetta; Erich 8 concertanti
Wenk (bs), Pimpinone; Bach Collegium
(Stuttgart), Helmuth Rilling. cond. Clarion Concerts Orchestra, Newell Jen-
TURNABOUT TV 34123S, $2.50 (stereo kins, cond. DECCA DL 10141 or DL
only). 710141, $5.79.
Erna Roscher (s), Vespetta; Reiner The trim. precise, happy performances
Süss (bs), Pimpinone; Berlin Chamber are the selling point here. The music by
Orchestra, Helmut Koch. cond. WORLD Jan Dismas Zelenka -a Czech-born Dres-
SERIES PHC 9066, $2.50 (compatible den court composer -is well -made ba-
disc). roque ware, utilizing the best conventions
of the time and affording neither revela-
The morsel hitherto available on Angel's tions nor ennui. Conductor Jenkins makes
disc of opera from the Hamburg Goose - good use of it to call forth playing that
Market gave but little idea of the wit is alert, sensitive, and very easy to listen
and zest of Telemann's Pimpinone, to. Fine solo work in the Simphonie, and
originally entitled The Unequal Mar- Happiness is a Zelenka Simphonie played stereo channeling aids in the interplay
riage. This comic interlude -actually a by Newell Jenkins and Clarion Concerts. of orchestral sections. S.F.
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RECITALS c& of these several elements. The work is
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for the lay listener, who is always inter-
MISCELLANY ested in the sources of the sounds em-
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their manipulation. by Alexis Badmaief & Don Davis. A wealth
Regrettably, the rest of the set is a of practical and theoretical information on con-
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DESIRE DONDEYNE: \larches kin, Val Stephen, J. D. Robb, Jean Ivey, sound reproduction and what you should know
and Victor Grauer, and they all ought to to select, operate, and maintain equipment. Ex-
Jmilitaire," Vols. I and 2
plains monaural and stereo sound and discusses
know better. And the University of To- relative merits of consoles and componentturn-sys-
Musique des Gardiens de la Paix, Paris, ronto ought to know better than to tems. Treats requirements of amplifiers,
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GREGORIAN CHANT: Chants for
Since symphonic -band programs are sel- Christmas
Tape Recording for the Hobbyist(2nd Ed.)
dom recorded in this country these days,
levati; Introit: Ramie coeli by Art Zuckerman. While concerned with tape re-
this anthology of French marches should Introit: Ad te cording as a hobby, this hook also provides many
be especially welcomed. Connoisseurs of desuper: Communion: Dicite Ptlsillati- ideas for important uses of the recorder in home
will remember the superb imes; Introit: Gaudete in Domini; Offer- and office. Includes useful tips on microphones,
the repertory special sound effects, candid recordings, cor-
earlier Dondeyne versions of rare works tory: Ave Maria; Hymn: Jesu redemptor; respondence recording, tape editing, producing
by Berlioz, Mendelssohn, and Wagner Introit: Puer natus; Alleluia, Dies sancti- your own programs, synchronizing sound on
tape, tape and recorder maintenance -plus home
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lection of Napoleonic fanfares, marches, tos; Gradual: Justus et palma; Offertory: Order 20553, only sill
and chorus (just a year ago for None- Jubilate Deo universa terra; Communion:
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comprehensive chronologically, although by William F. Boyce. You'll find all the informa-
it is confined to marches only. And, ex- Choir of the Vienna Hofburgkapelle, tion you want on hi -fi and stereo in this com-
cept for the strikingly distinctive Glorious Josef Schabasser, cond. TURNABOUT TV pletely updated third edition of the classic book
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Day, Op. 48 by Albert Roussel, the se- 34181S, $2.50 (stereo only). needles, headphones, adapter circuits, tape -car-
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new transistor circuits, including pre -amps, am-
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probably are musically, as well as his- sentimental accompanied arrangements information on tape and disc recording 8495
techniques. Order 20565, only 4
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Revolution, Consulate, Empire, Restora- choirs. Here, with their second disc for Measuring Hi-Fi Amplifiers
tion, and July Monarchy). These last in- Turnabout, the singers of the Vienna by Mannie Horowitz. Explains how to understand
and evaluate manufacturers' specifications and
clude, among other fine works, the espe- Hofburgkapelle establish themselves as performance test data. Compares various instru-
cially fascinating Marche lugubre by thoroughly authoritative. They are com- mente used in measuring audio equipment; dis-
cusses in detail checking of frequency response,
Gossec, fanfares and marches by Michel - pletely at home in the Solemnes style, harmonic and intermodulation distortion, sensi-
Joseph Gebauer, several anonymous giving a straightforward performance tivity and overload, measuring and matching
phono, tape playback, and microphone equaliza-
Grand -Army pieces for drum -and -bugle which lets the beauty of the music speak tion curves. Covers both vacuum -tube and tran-
corps, and four excerpts from the for itself. sistorized amplifiers. 5325
Order 20561, only
Harmonie militaire of Mathieu -Frédéric Chosen from standard services, the
Blasius. Chants cover the whole season, Advent
As in the earlier Dondeyne programs to Epiphany, and will be familiar to any- Troubleshooting Audio Equipment
the playing is notable for its lyricism one fortunate enough to hear Masses by Mannie Horowitz. An authoritative guide to
as well as for its precision, vivacity, and chanted regularly. For the less experi- audio component servicing. Provides a detailed,
step -by -step analysis of audio amplifier and pre-
brilliance. The bright, open (Erato) re- enced listener the disc provides a selec- amplifier circuitry. Describes normal operation of
trou-
the equipment, then discusses the types of Gives
cording does particular justice to the tion of outstanding beauty and range of ble and malfunctions which may occur.
ringing, inimitably "French" brass tim- style. There is great variety in the music equal treatment to both vacuum -tube andmicro-tran-
bres; and if the acoustical ambience is itself; the simple hymn Jesu redemptor sistor circuits. Also covers phono pickups,
phones, phase inverters and drivers, tone controls,
somewhat echoey. that quality actually and the quietly flowing Ave Maria are equalization, hum and distortion, tape recorders,
enhances the over -all atmospheric effec- as far apart from the florid and jubilant
and stereophonic systems. l3Ä
Order 20525, only
tiveness R.D.D. Alleluia, Dies satlutificatus as Mozart
is from Berlioz. A particularly lovely
melody, Rorate coeli. opens with a strik- HOWARD W. SAMS & CO., INC.
ELECTRONIC MUSIC ing leap of a fifth upward, an interesting Order from your Sams Distributor today, or mail
example of reverse word painting since to Howard W. Sams & Co., Inc., Dept. Hf -1
J FOLKWAYS 3436, $5.79 (mono only). rorate means "drop down."
Except for the rather silly notes by
4300 W. 62nd Street, Indianapolis, Ind. 46268
Send me the following books:
.This anthology of works composed at the the choir's director, Josef Schabasser 20520 0 20583 20561
20565 20525
electronic music center of the University 20539
of Toronto opens with a little master-
piece It is called Dripsody, and it is by
Hugh Le Caine. The whole composition
is based upon the single sound produced Address
by the fall of a drop of water. This is
developed in all manner of ways -plain City State Zip
and fancy scales, played with a neat, V aai

91
JANUARY 1968
VIKING MAKES THE BEST -SOUNDING (which attribute to this music meanings
the Middle Ages never dreamed of). the
CARTRIDGE PLAYER jacket copy is admirable, giving both the
Latin text and English translations along
with the appropriate page in the Liber
your money Usualis for those who want to follow
back if you don't with a score. I find the German Latin a
agree! little hard to listen to (all those zicrrts
and gvias), but this is a small point. The
music is magnificent. S.T.
JOSEF HOFMANN
For a feature review of a series of
recordings by Josef Hofmann, Sergei
Rachmaninoff, Leopold Godowsky, Wan-
MODEL 811W da Landowska, and Rudolph Ganz, see
page 65.
Viking, first and largest tape cartridge

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DECCA DL 9431 or DL 79431, $5.79.
With this delightful new release John

White makes his recording debut as di-
rector of the New York Pro Musica.
19 Transistor 7 Band Shortwave /FM/ Fans of the group will be happy to hear
AM 2 -in -1. Newest for the portable that this disc carries on the high standards
Grab an earful people! A solid state masterpiece
in genuine teak with chrome ac-
cents. World wide coverage. LW,
established by the late Noah Greenberg
and adds to the repertory previously ex-
plored by the ensemble.
of the world! 150-400 kc. SW,, 1.6-4 mc. SW,,
4-10 mc. SW3, 10-20 mc. SW., Guillaume de Machaut was the
finest poet- musician of fourteenth -century
20-30 mc. Receives international
shortwave plus FAA weather/ France. yet outside of the fine Archive
navigation reports, CAP, ship -to- recording by Safford Cape's Pro Musica
ship and ship-to -shore communi- very little of his large output has been
cations. available to would -be listeners. Perhaps
Toshiba Navigational MGC those horrifying performances once heard
(Manual Gain Control) allows re- on Anthologie Sonore have frightened
ceiver to operate as sensitive everyone off. There are still formidable
direction -finding / homing device. 4 musicological problems to confront in
world- scanning antennas plus 2
his works. and it takes a scholarly per-
external antenna connections.
former to interpret even modern editions.
7 keyboard band selectors. Mr. White solves all this with apparent
Electronic tuning meter. Switch -
ease, making the delicate filigree texture
able Automatic Frequency Con-
trol. Pilot lamp. 1 -8 watt output. and wonderfully supple rhythms of this
2 speakers. music breathe with life.
Full 1 year parts and labor war- I particularly liked the slower num-
ranty. The Toshiba Global Model bers. Je .sui aussi and the triple texted
19L -825F. $180.00° De triste crier, whose warm sensuous lyri-
cism recalls the sinuous feminine figures
of medieval art. The haunting beauty of
the canonic Sanz cuer nee,' rois and the
exquisite thirteenth -century motet Quant
je parti de m'amie should convert anyone
who still thinks of medieval music as a
heartless intellectual exercise. There is
plenty for the foot -tappers too -for ex-
ample, the rousing charivari of Douce range w hile he was still in his late -steady and rich, and colored by a
forties, but it seems also to have been unique hue which I suppose one would
dame jolie, which brings the record to
a limitation on his singing even in his call a warm brown, an autumnal color
a close complete with drum it la Green-
berg. middle prime years, robbing those tones perfectly adapted to Sachs or the
of the brilliance and declamatory ring Wanderer.
The singers sound lovely and the in-
they should have had and often resulting On the Rococo disc, it is a special
strumentalists handle their krummhorns,
in a rather dead, flat sound at some joy to hear this sound pouring itself
vielles, and bagpipes with assurance.
important climactic moments. easily through the Bach and Haydn arias,
These last, by the way, have an unusual-
There are limitations and limitations, or launching the "It is enough" in a
ly sweet sound, quite unlike the racket
and it is of course Schorr's remarkable perfect mezza -voce. But even greater
I usually associate with the instrument.
abilities, not this single disability, to are the songs, particularly Traum durch
Julie Davidoff's sensitive viol playing in
which one's attention is repeatedly die Diintmerung, which is simply perfect.
the ballade Pas de for demands special
drawn. With what incredible smoothness and Am Meer. which is perfect except
mention.
The sound is excellent throughout, with
the stereo separation doing much to en-
he was able to line out several different
sorts of legato, and how easily and
effectively he went from forte and
for a small spot of intonation trouble
near the end. Lessons in song singing
absolutely seamless, graded with uncanny
-
hance the individual nature of the lines.
piano and everywhere between! And, of evenness, the words beautifully enunci-
One caviling point: the notes by Mr.
course, the sound itself was so beautiful ated without calling attention to them-
White present a painless introduction to
the general problems of the music, but
in view of his knowledge and the value
this record will have for students and
teachers, it would have been nice to have VANGUARD Critical Accolades for
had some more specific references to the
sources of the compositions. particularly
Recordings for the Connoisseur CARDINAL Series
the motets which are not all gathered
together in any convenient place. S.T.
Full Stereo (also playable in ,nono) $3 50
FRIEDRICH SCHORR: Vocal Re- "Cardinal's bow is a major event

cital and a tantalizing promise of good
things to come."
Bach: Mass in B minor: Quoniam; Et -David Hall, Hi Fi Stereo Review
in Spirinun sanctum. Haydn: The
Seasons: Schon eilt froh der A ckersmann. MAHLER: SYMPHONY NO. 2 IN C
Mendelssohn: Elijah: Herr Gott Abra- MINOR -2 -disk set
hams: Ist nicht des Herrn Wort: Es 1st Beverly Sills, soprano; Florence Kop-
genug. Mozart: Die Zauberflöte: Ein leff, contralto; U. of Utah Civic Cho-
rale; Utah Symphony Orchestra; Mau-
Mädchen oder Weibchen. Beethoven: rice Abravanel, conductor
Fidelio: Ha! Welch ein Augenblick. VCS 10001/2
Wagner: Der fliegende Holländer: Wie "This release on Vanguard's new Car-
aus der Ferne. Wolf: Biterolf. R. Strauss: dinal label is truly an astonishing one.
Traum durch die Dämmerung. Schubert: From the technical point of view alone it
represents a substantial and exciting
Am Meer. Schumann: Die beiden
Grenadiere.
"0- step forward ... achievement of a dy-
Periodically, a pianist appears of namic range embracing pianissimos like
whom the proper adjective is "pro- the whisper of a summer breeze and
V
/ orchestras.
Friedrich Schorr, baritone; piano and
Rococo 5260, $5.95 (from found"; one who restores the classic
fortissimos that may make even your
neighbors think the Day of Judgement
78 -rpm originals, mono only). tradition with the true individuality has arrived an interpretation of
.
that comes from the abandonment of awesome, inspired magnificence."

every personal caprice. Such rare pia- - Bernard Jacobson, High Fidelity
November, 1967
nists were Artu: Schnabel, Myra
WAGNER: Der fliegende Holländer
(excerpts) Hess, Dinu Lipatti. BEETHOVEN: Quartet No. 15 in A
In this noble line, we feel, is minor, opus 132 VCS 10005
Yale Quartet
Melanie Kurt (s), Senta; Ernst Kraus
(t), Erik; Friedrich Schorr (b). Der BRUCE the Yale group
.. a brilliant debut for
immaculate playing and sterling
Holländer; Otto Helgers (bs), Daland. HUNGERFORD . .
musicianship. Without doubt, this is one

VERITAS VM 106, $5.79 (from 78 -rpm of the great Beethoven Quartet record-
"A master of classic style and thought
originals recorded 1923 -25, mono only). ings in the catalog."
. Bravo." -Heuwell Tircuit
Friedrich Schorr is of course already well -Eric Salzman, San Francisco Examiner de Chronicle
represented on LP, notably with Angel's New York Herald Tribune
BRAHMS: VARIATIONS ON A
COLH disc featuring his Sachs and with THEME BY PAGANINI, OP. 35
a Scala recital (which I have not heard). Initial recordings. of a series to in- FOUR BALLADS, OP. 10
But each of the records now at hand clude the complete Beethoven LISZT: Paganini Etude No. 2
presents material not previously reissued, Sonatas: Earl Wild, pianist VSC 10006
and with no duplications (the "Wie aus BEETHOVEN: Sonatas in E major, . Wild has a colossal technique . . .
der Ferne" heard on the Rococo disc is Op. 109, and C minor, Op. 111 almost superhuman mastery .. incred-
.,
not the sane performance presented in VSD-71172

ibly smooth pianism in works that dare
the Veritas excerpts). the performer to conquer them."
BEETHOVEN: Sonatas in C minor, -Allen Hughes, New York Times
The Rococo record is all- Schorr, and
particularly valuable in giving us a Op. 13, "Pathe:ique" and D minor,
picture of him as an oratorio and song Op. 31 #2, "Tempest "; Andante
singer. To avoid repeating myself, I will in C major, Allegro in C minor
note that there is one aspect of Schorr's (first recordings)
singing that always detracts a bit from V SD-71174
my enjoyment -his darkened, covered SCHUBERT: So-tata in A major, Op.
approach to the top. Not only does this posth., and 21 Waltzes and Ländler
seem to me to have been, in all VSD -71171
probability, the primary reason for the *Full Stereo (also playable in mono)
marked deterioration in this part of his
JANUARY 1968
selves (In Ant Meer, he puts an
emotional stress on exactly one word -
"vergiftet" -and the effect is startingly
mounted the declamatory portions of
"Die Frist ist um" to greater effect
(Berglund, for one), the "Dich frage ich"
very competent Daland, if one of no par-
ticular imagination. But Melanie Kurt,
for all the authority she brings to her
right.) In short, the songs are sung, not section is rendered with incomparable Senta, is terribly unreliable in her sing-
"interpreted" or "spoken"; they are fully smoothness and control. In the scene ing, and evidently has a somewhat lower
rendered. with Senta, he comes into his own. The view of the necessary pitch than we who
The sound of the Rococo transfers "Wie aus der Ferne," superior to the must listen to her. Ernst Kraus had a
often reflects some noisy surfaces in the
originals and dim orchestral and piano
sound, but it is always listenable so far
one transferred by Rococo, is the most
beautiful and touching ever recorded,
and the whole scene, so far as Schorr is
high reputation and sang leading roles
at Bayreuth and the Metropolitan
twenty years prior to this recording,
-
as the voice is concerned. involved, has a wonderful, mournful which was made when he was past sixty.
I would like to be able to give the tenderness. At the bottom of his voice, one hears the
Veritas release a warmer welcome than But goodness, these other singers! remnants of what may very well have
I feel is its due, for the material is Otto Helgers. who turned up on count- been an important and even exciting
rare, and offers Schorr in his prime in less 78s singing lines like "And then Heldentenor, but most of the sound he
one of his greatest roles. And so far what happened ?" or "You're kidding!" makes is painful.
as Schorr is concerned, there is plenty during someone else's Narrative of This I see absolutely no point in resurrect-
of satisfaction. Though others have sur- or Farewell to That, turns out to be a ing the disastrous records of yesteryear;
we have plently of our own, thank you.
What it comes down to is whether or not
one wishes to spend money and suffer
What kind of "SOUND" are you through some caterwauling for the sake
of hearing parts of a classic Dutchman.
That, dear collector, is up to you. C.L.O.
looking for?
TERESA STICH -RANDALL: Italian
Opera Arias
CE-2
CE- Bellini: Norma: Casta diva. I Puritani.
Qui la voce, Boito: Mefistofele: L'altra
notte. Verdi: La Traviata: Ah fors è lui
. Sempre libera; Ernani: Ernani, in-
volanti. Puccini: Tosca: Vissi d'arte.
Donizetti: Don Pasquale: So anchio la
virtu magica.
Teresa Stich -Randall, soprano; Vienna

Volksoper Chorus and Orchestra, Brian
Priestman, cond. WESTMINSTER XWN
19130 or WST 17130, $4.79.
CE-I 02 Some singers have brains and some sing-

ers have heart; Teresa Stich -Randall has
both. She also has inherent good taste
and musicality. Had the benign provi-
dence that so richly endowed her with
gifts gone just a bit further and given
her a really beautiful voice, she would
have been without peer among the
singers of our age. The voice is clear,
CE-3 bright, without velvet. Up top it turns
white or metallic. Her aptitude with
"difficult" music has decreed a Euro-
pean career; apparently such skills are
more highly esteemed there and sheer
sensuous beauty somewhat less.
Here she takes on, as an intellectual
Hear the Chrysler Series CE and note the challenge, seven standard items from the
"characteristic" sounds. matic soprano. The results are variable-

nineteenth -century repertoire of the dra-
not always successful but never less than

Chrysler knows that every one has different "sound" requirement; so we interesting. Take the "Casta diva," to
do not expect to completely satisfy every one with one speaker. begin with. You will find here no seam-
From the various CE Series, select the size and type that will sooth your less legato, à la Ponselle. There is the
Golden Ear. Every series has a fabulous characteristic feature of its own. occasional unhoned phrase, now and
The four CE -1, CE -2, CE -3 and CE -4 series are acoustic suspension system then an awkward breath. Yet we are un-
questionably in the open air at night.
speakers now sold in all parts of the world. The acoustic suspension system and a Druid priestess is invoking the
is most popular worldwide for its superior musical reproduction. moon. Give your full attention to Boito's
Please lend a ear to each series and select the ideal one suitable to fit your Margarita, and you may well find your-
precise musical taste. self on the verge of tears. This one is
* Free catalog on request slightly marred by an imperfect trill.
No. 1, 2-CHOME, SASAZUKA

SHIBUYA -KU. TOKYO
CHRYSLER
ELECTRIC CO., LTD.
But a trill was definitely needed there,
and she has a better go at it than many
of our leading canary chicks could,
Sutherland and Caballé not excluded.
IN JAPAN Though Violetta's scena is far too slow
and loses momentum, everything is
shaped to a purpose; this is no soprano six must be accounted a truly grievous and can be totally recommended, though
showing off her pyrotechnics, this is a blow to music. "For ten years or so he it was clearly never intended to circulate
real woman at the brink of a life de- was nothing special," a friend who knew outside the German -language world. (It
cision. " Vissi d'arte" is really unbearably him well reminisced recently. "He comes from a Eurodisc master tape.)
slow-one could throttle conductor noodled around a score of German opera Kienzl is not a name with much currency
Brian Priestman for not taking up the houses, singing more or less anything outside Germany, and most people here
slack and for not accelerating at the that came to hand; and some of it prefer "Questa o quella" to "Freundlich
midsection-and just not good enough. not very well. Then, quite suddenly, blick. ich." which is what we get here,
But with the next band hear how the about 1963, he found his stride. His style and "Addio, fiorito asil" to "Leb' wohl,
tempestuous Tosca is transformed to a coalesced. He took on a new assurance, mein Blutenreich." But Wunderlich's ele-
pert and scheming Norina. There is the singing had a real gleam. gance and musicality conquer all such
purpose to everything this singer does. The records prove it. He made many quibbles. The Mozart pieces are clas-
She reaches for a concept, then shapes in his last years, taking part in numerous sically pure, the Puccini tender, the
it, then makes it real. That is what complete operas, singing Lieder, operetta, Cavalleria more intimately and sincerely
artistry means. Miss Stich -Randall is an oratorio. His work is spread around the communicative than any Italian versions
artist. G.M. phonograph catalogue, on Angel, Lon- I know. The Rigoletto items are not quite
don, Vox, DGG. as successful as the others, but still well
The present Victrola disc is delectable worth listening to. G.M.
VITYA VRONSKY and VICTOR
BASIN: Two -Piano Recital
Bizet: Jeux d'enfants: Suite. Lutoslawski:

Variations on a Theme by Paganini.
Rachmaninoff: Symphonic Dances, Op.
record
V 45.
Vitya Vronsky and Victor Babin, pianos.
SERAPHIM S 60053, $2.49 (stereo only).
of
month
Vronsky and Babin are heard to their
best advantage on this richly detailed,
lifelike recording. Their incisive treat-
ment of Rachmaninoff's two -piano ver-
sion of his Symphonic Dances (penned
concurrently with the orchestral score
of 1940) has logic and perceptive flair,
communicating the music with great viv- ISV MPMOM1 V IN C !,
idness. The Bizet morceaux are done with AUX D ENFANTS
such finesse and animation that one GAIR/( O\'ERtUR!
.R[NCN NATIONAL RAMO ORC..C7.RA
much regrets that only the Suite is
played. Witold Lutoslawski's leap onto
the Paganini bandwagon (it uses the self-
same 24th Caprice elaborated on by
Brahms, Schumann, Liszt, and Rachman-
inoff) has a sardonic quality that re-
minds me of Casella's Paganiniana. The
little work is making the rounds as a
party piece for two-piano teams; here it
is given a superlative presentation.
A price tag of $2.49 makes this an at-
tractive buy, particularly as the sonics
retain the excellence of the original
Odeon pressing. H.G.
FRITZ WUNDERLICH: Operatic

Recital GEORGES BIZET
SYMPHONY IN C MAJOR
Mozart: Die Zauberflöte: Dies Bildnis;
Wie stark ist nicht dein Zauberton. Flo-
JEUX D'ENFANTS, Op. 22
% tow: Martha: Ach, so fromm. Kienzl: PATRIE OVERTURE, Op. 19
V Der Evangelimann: Selig sind. Lortzing: French National Radio Orchestra
Undine: Vater, Mutter; Der Waffen- CHARLES MUNCH, conductor
schmied: Man wird ja einmal nur ge-
boren. Verdi: Rigoletto: Questa o quella; Artists and repertoire, superbly matched. Result -a Nonesuch
La donna è mobile. Puccini: La Bohème: record. Such as this one, in which the masterful Munch and
Che gelida manina. Turandot: Nessun his French players perform Bizet's scintillating music with
dorma; Non piangere, Lid. Madama But- true Gallic grace. Sans -pareil -Nonesuchl
terfly: Addio, fiorito asil. Mascagni:
Cavalleria rusticana: Siciliana; Brindisi;
Addio alla madre. nonesucit
H-71183 List price
Fritz Wunderlich, tenor; various orches- Stereo only $2.50
tras, Artur Rother and Richard Kraus,
conds. RCA VICTROLA VIC 1235 or
VICS 1235, $2.50.
For complete catalogue, write to
The grotesque accident that took the life NONESUCH RECORDS
of Fritz Wunderlich at the age of thirty- 1855 Broadway, New York, N.Y. 10023
CIRCLE 21 ON READER SERVICE CARD
JANUARY 1968 95
teLEESside MACLOVE: Yes, Pierre, un avocat.
Thanks to your skill and talent, Le Cha-
teau is an enormous success and, as you
know, I have acquired three other ex-
cellent restaurants. Obviously I can't run
them all myself, and so I am putting each
of them in the hands of an attorney At-
torneys have disciplined and unemotional
minds You tend to be excited about
cuisine, to become involved, and Mr
Wallace will show you ways to save a
little here, a little there, thus enabling
Le Chateau to turn a larger profit.
PIERRE (apprehensively)- But I thought

we were 'ere to make ze fine cuisine,
not only to make money.
MACLOVE: True, true. and nothing has

changed. But if we don't turn a larger
profit, we won't be in business, and then
we won't produce any kind of cuisine at
all. will we? You're a fine man. Pierre.
very talented. Well, I must be on my
way. Have to visit the other divisions of
Cuisine, Inc., and see how they're doing.
I'll leave you with Mr. Wallace.
Exit MacLovE,
PIERRE (Still puzzled): Well, m'sieur

Wallace, we 'ad bettair . . .
WALLACE: No need for formality,

Pierre. Call me Wallace. Now, the first
Well, Man, Thafs Progress thing we're going to do is make a time
and motion study of this place, make
sure we're getting the maximum profit
a film in half a reel from each movement. Right away I can
see you have one man making salads
and another making pastries. Why is
this?
... The men now heading three of four divisions in the CBS /Co-
PIERRE. Because zey are diffairent
skills, m'sieur Wallace. Excusez, Wallace.
lumbia Group have legal backgrounds. The fourth is from sales and You must make. par exemple. ze green
marketing. To [Goddard] Lieberson [president of the CBS /Columbia salade with mushrooms with tendair care.
Group]. it's not unusual that legalistic figures are tied so closely to Ze mushroom must be sliced just so . .
the music business. They have "disciplined and unemotional" minds,
he says. that often permit a company to turn a profit where a more WALLACE. I'm sure we can find a man
artistic approach might lose money. who can do both. Now, about that stove.
1 think you should have a new electric
-Business Week, October 7, 1967.
range. Clean. Efficient. Silent. Electric
And they'll never even notice, heat, you know. it's the coming thing.
when its plastic that they eat,
that the food is terrible. PIERRE: You dunt undairstand, m'sieur
-Malvina Reynolds, Columbia CL 2614/CS 9414. Wallace. Pardonez -moi, Wallace. Food
cooked on an electreec stove does not
'ave ze sane flavor.
WALLACE: Why?
Indoor shot. Basement kitchen of Le PIERRE: Ah, bon soir, m'sieur MacLove.
Chateau, a restaurant devoted to haute So 'appy to see you. PIERRE (shrugging): I don't know. Eet
cursore. Red tile floor, handsome clutter ees one of ze mystairies of cuisine.
of copper -bottom pots and pans; in back- MACLOVE: Thank you, Pierre. I would
ground, a heavy, old -fashioned iron store. like to present Wallace Wallace. Hence- WALLACE: Superstitious nonsense. Heat
Men in white coats hurry silently about forth he will direct the affairs of Le is heat. Now in the next few days, I
their work. With expert eye, PIERRE. Chateau. I hope you two will learn to want to sample every dish on the menu.
the chef, examines a rack of lamb, then like each other. Mr. Wallace is an at-
slips it back into the oven. Enter ZEUS torney. PIERRE (brightening): Ah, you are a
MACLOVE, owner of Le Chateau, a tall, lovair of good cuisine?
handsome man whose bearing bespeaks PIERRE (puzzled): But I dunt undair-
travel and cultivation. He is accompanied stand, m'sieur. An attorney. Un avocat? WALLACE: No, I'm a hamburger man
by a shorter man, stern, serious, well - myself. My only love is the law. Logic,
dressed, efficient- looking. WALLACE: Yes. As in avocado. Pierre, that's what counts. Life must be
made logical. But I must familiarize my- WALLACE: There's no reason for that, WALLACE: Well, no. I thought that
self with our product if I'm to supervise chief. He was obviously an unstable man. we should leave such an important de-
its manufacture. cision to you, as creative head of Cuisine,
MAcLOVE: Yes, but to drown himself Inc.
PIERRE (turning away): Merde, alors. in his own bourguignon sauce! Gad, what
a gruesome suicide! A desperate, de- MAcLOVE: Should we have something
FADE OUT. FADE IN ON: spondent man, obviously. Did we do this snappy like White Castle? Or Nedick's?
to him, Wallace?
Dining room, several nights later. WAL- WALLACE: They've both been used.
LACE WALLACE is dining. PIERRE hovers WALLACE: You can't look at it that
apprehensively over the table. way, sir. He was a victim of progress. MAcLOVE: Well, then, maybe something
It had nothing to do with us. And frank- with dignity . . . like, say, Howard
WALLACE: This hollandaise sauce-it's ly, chief, we have to look on the bright Johnson's.
handmade? side, the logical side. We are, you'll
have to admit, better off without him. WALLACE: That's been used too.
PIERRE: But of course. He was a reactionary, an obstructionist.
We've got to go with the kids, chief, MACLOVE: Dear me, I am getting old-
WALLACE: A waste of time. I can't they're the rulers of the future, and fashioned. Do you have any ideas?
tell it from mayonnaise. Henceforth we'll they detest tradition. They don't care
use mayonnaise. Now, about the sauce on about all those silly sauces that take WALLACE: Well, if you don't mind,
this sea bass . . . hours to prepare. Give 'em ketchup, and chief, I do have, now that you mention
hamburgers, and French fries . . . it. I was going to suggest Chez Pierre.
PIERRE (a little defensively): Ees there He was a nut, of course, but our public
somesing wrong weez eet? MAcLOVE (pensively): I remember how relations people can make him look like
fussy Pierre was about the preparation a genius.
WALLACE: Oh nono- no -no. Ha -ha. of French fries. Said they shouldn't be
I'm not criticizing. It's delicious. It's too . . . MAcLOVE: Chez Pierre. Hmmm. Has a
that it, too, has a certain resemblance to nice ring to it. And it pays tribute to the
mayonnaise and . . . well, you get the WALLACE: Yes, yes, I know, chief. He man. Yes, that's good. I like it. Chez
picture, I'm sure. Now, about the steak was a good man. And we did salvage Pierre it is.
tartare I had last night. Too raw. So from something from him. Among all those
now on the steak tartare will be cooked. quaint recipes was the steak tartare. Our WALLACE: Good. We're in business.
Well done, in fact. Why, that way it will efficiency team has discovered that in Now, we thought we'd name the main
be almost like hamburger, and the ordi- its new incarnation -you know, well specialty after you. We'll call it the
nary man in the street will be able to cooked, and garnished with pickle rather Loveburger. For our Japanese division,
identify with it. Gives it the common than that, yeucch, raw egg-it's our fast- it will be the Loveburger San. You like
touch, you see? Now, the pastry cook ... est moving item. The kids love it. And it?
remember, chief, there are more kids
PIERRE: 'E resigned. than anybody nowadays. MacLOVE: I'm touched. I'm just senti-
mental about good food, I guess. Getting
WALLACE: Well, I'm sorry to hear MacLOVE (shaking off his reverie): old, maybe.
that, of course, but it's for the best. Al- Yes, you're quite right, Wallace. I'm just
ways hate to fire a man. Tugs at my a sentimental fool. 1 was once a first -rate WALLACE: Now that's not really true,
heartstrings. And since I've just con- chef myself, you know. Ah, the old days. chief, and you know it. Still, you have
cluded an excellent deal with Mom's Well, onward. Now, about the new looked a little tired lately. (Sotto voce,
Bakery, Home Cooking Our Specialty, restaurants. so that the others can't hear) I remember
to supply us with all our desserts, he was, your saying you'd like to retire for a
shall we say, superfluous. while to your kitchen and prepare some
WALLACE (opening a huge folder and of the dishes you used to make when
PIERRE (with great dignity): I resign displaying drawings): Here's the archi- you were a chef yourself. The kind of
too. tect's design. Like it, chief? Designed for things that only you, chief, are really
efficiency. Formica table tops, rounded cultivated enough to appreciate. Perhaps
WALLACE: But where will you find a terrazzo floors for easy sweeping. All the
job? Who's interested in haute cuisine foods coming frozen, ready -to -heat, from
these days? Be realistic, Pierre, you have our centralized warehouses. Standardized MAcLOVE (also softly): Soon, Wallace,
a family to feed, and we of Cuisine, Inc., everything. No guesswork. When people soon.
have great respect for your artistry, your patronize us now, they'll know what
skill, your talent. That hasn't changed. they're going to get. Our gleaming new WALLACE: And your successor?
We merely want you to use it more ef- restaurants on every highway and byway,
ficiently. Think it over, Pierre. serving them a predictable cuisine, beauti- MAcLOVE: We'll talk about it over
fully neutralized in flavor so that it drinks. (Louder.) Well, gentlemen, we've
PIERRE: I do not 'ave to think eet offends no one. After all, you can always done it. Chez Pierre. I can just see them
ovair, m'sieur. I weel not change my add a little salt if there's not enough, now, stretching from sea to shining sea.
mind. but you can't take it out if there's too Makes a man proud. It's a triumph of
much in there. Right, chief? American culture.
Exit PIERRE, slouched in dejection.
MAcLOVE (far away): I remember in DISSOLVE TO:
FADE OUT. FADE IN ON: the early days at Le Chateau, we used
to serve wonderful cherries jubilee. Truck driving down an Arizona highway
A conference room. ZEUS MACLOVE at evening. Standing up in the rear is a
presides. Seated on the right hand of WALLACE: Chief? Chief? Am I losing huge, wooden cut -out figure of PIERRE,
ZEUS iS WALLACE WALLACE. Other you? idealized. One hand holds up a plate on
attorneys and accountants flank them. which sits a large hamburger, dripping
MACLOVE (returning) : No, no. Have pickles. Camera follows for a distance,
MAcLOVE: I do feel a bit badly about we decided what we're going to call the then stops. PIERRE rides into the sunset.
Pierre, I must say. restaurants? Fade out. GENE LEES
JANUARY 1968 97
POPS JAZZ MOVIES STAGE FOLK
THE LIGHTER SIDE

reviewed by MORGAN AMES O. B. BRUMMELL GENE LEES STEVEN LOWE TOM PAISLEY JOHN S. WILSON
SYMBOL
* DENOTES AN EXCEPTIONAL RECORDING
THE BLUES PROJECT: Live at Town and style of any recent temale vocalist.
Hall. Vocal group with rhythm ac- As her technique continues to develop,
companiment. Flute Thing; I Can't her performances grow even more lively
Keep From Crying; Love Will Endure; and assured. But so far, her albums
Wake Me, Shake Me; three more. reflect only a slice of her depths. The
Verve FT 3025, $3.79 or FTS 3025, talent is there. What she needs are bet-
$4.79. ter songs, more thoughtful arrangers,
Ah, schizophrenia. Side 1 of this in- and tighter album conceptions. If the
--concert recording shows the Blues Proj- momentum of the Cantrell career (hit
ect to be among the most inventive and nightclub and television appearances)
musically solid rock groups going. Flute continues to build, chances are she'll
Thing (a greatly expanded and unhur- find her way in terms of recording too.
ried version of a song that appeared on Therefore, one can't help feeling that
a previous Blues Project album) achieves the best of Lana Cantrell still is to come.
a wistful jazzlike lyricism -a quality M.A.
only occasionally encountered in this
generally frenetic idiom. I Can't Keep THE DOORS: Strange Days. The Doors,
from Crying is straight hard -hitting rock, vocals and rhythm accompaniment.
and Mean Old Southern is an amalgam Love Me Two Times; Horse Latitudes;
of blues and Nashville à la Presley. People Are Strange; When the Music's
Both these songs and Flute Thing are Over; six more. Elektra EK 4014 or
played with impressively sound musician- The momentum begins to build -but is EKS 74014, $5.79.
ship. the best of Lana Cantrell yet to come? The Doors are generically a psychedelic
But Side 2 is pretty much a dud. The group, utilizing a cornucopia of often
sloppy playing, bad intonation, and un- though competent, are relentlessly showy, intriguing electronic sonic devices and
interesting material will probably be- pushing Miss Cantrell along with them. boasting a healthy degree of musical
wilder listeners who responded enthusi- The singer- arranger incompatibility is aplomb. Their "sound" is unique in its
astically to Side 1. Live recordings sel- one of conception, not craft. The two relative freedom from overly distorted
dom do well for rock groups, so let's make a heroic attempt to grace each hurricanes of acoustical storms; others
be charitable with the chaff. Flute Thing other, but the ground rules were badly could learn from them on this count.
alone should carry the day. drawn up. It may have been a good They draw lightly from blues: only
Basically, an exciting group. S.L. idea to include the lovely When You one song, Love Me Two Times, is firmly
Wish Upon a Star from Disney's Pinoc- etched in that idiom. Elsewhere they
LANA CANTRELL: Another Shade of chio, but it was unwise to treat it aggres- concentrate on producing a sort of un-
Lana. Lana Cantrell, vocals; Chuck sively instead of pensively, building it dulating harmonic effect. Chords pro-
Sagle, arr. and cond. Two for the to an almost "one more time" sort of gress less by definite steps than by oozing
Road; Walk Away; Shadows of Our ending. On the Good Ship Lollipop, in and out of focus.
Love; eight more. RCA Victor LPM another good idea, loses its charm in an Lead vocalist Jim Morrison possesses
3862 or LSP 3862, $4.79. overbearing arrangement. Miss Cantrell a voice that is at once rough and soft.
This is the second RCA album from is obviously in a quandary as to what Not especially beautiful as voices go, it
Australian -born singer Lana Cantrell. In songs suit her, and RCA doesn't seem to nonetheless works well within the group's
it her singing fulfills the promise of the be helping her find out. style and helps to contribute to a com-
first. Where Miss Cantrell hoped for Her best song is the soft, sad You pletely integrated ensemble sound.
authority in her first album, this time Can't Go Home Again. Lennon and My only reservation is that though
she has it. Gone is the intonation prob- McCartney's She's Leaving Home al- the current album is no less interesting
lem, the intimidation of working with most succeeds, but eventually fails, a than the first, it isn't much different.
an orchestra. victim of inappropriate phrasing and an The Doors have good basic ideas but in
But while Miss Cantrell's singing has attempt to make it "swing." a field as capricious as rock things hap-
grown, her musical surroundings are still Miss Cantrell has probably the most pen quickly; they would do well to ex-
weak. Chuck Sagle's arrangements, interesting and compelling voice quality pand their approach. S.L.
98 HIGH FIDELITY MAGAZINE CIRCLE 10 ON READER -SERVICE CARD-31r
Liberàtor. New EMI DLS 629
the speaker that
frees your amplifier
to do a better job
Some of today's most popular speakers ere of low -c liciency -

the magnet greatly increasing power-handling capacity.
design. This simply means .hey take more power from your But we retained the unique elliptical woofer construction,
amplifier to produce the sane level of sound In your living - with its rigid aluminum renter cone and molded PVC (poly-
room. vinyl chloride) edge sus?ension, which contribute so much
That's the problem. These speakers may sound fine, but to the low frequency performance of EMI speakers.
what about your 20- watt -yer- channel amylifier, -arced to Two damped 3' /2-inch cone tweeters provide smooth
hover around its maximum Dutput every tine you listen to highs to the limits of audibility. A 3- position brilliance
Night on Bald Mountain? It s generaing far more c.stortion switch lets you tailor the response to the acoustics of your
than it would if it had to pc- out cnly about 5 wat:s for the listening room. The crossover network is an inductance/
loudest sounds, which would also give yo 1 . 6 -db margin capacitance type with 12 -db -per- octave slope. Tweeter and
for peaks before the amplifier over.oads. woofer have been electrically and acoustically matched to
So that's why we say the new EMI DLS 623 is' the speaker provide smooth integrated performance over the entire
that frees your amplifier to do a better job " Among all its sound spectrum.
other virtues, it's also a more efficient transducer than most. All this adds up to ar efficient system that offers pres-
It converts electrical power prom your amp ifier into sound ence unmatched by any speaker in its price class. Sound is
power with less waste. Your amplifier doesn't need to work free, natural; does not hLve the constricted effect that some
as hard, no matter how little or hcw much lower :. has. low -efficiency speakers exhibit in the mid -range. The hand-
If you're acquainted with our m3del 529 (the well -re- some oil finish walnut cabinet 24'í2h x 13'/2w x 12'/4d, has
garded "dangerous" loudspe íker) yo l'll be pleased to know braced 3/4 -inch walls. AL of this for $164.50.
that the EMI 629 has an 8 -ohm nominal impedance instead Visit your hi fi dealer and hear the new 629 and other
of the 529's 4 ohms. This wakes is especially dasi:able for fine EMI star aker systems starting at $79.50. Ask for the
use with modern, solid-state amplifiers. plume- conrol" test, it will prove our point about high-
In addition, we fitted the 629 wocfer with i Iar_er Ipfficiency speakers. For brochure, write: Benjamin
voice coil, increased the gap, and doubled the size of F 4 Electronic Sound, Farmingdale, New York 11735.
the t
JIMMY DURANTE: Songs for Muldaur, kazoo, tambourine, and vo-
Sunday. Jimmy Durante, vocals; cal; Bill Keith, banjo; Richard Greene,
get the Ralph Carmichael, arr. and cond.
Precious Lord; Peace in the Valley;
violin and viola; Fritz Richmond, jug,
washtub bass. vocal, and monologue;
Beyond the Sunset: seven more. others. If You're a Viper; Garden of
Warner Bros. W 1713, $3.79 or WS
NEWS 1713, $4.79.
At last year's televised Academy Awards
show, Jimmy Durante shared the stage
Joy; My Old Man; Ella Speed; eight
more. Reprise R 6266, $3.98 or RS
6266, $4.98.
If Kweskin's last album (with the Neo
briefly with the child actress of the Passe Jazz Band) was a bit of a disap-
FREE! moment (whose name has already left

me). The two of them announced an
award. There wasn't much to it, except
that it stole the show.
pointment, this one compensates amply.
Kweskin and his friends bring a joy to
their music -making and they play with
the boundless vitality only made possi-
It's almost impossible to doubt the
The new McIntosh 36 page cat-
alog gives you all the details
sincerity of Mr. Durante, or to resist
his tender, rocky style. In this album
ble by thorough musicianship. The mu-
sic is charmingly corny, but WOW
what amazing virtuosity! If you think
-
of Sunday songs, Mr. Durante could of the kazoo as a toy and of country fid-
on the new McIntosh solid state slow down the stoniest atheist. His per- dlin' as a short step above hog calling,
equipment. In addition, you'll re- sonality jumps out on the first note and you're in for a surprise. Listen to these
ceive absolutly free a complete charms to the last. people sing. shout. hop, scrape, and wail,
Almost everybody who's anybody and unless you've been lobotomized by
up -to -date FM Station Directory. seems to put out a religious album -to the banal inanities and slick pablum that
keep their hand in on both sides of the pass as "professional" in popular music
ledger no doubt. and perhaps that's why nowadays, you will once again experience
most such albums smell of fish. In this what great fun music can be. S.L.
case, though, we hear an unmistakable
difference: a warm and mellow Jimmy ROD McKUEN: Listen to the Warm.
Durante doing what he has always done Rod McKuen. narrations and vocals:
so sunnily -singing the praises of life. Arthur Greenslade, arr. and cond.
M.A. Dandelion Days; I Live Alone; twelve
more. RCA Victor LPM 3863 or LSP
*ARLO GUTHRIE: Alice's Restau- 3863, $4.79.
rant. Arlo Guthrie, vocals and ROD McKUEN: The Love Movement.
guitar; unidentified assisting mu- Songs by Rod McKuen; Arthur Green-
sicians. Alice's Restaurant; Chilling slade, arr. and cond. Kill the Wind;
of the Evening; I'm Going Home: four Smoking Bananas Will Clean Your
more. Reprise R 6267, $3.98 or RS Mind: nine more. Capitol T 2838 or
6267, $4.98. ST 2838, $4.79.
For those who, like myself, saw in the ROD McKUEN: In a Lonely Place.
passing of Woody Guthrie the loss of a Rod McKuen. vocals: Jack Elliott, arr.
genuinely beautiful part of America's and cond. Lilac Wine; Stranger in
heritage, it is gratifying to find his Town; nine more. Kapp KL 1538 or
humor, pungent insight, and selfless dedi- KLS 3538, $4.79.
cation to humanity incarnate in the per- ROD McKUEN: Something Beyond.
son of his son Arlo. This man of Songs by Rod McKuen; Arthur Green-
twenty-four years exudes the endearing slade, arr. and cond. To Climb the
personality and compassion of the folk - Stars: Sun Treader; eleven more. Lib-
poet, but in a style very much of erty LRP 3537 or LST 7537, $4.79.
the present. As these four simultaneous releases indi-
The central offering is Alice's Restart - cate, Rod McKuen seems to be on a
rant. an eighteen -minute social discourse bender of both productivity and popu-
in talking- blues. Here Guthrie displays larity.
a phenomenal vibrancy and consummate "Listen to the Warm" is the recorded
FREE ability as a raconteur. The song tells of

his arrest -for littering
-in a small New
England town, and the eventual reper-
cussions the event precipitated during
his pre- induction physical. Its humor is
version of McKuen's newest (and best)
book of poems. His soft narrations and
vocals are sensitively backed by Arthur
Greenslade's orchestrations.
SEND TODAY unself- consciously ironic (much in the
same way as his father's Depression
In "The Love Movement," McKuen
shows his whimsical and irreverent view
of the flower generation. Included are
songs) and illuminates the absurdity of The Complete Madame Butterfly in a
certain aspects of the military mystique. minute and a half ( "for Reader's Digest
The remaining songs show Guthrie to fans ") and Eastward the Buffalo (or
be a master of many styles (master. The Raga Rag). Besides the many in-
mind you, not slave) as evidenced by strumentals are a few especially good
the Donovan- inspired lyricism of Chill- McKuen songs, such as The Way It Was
N ing of the Evening, the jug-band joviality Before and It Gets Lonesome When Love
of Ring-Around -a -Rosy Rag, and the Goes, sung by Flo Bennett, who misses.
Beatlish (of "Sgt. Pepper" vintage) enthu- McKuen's funny notes conclude: "I love
siasm of Now and Then. San Francisco, hate Ashbury. Sleep
Whether or not you like folk music or warm, love well, and carry a big stick."
rock-and -roll, you must hear Alice's Res- Though just released, the songs for
taurant; it'll blow your mind. S.L. "In a Lonely Place" were recorded sev-
eral years ago. All but three songs in
THE JIM KWESKIN JUG this collection were written by other peo-
BAND: Garden of Joy. Jim ple. While his early singing is less
f W
Kweskin, guitar, comb, and vocal; pensive than at present, his voice on this
z Jeff Muldaur, guitar, mandolin, clari- set sounds firmer, less scarred, and beau-
net, washboard, and vocal; Maria tifully mated to the thoughtful selection
loo HIGH FIDELITY MAGAZINE
Stop scratching
Beethoven.
If you have a phonograph, you have sion. The recording and playback
scratched records. It can't be helped. heads are securely anchored to a pre-
Every time a phonograph needle cision- machined metal casting. Con-
travels the length of a record, it sequently, tapes and heads align to
scrapes away a bit of the surface. one thousandth of an inch. You won't
Tape recording is different. There's find better alignment anywhere.
no way to scratch a tape, so the sound So much for the things that make
is always pure and clear. In fact, a the tape sound better. The 2161 also
tape actually gets better after the first has a few features that make it a lot
several playings. easier to play. Automatic threading,
But to get the full advantage of for example. You just slip the tape
tape, you need a top -quality recorder/ into a slot and press the "play" but-
player. And that's where the Ampex ton. Takes about two seconds. And
2161 comes in. automatic reverse. Lets you listen to the same tape indefinitely -and never
The 2161 is loaded with engineer- a complete four -track stereo tape touch the machine.
ing features only Ampex offers. Like without switching reels. You can play But perhaps the most important
Deep -Gap heads. They deliver peak feature of the 2161 is one you can't
music performance five to ten times see. It's Ampex's experience in mak-
longer than other kinds. So we back ing the tape recorders most profes-
them with the longest guarantee in sionals use. All the big broadcasting
the business. networks, most local radio and TV
Another Ampex exclusive is Dual stations, and almost all commercial
Capstan drive. Most recorder manu- sound studios use Ampex recorders
facturers use a single capstan to drive as standard equipment.
the tape. We use two. This virtually That means the 2161 isn't really
eliminates wow and flutter, and does a home recorder. It's a home version
away with pressure pads that cause of a professional recorder.
extra wear on tapes and heads. There's a big difference.
This is how easy it is to thread the
Then there's Rigid -Block suspen- Ampex 2161 tape recorder. Ampex. The people who started it all.
STEREO TAPE BONUS. Select $100

worth of Ampex stereo tapes for just
$39.95 with the purchase of any
Ampex stereo tape recorder /player.
Tape offer good only in U.S.A.
Ampex Corporation, Consumer and Educational Products Division 2201 Lunt Ave Elk Grove Village, I11.60007 AMPEX
JANUARY 1968
of material, incluuing Don't Smoke in will be impressed by Nilsson's scope.
There are speakers and Bed and She Was Too Good to Me. Nilsson's only display of weakness is
Finally, "Something Beyond" is a series in his several original songs, all rock -
speakers and of instrumental versions of McKuen based. They're neither good nor bad;
speakers and songs. Arranger- conductor Arthur Green- they're only there. But he's adept at
slade has written with color and imagina- singing rock material, as best displayed
speakers and tion without overriding the quiet sim- in Lennon and McCartney's She's Leav-
plicity of the melodies. McKuen is to be
speakers and envied for his way with titles: My Name
ing Home, on which he manages to par-
rot the sound of all four Beatles without
speakers of Is Matt, Sometimes 1 Cry, It's Been a losing his own touch. Another highlight
Difficult April, and more. I have heard is You Can't Do That, an agile incor-
all kinds better orchestras than this one. poration of eleven Beatle songs. Without
with nothing In the quality pop music world, Rod Her, a baroque -rock ballad, shows that
McKuen is almost alone in being able to Nilsson can be attractive at quiet levels
really new record precisely what he chooses in the when he wishes. For reasons best under-
except for the manner he deems fit. It is an abiding stood by RCA, the track was recorded at
comfort to watch a superior talent sell an exaggeratedly muted level.
Piston- Action "Sandwich "... so well. M.A. At the close of Freckles, a song in the
style of Winchester Cathedral, Nilsson
The only speaker systems having the "Sand- NILSSON: Pandemonium Shadow Show. turns in a delightful moment of quaint,
wich" cone, (U.S. Patent No. 3,111,187), Nilsson, vocals; George Tipton or almost Roger Millerish vocal doodling.
which provides structurel strength, hun- Perry Botkin, Jr., arr. Ten Little In- The most impressive and musical track
dreds of times greater than conventional
cone material. The rigidity of the "Sand-
', dians; 1941; Cuddly Toy; nine more. is There Will Never Be, a fine song full
wich" cone prevents cone breakup or erratic RCA Victor LPM 3847 or LSP 3847, of tricky chord changes and complex
flexing which causes distortion in other $4.79. meters (it jumps in and out of 5/4).
speakers. You hear smooth natural sound. RCA is launching a major campaign on Nilsson soars through this challenge with
Perfection at every harmonic and dynamic behalf of its newest good -bet, a hand- a grace and technique which most rock
level. The rich grained Scandinavian wood some young man named Nilsson. (From
cabinetry is a joy to see. Where space is a
singers neither hear nor give voice to.
the look of the album photos, Nilsson is One senses a good deal of the clown
problem, see and hear the "Mini- Sandwich"
-$135.00. For no compromise in perform- understandably awed and frightened by about Nilsson. He's probably light
ance, the "Mark II" Sandwich is $199.00. all the sudden attention.) One thing is enough on his feet to have become a
For brochure and name of nearest dealer
Write Dept. SA
- sure: RCA has its hands on a live one.
Nilsson's talents are widely diversified,
comic if things had gone that way.
While most of the new crop practices
and while the album's main push is anti -entertainment, Nilsson has a genuine
ERCONA
CORPORATION
towards the rock market, Nilsson's other
talents are allowed room. Perhaps RCA
forgot that the true rock fan will not
instinct for performing.
Nilsson and RCA had better decide
which way to go. Young fans will turn
432 Park Ave South, New York 10016 tolerate divergence from its idols; they up their noses at There Will Never Be
will resent every non -rock moment on and non -teenies will be put off by River
CIRCLE 63 ON READER -SERVICE CARD this disc. However, an experienced listener Deep Mountain High (Nilsson's most
blatant and raw bid for the Monkee
market). While Nilsson is quick-witted
enough to parrot his way to success as a
rock stylist, he's really too sharp to be
happy for long in its confines. Which is
too bad, because if he gets a hit rock
record, his fans will see to it that he
stays in their shackles, while all his more
thoughtful talents rot. Good luck. M.A.
PATACHOU: Patachou Sings. Pa-

tachou, vocals; orchestra. Le Mari-
age d'A ngèle; Chanson pour Teddy;
s- Vivre; eight more. Columbia CL 2710
or CS 9510, $4.79.
This is the first album to be issued for
New Grundig Console some time in this country by one of the
remembers your favorite FM stations - best of the French chanteuses. Patachou,
now evidently in her forties to judge by
the cover photo, has improved with time:
and tunes them in automatically! the voice is richer than ever, the con-
trol even more sustained, the manner
But we say don't be dazzled by "features." Just feast your eyes and ears. even more certain-there's that intan-
gible something called artistic maturity.
Admire the rich -grained hardwoods of the hand -finished Scandinavian - The material ranges in style from
styled cabinet. Listen to the great Grundig sound. Let your dealer talk if Celui qu'a l'accordéon, another of those
seemingly inevitable French songs about
he will (and he probably will) about the solid state circuitry, advanced
a guy who plays Rue de Lappe accordion,
diode tuning on FM, 10- speaker sound system, Dual 1019 automatic turn- through Ce piano, a torch song in that
table or the FM /AM /SW /LW multiplex tuner. After you've heard the heavy- handed style in which the French
attempt bossa nova, to Vivre, a jazz
"specs" tell your dealer you want to hear the set -and that goes for any waltz. Some are so-so but the best songs
of Grundig's consoles, hi -fi components, table-toppers, tape recorders or -Monsieur de Furstenberg and Quand
for instance -are excellent. And one
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without flaw. A literate piece of poetic
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103
JANUARY 1968
LOU DONALDSON: Alligator Booga-
loo. Lou Donaldson, tenor saxophone;
NEW JAZZ Melvin Lastie, Sr., cornet; Lonnie

Smith, organ; George Benson, guitar;
Leo Morris, drums. Aw Shucks!; The
Thang; I Want a Little Girl; three
more. Blue Note 4263 or S84263,
AZNA YOUR!
,J" Fx4 4A
.
$5.79.
Lou Donaldson has been playing his
tenor saxophone warmly and with vitality
for the past fifteen years and yet, in-
credibly enough, he has not been able
l
, '.uLl.
I
`.w i
to break through into the upper circle
of jazz names that tour the festivals with
regularity.
F1RLEAZNAVOIJi Donaldson has an open, exuberant
...than Whom none graat
style; a rich, full tone; and a deep well of
BILL DIXON ORCHESTRA: Intents
swinging ideas that practically demand a
and Purposes. Bill Dixon, trumpet, ready response. Quite often he has been
I! -1 and flugelhorn; Jimmy Cheatham, bass forced to play his way through routine
trombone; Robin Kenyatta, alto saxo-
L.
surroundings but on this disc he leads
phone; Byard Lancaster, alto saxo- a fine group in material that is several
phone and bass clarinet; George Marge, cuts above the average. One piece,
4019 +
English horn and flute; Kathi Nor-
ris, cello; Jimmy Garrison and Reggie
Freddie McCoy's One Cylinder, is a
Workman, bass; Bob Pozar, drums;
classic tour de force -a riff based on a
single note -which, by its insistent sim-
Marc Levin, percussion. Metamorpho- plicity and through the brilliant impro-
sis, 1962 -66; Voices; Nightfall Pieces visations of Donaldson and guitarist
THAN WHOM NONE GREATER!
I and II. RCA Victor LPM 3844 or George Benson, becomes a masterful
CHARLES AZNAVOUR R/RS 6271 LSP 3844, $4.79. example of jazz construction. Benson
Bill Dixon is a painter and musician and Donaldson combine again on I Want
who has been an active leader in the a Little Girl to create a wonderfully
jazz avant -garde movement in New York open, expansive ballad performance. The
for a number of years. This album, other pieces are riff -based things that the
subtitled "the new sounds of the music group jumps through in an easy, loping
of tomorrow," is made up of two long fashion as Benson and Donaldson are
reprise
RfCORDS
compositions and two short pieces, the
latter played by Dixon doubling (on
joined by Melvin Lastie's tight, crack-
ling cornet on the solos.
tape) on trumpet and flugelhorn and Lonnie Smith's organ is a strong fac-
CIRCLE 39 ON READER -SERVICE CARD George Marge on alto flute. tor in the rhythm section but in his
The long works, Metamorphosis and solos he leans towards shrieks and shrills
Voices, are much more accessible to the
CARTRIDGE TAPES unadjusted ear than most efforts of the
that are unhappily out of context with
the honest, unphony approach of the
"new thing" musicians, even though other soloists.
Dixon brings in the hallmark sounds of J.S.W.
3
shrieks, squawks, and scrabblings. On
Voices he uses cello, bass clarinet, and *JOHN KLEMMER QUARTET:
bass as a sonorous sustained foundation Involvement. John Klemmer. ten-
over which he hangs a very gradually or saxophone; Melvin Jackson,
OFF developing flugelhorn solo. The sup-
porting instruments emerge occasionally
bass; Wilbur Campbell, drums; Sam
Thomas, guitar; Jodie Christian, piano.
on their own but the flugelhorn, keen-
LIST ing soulfully or erupting in sudden fits
Passion Food; How Deep Is the Ocean;
My Blues; four more. Cadet 797 or
of the spits, creates the dominant line. S 797, $4.79.
It seems to take a long time to get any- This is an astonishing debut album.
where and Metamorphosis, played by Klemmer's saxophone speaks out with the
a larger group but constructed in much kind of positive authority that implies
the same fashion, has a similar effect. years and years of cutting away the un-
There is more variety in Metamorpho- necessary frills. Yet he was twenty -one
sis because there are more instruments years old when the album was recorded
involved-the two bassists have a brief in May, 1967. I can only be amazed that
passage, the cello emerges for a few someone his age plays with the individ-
bars, and Byard Lancaster even has one uality and imagination that appears all
brawling solo on bass clarinet that chal- through the disc.
lenges Dixon's soloistic preeminence. Yet, along with Klemmer's individu-
Yes, here's your chance to save 1 /3 or Both works move at a trancelike pace, ality, there is something about the strong,
more on all cartridge tapes. It's easy. in which action is implied by dynamic forthright, singing power of his phrasing
Just a $5 lifetime membership fee en- change rather than propulsive surge. that is very much like that of another
ables you to choose the tapes of your Along with the two short Nightfall saxophonist who made a recording de-
choice at BIG savings (no minimum re- Pieces, they have so much sameness 7- but a year earlier, Eddie Daniels. Like
quired) . plus get special reduced
. .
that one wonders if this is the extent Daniels, Klemmer has a lean, vigorous
prices on home and auto tape decks, a of Dixon's scope. In a way, they are style that draws on practically all the
free subscription to The Glass List and reminiscent of Claude Thornhill's or- saxophonists who have preceded him, an
other bonus gifts. There's no other club chestrations, which hung so heavily and imagination that extends far beyond the
like it. Write today for full details. Or inactively that eventually they threatened use of a few set figures, and the techni-
send $5 today to get your bonus gift. to stand completely still. Despite this, cal skill to express a fascinating array of
Dixon's temperate use of the "new thing" deas with clean precision. He also has
Cartridge Tape Club of America sounds serves as a helpful bridge for a superb sense of the dramatic. He is
Dept 1C listeners who are trying to hear what's dashing and slashing on My Blues (with
1507 S. Michigan Chicago 60605 going on over there. J.S.W. Jodie Christian setting off pianistic fire-
104
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JANUARY 1968 105
The works at his side), he evokes a tingling
atmosphere of expectation in his very
out into a buoyant Sousa march and
included recognizable approximations of
Sound deliberate treatment of You Don't Know
What Love Is, and he roars through
Ellington's Prelude to a Kiss (which
some complaining listeners described as
of the Later With Them Woes in hair -raising

fashion.
"desecration "). The other was a lusty
riff-based tune that derived directly from
Seventies Thomas, on guitar, is highly sympa-

thetic to Klemmer's ideas, backing him
superbly and throwing in a few solos
that add to the distinction of the set.
the finest strains of rhythm and blues.
Both pieces appear in this LP and can
now be identified, respectively, as A
Portrait of Robert Thompson (as a young
J.S.W. man) and Mama Too Tight. About all
pr, that can be said for the first (which
PEE WEE RUSSELL-HENRY runs slightly over eighteen minutes) is
RED ALLEN: The College Con- that you would do best to stumble on
cert. Red Allen, trumpet and it when you are expecting nothing more
vocal; Pee Wee Russell, clarinet; Steve than the customary Shepp noise. On
Kuhn, piano; Charlie Haden, bass; record it just goes on and on and what
Marty Morel!, drums. Blue Monk; happy surprise there may have been at a
... specifically, that's the title of Body and Soul; Pee Wee's Blues; three first hearing is quickly dissipated. Mama
a remarkable big- big -band album more. Impulse 9137, $4.98 or S9137, Too Tight, on the other hand, is a
featuring vibist- composer- $5.98. wonderfully brawling piece that is full
Both Pee Wee Russell and Red Allen of life -until Shepp comes in with his
arranger TOMMY VIG and some have been victims of extended type-cast-
of the wildest, most swinging saxophone solo and the music disinte-
ing. Russell was branded as a Dixieland - grates into the usual grating noise. All
music of this or the next decade. er early in his career and has only begun through this disc, Roswell Rudd plays
(MSP 9007) to shake loose from the label in the trombone in a fashion that ties in with
past ten years. Allen, after a brave, (I presume) Shepp's intentions, and yet
Important forthright start, survived during the last

three decades of his life by channeling
his bravura energies into a rut of the
communicates musically. The same can
be said for Tommy Turrentine on
Sounds lowest common jazz denominator. At

this recorded concert, held at M.I.T.
trumpet, while Howard Johnson's lively
tuba is a constant delight.
of the in October 1966, they step out of the

stereotypes and play themselves.
One thing this disc does indicate is
that Shepp, as a composer, has some
sense of form and development, even if
Sixties eclectics is indicated by this program-

That they are actually wide- ranging he cannot yet express this on his saxo-
phone. J.S.W.
S`
tunes by Thelonious Monk and John
DYn..... Lewis, a pair of standard ballads that MARTIAL SOLAL: Solal. Martial
are played by jazzmen of all schools, Solal, piano; Guy Pedersen, bass;
and two blues. Both men move through Daniel Humair, drums. Little Doll;
this material in their own inimitable '1 Under Paris Skies; Jordu; four more.
ways -Russell torturing his clarinet Milestone MPL 1002 or MSP 9002,
around odd corners and crags of phrases, $4.79.
Allen blowing his big, forthright, bull - Martial Solal is a young French pianist
voiced horn and singing with brash as- whose exposure in this country, in per-
surance. Behind them, they have a young, son or on record, has been rare. His
... in general, that's what you can contemporary rhythm section (Kuhn has technique is mighty and aggressive. Like
confidently expect on jazz LPs been Coltrane's pianist, Haden frequent- Oscar Peterson's, Solal's work bears ad-
on the new Milestone label. For
ly plays bass for Omette Coleman), miration for Art Tatum, while a fond-
which fits in easily with Russell and ness for the impressionists is evident in
example, the unique and very
Allen, freshening the backgrounds on his ballads. But Solal has his own thing.
attention -grabbing sounds from the pieces that they have done in the Among the most impressive pieces are
long -time sax great JAMES MOODY past with traditionally oriented groups. Charlie Parker's Billie's Bounce and
and the Brass Figures. (MSP 9005) This is not only a good record in it- Duke Jordan's Jordu.
self but it's an encouraging demonstration Solal's idea of a ballad is a medium -
that jazz really is all of one piece and slow tempo dotted with quick, exclama-
not the disparate puddles of idiosyncracy tory lines from himself and the bass
that it sometimes seems. J.S.W. player. With his technical mastery and
interesting grasp of harmonics, one
ARCHIE SHEPP: Mama Too Tight. wishes he would delve more deeply into
Tommy Turrentine, trumpet; Roswell the art of ballads. There's a lovely pas-
Rudd and Grachan Moncur III, trom- sage at the end of Solal's original, Vice
bones; Perry Robinson, clarinet; Versa, in which the pianist moves with
Archie Shepp, tenor saxophone; How- simplicity up the scale, repeatedly re-
And there's one of the most ard Johnson, tuba; Charlie Haden, turning to the tonic.
exciting new musicians you've bass; Beaver Harris, drums. Theme for On this disc Solal is aided by bassist
Ernie; Basheer; two more. Impulse Guy Pedersen, from France, and drum-
heard in a long time: altoist 9134 or S 9134, $5.98. mer Daniel Humair, from Geneva, both
(and composer) GARY BARTZ. His In the summer of 1966, Archie Shepp of whom have worked extensively with
album "Libra" features Jimmy made it to the Newport Jazz Festival. the Swingle Singers. While Pedersen is a
Owens, Billy Higgins, Richard He was scheduled for the end of an firm, round -toned rhythm player, I find
Davis, Albert Dailey. (MSP 9006) evening's program, the "empty- the -park" his solos limited. Humair is competent,
act. He served that purpose, enlivened though a bit heavy on brushes and light
c/Mílestone MILESTONE RECORDS
by shouted exchanges between Shepp and
the departing audience, despite the fact
that the two selections Shepp's group
on imagination.
Martial Solal is possibly the most ex-
citing recent European pianist, and this
22 West 48th Street played were far more communicative album pretty well shoots a hole in
New York, N.Y.10036 than most of his performances. One America's condescension towards Euro-
was a long piece that suddenly burst pean jazz musicians. M.A.
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Send For Your FREE 512 page 1968 Catalog No. 680 Dept. WA-8 111 Jericho Turnpike, Syosset, L, t.. N.Y.
Lafayette Radio Electronics
ONE OF A SERIES
I do not, incidentally, share the con-
If you're around viction of the annotator regarding Egypt
as a repository of Islamic music: the
New York City FOLK finest and the purest still comes from
the Arabian Peninsula itself. Still, bar-
ring an expedition to the Yemen, you
and like shopping are unlikely to hear more authentic per-
formances than these. This music is
ancient, different, and -since there are
great Hi -Fi stores - 100,000,000 Arabs in the world-im-
portant. Interested parties will be en-
chanted. Superlative engineering. O.B.B.
see this man...
*BIG BILL BROONZY. Bill Broon-
zy, vocals and guitar. Ridi,,' on
Down; Feelin' Lowdown; Treat
ERIC ANDERSON: 'Bout Changes 'n Everybody Right; seven more. Archive
Things, Take 2. Eric Anderson, vocals J of Folk Music FS 213, $5.79 (stereo
and guitar; rhythm accompaniment. only).
Blind Fiddler; Thirsty Boots; Cross On the wall of the Folklore Center in
Your Mind; nine more. Vanguard VRS Chicago hangs Big Bill Broonzy's old
9236 or VSD 79236, $5.79. Martin guitar. It's sort of enshrined
Make no mistake: Eric Anderson writes there, complete with descriptive card.
good tunes. All three of them. He has Big Bill deserves tribute, but not
HE'S OUR DEALER! provided about twenty different sets of mummification, for no one was more
Allan Pearlman, Manager Audio Department, lyrics for them, singing with a great vital in his music. Archive of Folk Music
Sam Goody (West Side store) deal of sincerity and conviction. He is Records had a better idea. When Broonzy
250 West 49th St., New York, N. Y. young and good -looking; his lyric ideas
Sam Goody is one of the largest high fidelity was in Paris in the late 1940s, he made
retailers in the country. Sam Goody's clientelle are properly poetic, disjointed, and filled a number of 78s. Archive has reproc-
is largely composed of knowledgeable audio- with cluttered imagery. He manages to
philes. Concerning Pioneer, Allan Pearlman essed them for a stereo-type effect and
states: "Sam Goody chose Pioneer for one of disguise a pleasant voice by compressing entitled the album simply "Big Bill
its receiver lines beacuse Pioneer's top quality it into the pattern of delivery made pop- Broonzy." It is just that: Big Bill, simple,
and moderate price give our customers the
value Sam Goody is noted for." ular by Bob Dylan. In fact, one could unadorned, and as great as ever.
easily label Anderson a musical Bob There are standard pieces here: In the
PIONEER
PIONEER ELECTRONICS U.S.A. CORP.
(if) Dylan.
This album is comprised of pieces pre-
viously recorded by Anderson. With two
Evenin', See See Rider, Baby Please
Don't Go. Also in the collection is Six-
teen Tons, which Bill does in major key
140 Smith St., Farmingdale. L. I., N. Y. 11735
exceptions, all are his compositions. The throughout. On St. Louis Blues, done in-
(516) 69.3-7720
difference is that on this album, Ander- strumentally, Broonzy touches only light-
son's work is augmented by organ, pi- ly on the minor passages. The effect is
ano, bass, and drums. One supposes that odd but consistently Big Bill.
STEREO this is sufficient justification for re-

recording material from a previous al-
bum. It also opens new vistas for future
One can only speculate on how and
in what sort of surroundings the original
recordings were made. They include such
CHAIRS
Designed by Bell Telephone Company
recordings.
I can hardly wait to hear John Jacob
Niles or Richard Dyer- Bennet with
unmusical sounds as tunings, throat
clearings, coughs, and "Okay? Now?
Okay!" However, most drawbacks of re-
Fender bass, organ, and drums. It's processed 78s are absent. There is a
easily done. The original tapes could minimum amount of hiss, clicks, and
simply be re- recorded with instrumental pops.
tracks added. You can have your pick A must for traditional blues buffs.
of any of the greats, with your choice T.P.
of rhythm sections. How about Lead -
belly and the Fugs? YUL BRYNNER: The Gypsy and I.
If you liked the original Anderson Yul Brynner, vocals; rhythm accom-
used in album of these songs, you'll probably like paniment. Sokolov's Guitar; Tite
it again. On the other hand, you may Shawl: Two Guitars; nine more. Van-
Bell Telephone want to save your money and watch guard VRS 9256 or VSD 79256, $5.79.
World's Fair for the release of Blind Lennon Jefferson Theodore Bikel has recorded gypsy
wills the Bostons Pops. T.P. music and he's a pretty good actor. He's
Exhibit not a gypsy, though. Yul Brynner is also
ARAB MUSIC. Lyrichord LL 186, a pretty good actor who is not a gypsy.
$4.98 or LLST 7186, $5.98. Why shouldn't Brynner make an album
Arab music is very old, so old that in of gypsy music too? It seems he has more
it we may be hearing authentic echoes credentials than Bikel: the liner notes,
of Ur of the Chaldees, Babylon, and written by Roc Brynner ( ?), state that
Sheba. Upon first acquaintance, West- Yul met up with a band of gypsies in
erners tend to dismiss Arab music as
ONLY $ 2950 EACH
F.O.B. Providence
formless, repetitious, unmelodic. Admit-
Paris when he was nineteen and played
with them in cabarets until the beginning
tedly, it requires getting used to and no of World War II. This album marks
Scientifically designed for stereo or mono listening. one is likely to hum Arab hits to him-
Fiberglass shell has nylon upholstered seat and back,
their reunion, some twenty -five years
adjustable hi-fi earphones. Entire unit mounted on
self. But its very iteration, its complex later.
removable steel base. Similar chairs based on this simplicity are extensions of all Arabic The songs are sung in Rom, the gypsy
design now being offered in hi -fi market for many times art -the geometric figures repeated end- language. Rough translations are in-
our price! lessly in rugs, tiles, brocades. architec- cluded in the notes. The album purports
ture -and of the Arab character itself. to be the real gypsy music, not the com-
SHIPYARD SALVAGE Dept.T This album offers four such songs and mercial stuff sung for the entertainment
Washington Ave.. Providence. R.I. (02905) four instrumental pieces performed by
1
(401) 4677000
of non -gypsies. Gypsy soul music, if you
Egyptian artists. will.
Il)) HIGH FIDELITY MAGAZINE
Anthropologists have been studying the
gypsies for years. Or trying to study
them. The one thing on which most of
them concur is that gypsies have a uni-
versal distaste for anyone not born a
gypsy. Stolen -from -the -cradle rumors not-
SEILS
Why?
DO THOUSANDS OF HI -FI
withstanding, there are no adopted gyp-
sies. (The maximum penalty in gypsy IN EVERY CORNER ENTHUSIASTS BUY FROM
law is not death -it is ostracization from
the tribe.) Just how Yul managed to get
OF THE WORLD
AUDIO UNLIMITED
so far inside a tribe is a puzzle indeed.
Perhaps not enough anthropologists play LOW PRICES ON TOP
guitar and sing.
In any event, the music itself is great STEREO COMPONENTS
It's Obvious!
entertainment. It contains the same com-
plexities of rhythm, alternating sadness IS THE SECRET LOWEST PRICES
and joy, that characterize all gypsy mu- Largest discount High Fidelity
sic, be it Russian or flamenco. Special component distributors in the FAST SERVICE
fun is Ne Serdiss (Don't Be Angry), a
sort of left- handed love song; touching South. Wholesale prices on FACTORY SEALED UNITS
in feeling is Khassiyem (I Am Lost). package or individual compo-
FULLY INSURED SHIPMENTS
Brynner sings well and with great feel- nents. Latest models in factory
ing. The atmosphere of the record, in- DEALS -SAVE
terspersed with little conversations, re- sealed cartons shipped imme- PACKAGE MORE
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taneous. Special attention given to Audio
I hope the gypsies who accompany Clubs, Churches and Schools, Write for FREE Listing today
Brynner on this record make a lot of Quote Write
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For Special
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salem of Gold. Margalit Ankory, Our New Warehouse Visit Our Showroom and Warehouse
vocals, with singers and instru- 10520 DETRICK AVENUE Closed Mondays
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Travel brochures and starry-eyed re-
porters aside. Israel is still groping to-
wards some kind of national musical ex-
We O:I: Joke
pression. The dominant Ashkenazai Jews
from Europe don't dig the oud and don't
want to; Oriental Jews would just as soon
bury the past and upgrade to the clarinet enc i l/j}d
Sharye3t
or oboe. Only on some of the more
intellectualized kibbutzim do you see an
occasional earnest group trying to dance
a hora Arab -style or otherwise shape
n 9°wI i
some suitable East -West blending that
might become uniquely Israeli.
While the raison d'être of this fine
album is obviously the title ballad, Jeru-
salem of Gold -a kind of theme song of
the slashing June victory over the Arabs YOU SAVE MORE
-it does present, thoughtfully, vividly, ON HI -FI
and with high artistry the varied strands COMPONENTS 8 TAPE RECORDERS
of Israel's evolving traditional music. We invite your test of our
Playing instruments indigenous to the We Will Not Be Undersold Policy."
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JANUARY 1968 109
ONE OF A SERIES
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CAMELOT: Music from the sound Components Crown Recorders'
Superscope
track of the movie. Richard Harris, Scotch Tape
Dual Changer*
Vanessa Redgrave, vocals; orches-
tra, Alfred Newman, cond. Warner For A Bogen
Dynakit Fisher
H. H. ScottLeak
Bros. B 1712, $4.79 or BS 1712, $5.79. ECI Roberts
Because of the stupefying success of My National
Fair Lady, there is a tendency to under- Package Sony
Garrard
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value or even overlook the other excel- 'Airacord

Rek -O -Kut Finco
lent scores turned out by Alan Jay Lerner
HE'S OUR DEALER! and Frederick Loewe. The release of the
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Bob Bonoff, Owner of The Sound Gallery film version of Camelot refocuses at- Visit our 3 N.Y. Showrooms ADC Cartridges
56 West Putnam Ave., Greenwich, Connecticut Audio Tape
tention on one of their best.
Bob Bonoff specializes in some of the most
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his equipment and is an uncompromising critic and David Hemmings -do their own
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because I found their products meet or exceed singing isn't clarified by the liner notes.
the printed specifications. They do not lie." But it's implied that they do. If so, they 132 Nassau St., New York, N.Y. 10038
sing quite well indeed.
PIONEER CD Take Me to the Fair is an amusing
illustration of the malicious side of
AIREX RADIO
69 West 23 St., New York, N.Y. 10011
PIONEER ELECTRONICS U.S.A. CORP. feminine wiles; the title song, Camelot, is 132 Nassau St., N.Y., N.Y., 212 -964 -1820
140 Smith St., Farmingdale, L.I., N.Y. 11735 a charmingly wistful portrait of the
(516) 694-7720
world the way it should be; and If Ever CIRCLE 4 ON READER -SERVICE CARD
I Would Leave You is one of the finest
love ballads to come from the American
theatre. Alfred Newman's scoring is ex-
HI -FI
cellent. G.L.
DISCOUNTS
JERRY GOLDSMITH: Hour of the SELLING HI -FI
Gun. Music from the sound track of
COMPONENTS the movie. Orchestra, Jerry Goldsmith,
cond. United Artists UAL 4166 or
NATION -WIDE
WORLD
TAPE UAS 5166, $5.79.
Westerns don't offer the motion picture WIDE
composer the greatest possible scope.
RECORDERS Still, some excellent music has been writ-
ten for that genre of film. Jerry Gold-
SINCE
TAPES, ACCESSORIES smith, whose music added so much to 1948
SLEEP LEARN KITS The Sand Pebbles, has turned in for
Hour of the Gun (still another retelling
MERITAPE of the Earp-Clanton fight at the O.K. COMPONENTS RECORDERS
Corral) one of the most arresting Western KITS SPEAKER SYSTEMS TAPE
scores since Hugo Friedhofer's One -Eyed
SAVE MONEY Jacks.
One theme is used throughout, but in LOWEST PRICES
a broad variety of treatments. The main SAME DAY REPLY TO YOUR IN-
LOWEST PRICES title music, in which timpani sound QUIRY

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WRITE FOR OUR VERY LOW a semi-electronic instrument was used FRANCHISED DISTRIBUTORS FOR
PACKAGE QUOTATIONS for a Henry Fonda TV Western series, OVER 50 MFRS.
Nationally Advertised Brands it sounded anachronous. By now, appar- OPEN MONDAY THRU SATURDAY
Factory Sealed Cartons ently, we're used to the sound: it doesn't TEN CENT 1 -HOUR PARKING ME-
Write seem at all out of place here.) TERS AT PREMISES

FREE CATALOG The fault of the album is a common f TELEPHONES (212) 369 -6212 -3
Visit Our Showrooms one in film score discs: the music should
have been edited down to about twenty
DRESSNER
1523 -K JERICHO TPKE
minutes, rather than stretched out to fill
a whole album. It would have been much
WRITE FOR SPECIALS VISIT
OUR SHOWROOM WAREHOUSE
NEW HYDE PARK, N. Y.
11040
more effective for home listening.
The sound here is far superior to
CARSTON
most sound -track albums. G.L. 1686 Second Ave. (Nr. 871, N. Y. 10028
MICHEL LEGRAND: The Young Girls
of Rochefort. Music from the sound
WRITE FOR track of the movie. Philips PC 2 -226
or PCC 2-626, $11.58 (two discs).
The French musical film Umbrellas of
QUOTATION Cherbourg was a little masterpiece. Com-
posers and arrangers in this country were
The show
fascinated. even haunted, by it. It was
FACTORY SEALED CARTONS
FRANCHISED DISTRIBUTOR
QUICK SHIPMENT
something new: a jazz opera, maybe
the first ever written, conceived and exe-
cuted as a film. By and large, it worked.
people love...
The Young Girls of Rochefort, made
by the same team (composer Michel
WE GIVE Legrand and lyricist -librettist- director
Jacques Demy), could reasonably be ex-
pected to improve on it. It doesn't. It is
HenRY
DISCOUNTS too clever by half, and Legrand's curi-
ON HI -FI
ous tendency to overwrite, largely over-
come in the simplicity of the Umbrellas
story, gets out of hand. He throws in
everything but the kitchen sink: a con -
sweet
COMPONENTS certolike theme that harks back to his
score for L'Amérique insolite (a film
and album unfortunately never released
HenRy"
here); scoo -be- dooing, neo -Mimi Perrin Broadway
SOUND singing; a little bossa nova; and, in the
instrumental sections, some superior
swing -band scoring. (The drummer on
original cast
REPRODUCTION the album is marvelous, by the way. recording on
Kenny Clarke ?) What he doesn't throw
INC. in is a really memorable melody, al- ABC Records
34 New Street, Newark, N. J. (01102) though he makes ingenious use of his
thematic material in different settings, as
(201) Mitchell 2.6816 he did in Umbrellas.
Legrand is a brilliant musician. He
can do anything. He even sings well.
What he lacks is restraint: it's the taint
CIRCLE 47 ON READER -SERVICE CARD that's been on his writing since he wrote
that best -selling I Love Paris album for
Columbia in 1954, when he was twenty -
one. At that time it was tolerable: very
young writers are eager to show off
It': Smart everything they can do, if necessary
within eight bars. But taste, as Henry
bi:! Mancini once said in another context,
Thrifty!
s
To Be "is knowing when to cool it." Michel
has never really acquired the knack of
cooling it. This is most evident here
when at times the singers, called on to
STEREO & sing instrumental -like jazz lines (easier
to do in French than English, actually, Nov wawa
HI -Fl BUYERS because the language articulates so much NI AMIN
more deftly), start stumbling over the alwiiien
BEFORE YOU BUY GET A RABSONS
time, like a man off balance who runs ...., . w. ,.",..., a N,, r. MOM
... YOU'LL :AD YOU DID!
.wius
_-ESruannr _ ...Mwrt
QJOTE BE G to keep from falling down.
At Rabsons Competitive Prices, fielia-
Jacques Demy says of the film: "I
bility and Personal Service have been want to combine beautiful music, beau-
bywords for over 61 years tiful cinematography, and beautiful color GEORGE Ron MILL
It's so EASY and SAFE to deal with Rabsons to create a happy film about happy peo- ABCS -OC -4
ple who are not burdened with problems,
Up to 36 months to pay on Easy Pay Plan
Centrally located -as close as your telephone
-as near as your mail box Free Mail Order-
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except the universal one-searching for
love and making it flourish." Yeah
well, that sounds suspiciously like the
-
on Quotation Requests Franchised Distribu-
tor for Hi Fi lines 62 Years of business apocryphal Hollywood mogul of old
"Know How" to serve you better Ship- who demanded "happy films about happy
ments DOUBLE PACKED and FULLY INSURED
"Attractive" Prices Warehouse on prem- people with happy problems." In other
ises Fast DeliveryLarge Inventory permits words, the conception is superficial, and
processing and shipment promptly All
merchandise brand new in Factory sealed that's precisely how I found Demy's
cartons Save even more on complete sys- tangled story and his libretto, most of
tem quotes Export Packing-220 Volts 50
Cycle merchandise a specialty Free list which is printed in a folio with the
of monthly specials. album.
Curiously enough, I wish this film and
this album success. For Legrand and
Demy are onto something important in
this odd genre of picture, and I hope
RECORDS
they make enough money on this one to
do a third-one that perhaps will fulfill
RABSONS 57 ST. INC.
119 West 57th Street, New York N. Y. 10019
the striking promise of The Umbrellas
ABC RECORDS, INC.
NEW YORK /BEVERLY HILLS
DIST. IN CANADA
Tel. Area Code 212 -247.0070 of Cherbourg. G.L. BY SPARTON OF CANADA
CIRCLE 38 ON READER -SERVICE CARD CIRCLE I ON READER -SERVICE CARD

111
JANUARY 1968
O.N.,perfectionist.
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Wow and flutter: 7% ips: 0.08`',; 3% ips: Frequency response: 7! ips: 30 to 20,000 Hz
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TEAC CORPORATION OF AMERICA
1547 18th St. Senta Monica. Calif. 90404

THE TAPE DECK
BY R.D. DARRELL
A Galaxy of Glorias. If one finds one- of the first four concertos (K. 37, generations speak another language en-
self somberly viewing the world's pros- 39, 40, and 41- actually young Mozart's tirely!) And among all the great enter-
pects for the forthcoming New Year with transcriptions of music by other corn - tainers gifted with special powers of
more foreboding than hope, I can sug- posers, and intended for a solo harpsi- personality projection, one of the few
gest no more bracing antidote than to chord rather than piano and orchestra) who will always remain sui generis
rehear the Glorias in which the great and of the first two true Mozartean con- is Fats Waller!
composers have expressed their spirit certos, Nos. 5 and 6, K. 175 and 238.
of exultant affirmation. Deutsche Gram - In fact, in this reel only No. 25, K. 503 From Russia with Love. What is an
mophon /Ampex has now made avail-
able an anthology of Glorias and similar
choruses (DGC 6491, 54 min., $7.95)
has been taped before (by Fleisher for
Epic). Vol. 4 features four first stereo
tape editions: Nos. 13 through 16, K.
old story where the great Tchaikovsky
and Stravinsky ballets are concerned -
that excerpts discs provide little notion
drawn from well -known DGG record- 415, 449, 450, and 451: while its No. 21, of the works' full stature- should have
ings: the Bach Mass in B minor and K. 467 has been taped previously only prevented my surprise at finding Pro-
Christmas Oratorio, both conducted by by Rubinstein for RCA Victor, and its kofiev's complete Cinderella ballet far
Richter; Handel's Messiah, in German, No. 27, K. 595 only by Serkin for Co- more enjoyable than I ever had sus-
by Richter again; Haydn's St. Caecelia lumbia. Of the twenty -five works in the pected from hearing it on records in
and In tempore belli Masses, Jochum complete series (Nos. 7 and 10 are ex- highlights versions (by Ansermet for
and Kubelik, respectively; Mozart's Coro- cluded since they call for two pianos) London and by Stokowski for Everest) .
nation Mass, under Markevitch; Liszt's the stereo tape firsts total seventeen! Now Melodiya /Angel brings us the first
Hungarian Coronation Mass, by Ferenc- Yet here statistics are almost irrele- recording of all the score's fifty pieces,
sik; and Bruckner's "Great" Mass No. vant. What really matters is the depth played with obviously loving relish by
3, in F minor, led by Jochum. I know and intensity of experience revealed in the Moscow Radio Symphony Orchestra
one can easily point out technical flaws these miniature music -dramas. If one under Gennady Rozhdestvensky (Y2S
here-the oldest recording, the 1960 knows, from the Letters, the circum- 4102, 33A -ips, double -play, 107 min.,
Gloria from Haydn's St. Caecelia, is stances under which most of these pieces $11.98). If Cinderella is less poignant
considerably darker and less lucid in were written, their dramatic force is and poetic than Romeo and Juliet, it is
sound than the later releases represented poignantly enhanced. If one has a close still a delectable ballet in its own right,
the performance of the novel Liszt familiarity with the scores themselves, with much of Prokofiev's inimitable
Gloria is a bit below par ... the exces-
sive side- length imbalance of the tape
one's appreciation of the sheer craftsman- scoring felicity. The performance is
ship involved is similarly enhanced. Yet authoritatively idiomatic, the orchestra
results in a long blank section before even without such knowledge, any at- highly competent and spirited, and the
the "A" side begins ... the reel is pro-
vided with neither texts nor detailed
tentive listener must find this music in- sound captured with the music's natural
exhaustibly rewarding. warmth and piquancy.
notes. But these things are reduced to in- In two other recent Melodiya /Angel
consequence as one is carried away by Sometimes the Good Old Days -at least Prokofiev tapings the engineering is
the joyous outcry Gloria in Excelsis Deo. for what a few of us think of as an age often impressively vivid but apparently
of unforgettable tunes and irresistible more closely miked. with occasional spot-
Mozartean Miracles. For more music dance rhythms. Nostalgia is notoriously lighting and with more candid exposure
of a comparable if different eloquence delusive, but at the moment I'm tempted of the executants' occasional lapses into
one has only to look to that quintessence to believe memory hasn't played false. tonal coarseness or stridency. Rozhdest-
of Mozart's genius, the complete series of Try for yourself the persuasive testi- vensky and the Moscow Radio Sym-
his piano concertos -made available for mony offered by two RCA Victor "Col- phony are heard again in suites drawn
the first time in its entirety on tape (or
indeed any kind of medium) in the
33/a -ips Epic reels starring Lili Kraus.
of mono masterpieces: "Vintage Jazz
From New Orleans to 52nd Street" (TP3
-
lectors' Series" retrospective anthologies from the relatively unfamiliar Chout and
Pas rl' acier ballets of 1915 and 1925
respectively (YIS 40017. 33/.4-ips, 52 min.,
Vols. 1 and 2 (E3C 850-51) were noted 5026, 73 min.) and "The Best of Tommy $6.98). Though the music here seems de-
in this column for April and June, 1967; Dorsey and of Artie Shaw" (TP3 5021, cidedly dated. there are still many amus-
Vols. 3 and 4 are respectively E3C 863, 74 min.), 33A -ips, double -play, $9.95 ing details, in Chout especially. The
approx. 132 min., and E3C 864, approx. each. Each of these reels brings a wealth second reel contains one of Prokofiev's
155 min., $11.59 each. Throughout, Ste- of well -remembered song hits played in supreme masterpieces, the Alexander
phen Simon's Vienna Festival Orchestra truly idiomatic style rather than in the Nevsky cantata, Op. 78, sung here by
is no match in stylistic distinction for overfancy arrangements usual today. And mezzo Larissa Avdeyeva and the RSFSR
the soloist, and the sonics -clean and what is even more delightfully surprising Russian Chorus with the USSR Symphony
bright as they may be -are scarcely is that, while the recordings are acous- Orchestra conducted by Yevgeny Svet-
outstanding, although in Vol. 4 both tically far too dry by present standards, lanov (ZS 40010. 7.5 -ips, 39 min., $7.98).
the recording and the orchestral playing the sound of the orchestras themselves Interesting as this version is for its
seem to rise more often above the is still an aural delight. Rehearing, in authentically Russian character, it is only
merely acceptable. For the later concer- "Vintage Jazz," some of the finest play- acceptably performed and recorded. The
tos there are, of course, rival recorded ing of the bands led by Jelly Roll Mor- only previous tape version, with Lili
versions by such notable artists as Rubin- ton, Sidney Bechet, Benny Moten (with Chookasian and Thomas Schippers for
stein, Serkin, Haskil, and Fleisher, but Count Basie at the piano), Duke Elling- Columbia, was by no means ideal either,
Miss Kraus's readings have highly in- ton, Benny Goodman, Earl Hines, Cole- but it did have the advantages of more
dividual attractions and in the less famil- man Hawkins, and many others, is in- impressive, if thicker, sonics-including
iar concertos she is without any tape arguable proof that these music makers the sound of one of the weightiest and
competition at all. Vol. 3 of the series, have never been matched in their own deepest bass drums ever captured on
for example, includes first tape editions domains. (The great talents of younger records.
JANUARY 1968 113
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/...!
w' Edition which is all of HIGH FIDELITY plus about 32 pages per issue of news
and reviews of important musical happenings throughout the world -concert,
opera, etc. Subscription price 512.
I want to take advantage of your offer of the next 12 issues of So said William Gard of the National Asso-
HIGH FIDELITY (regular edition) for only $7. Enter my subscription. ciation of Music Merchants.
Payment Enclosed Bill Me New Renewal "Americans spend more money on music
than the rest of the world put together."
Name
Gard said. "Total U.S. spending for music
Address and home entertainment now adds up to
more than $6 billion a year -or $1 out of
City State Zip Code every $5 spent for some form of recreation."
i
Gard claims Americans now spend more
For Postage Outside U.S.A., Possessions: Add $1. time listening to music than playing cards
or reading. Moreover, 41 million citizens
were playing music.
Here are some of NAMM's indexes to
First Class
Permit
American music popularity:
No. I I t
Schools have 50,000 bands and 6,500
Cincinnati, Ohio orchestras ... Half of the world's symphony
orchestras are in the U.S. and 1,385 of them
play regular concerts ...Total retail sales
BUSINESS REPLY MAIL of musical instruments last year were
No postage stamp necessary if mailed in the United States greater than the combined sale of cameras,
playing cards and comic books ... Ameri-
Postage will be paid by- cans spend more time at concerts than at
baseball games.
P.O. Box 14306
Americans spent more money for phono-
HIGH FIDELITY Annex Station graph records last year than ever before -
Cincinnati, Ohio 45214 over $830 million ... There are 55 million
phonographs in U.S. homes ... 10 million
Reader's Service Dept. 1 -68 Americans play the guitar, compared to
just 2.6 million 11 years before ... Nearly
two million guitars were sold last year...
22 million pianos are being played in the
U.S. it's the most popular instalment. Over
First Class 260,000 were sold in 1966.
Permit
No. 111
Cincinnati, Ohio And may we add that the demand for
High Fidelity, the magazine for music
listeners has reached an all time high?
BUSINESS REPLY MAIL Make sure you see it every month. Con-
No postage stamp necessary if mailed in the United States venient order card above.
Postage will be paid by-

HIGH FgoELrTY
P.O. Box 14306
HIGH FIDELITY Annex Station
Cincinnati, Ohio 45214 musical america

Reader's Service Dept. 1 -68
Great Barrington, Mass. 01230
The woofer that lost its whistle
... and other stories.

The woofer cone in a very small almost 2 db extra efficiency in the low unusual. Examine the walnut grain
enclosure must move a long way bass in the bargain)! carefully, especially at the corners. It's
to provide all the bass you want to The E -V EIGHT tweeter was another a perfect match because we use one
hear. In the new E -V EIGHT, for story. We aimed to eliminate the "buzz" long piece of wood, folded to form
instance, the 6 -inch cone moves back and "fuzz" so typical of modestly the cabinet! And we add a clear vinyl
and forth over one -half inch. But in priced speaker systems. What was shield on every finished surface, to
most woofers something strange hap- needed was a better way to control protect the E -V EIGHT from the mars
pens as it moves. It whistles! cone motion at very high frequencies. and scratches of day -to -day living.
You see, the air trapped inside the And it literally took years of testing There are so many good ideas inside
speaker is literally "pumped" in and to solve the problem. the tiny new E -V EIGHT, you may
out past the voice coil. The whistle is The answer looks deceptively simple. wonder how we found room for them
almost inevitable. Except, that is, in We put a ring of short -fiber polyester all. Chalk it up to top-notch engineering
the E -V EIGHT. felt behind the cone, and a precisely talent and facilities, plus a very real
We did two things almost nobody measured amount of viscous vinyl dedication to the ideal of better value
else bothers to do. First, we vented damping compound under the edge. in every product.
the woofer. Air can't be trapped inside. Plus a lightweight aluminum voice Listen to the E -V EIGHT with the
Then we punched six big holes in the coil to extend the range to the limits of whistle -free woofer at your nearby
voice coil form. Air can't be pumped your hearing. Highs are remarkably uni- Electro -Voice high fidelity showroom
back and forth. And that's how the form and as clean as a (oops!) whistle! today. Then ask the price. At no more
E -V EIGHT lost its whistle (and gained Even the E -V EIGHT enclosure is than $44.00 it's the best story of all.
ELECTRO- VOICE, INC., Dept. 184H,

619 Cecil St., Buchanal, Michigan 49107
Send me catalog information on the E-V EIGHT and the
glecrofec
high fidelity speakers and systems tuners. amplifiers. receivers public address loudspeakers
complete line of Electro -Voice high fidelity products.
Name
Address.
microphones phonograph needles and cartridges organs space and defense electronics
CIRCLE 30 ON READER -SERVICE CARD City State Zip
.Tm 88
! 94 W, I
,tYN!
98
M1
WV l
SAS) Mt VU(ON
104 1()t7 xkJ 14C
Sherwoor! Seetromic
,Caboratorie
that its sthoy

'hc 41odel S-8800. iT receive::
1,11
has beer fartheryeeQ
with the add,
,,
of held Fffeet
Z"raysistors
Model S.8800 custom mounting $369.50

The highly -rated Sherwood S-8800 now features Field Effect Transistors (FET's) in Walnut leatherette case $378.50
Handirutbed walnut cabinet $397.50
the RF and Mixer stages to prevent multiple responses when used with strong FM signals.
Among the Model S- 8800's many useful features are two front -panel switches for
independent or simultaneous operation of main and remote stereo speaker systems.
Visit your Sherwood dealer now for a demonstration of those features
which make Sherwood's new Model S-8800 -FET receiver so outstanding.
With Sherwood, you also get the industry's longest warranty -3 years, including transistors.
Sherwood Electronic Laborolories, Inc.,
Compare these Model 5 -8800 specs, :40 watts music power (4 ohms) Distortion: 0.1'', (under 10W.) 4300 worth California Avenue,
FM sensitivity: 1.8 uv (1HF) Cross -modulation rejection: -95db FM hum & noise -70db. Chicago, Illinois 60618. Write Dept. HI

High Fidelity 1968 01

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HIGH Ft 0 E LITIF

STEREO EQUIPMENT RECORDS MUSIC JANUARY 1968 60//

PHONO CARTRIDGES:WHAT'S NEW?

lus our new table radio

Five Fisher receivers p

Mail this coupon for your free copy of

City State Zip The Fisher

The X factor in the new Pickering XV-15.

MUSIC AND MUSICIANS

OUR CORRESPONDENTS REPORT FROM LONDON, PRAGUE, AND NEW YORK l2

THE RECORD PRODUCERS Peter G. Davis

THE DISREPUTABLE ROMANTICS Frank Cooper

WELL, MAN, THAT'S PROGRESS: A SCENARIO Gene Lees

AUDIO AND VIDEO

EQUIPMENT IN THE NEWS The latest in quality components 32

VTR TOPICS Norman Eisenberg Whatever happened to those innovations? 36

WHAT'S NEW IN PHONO CARTRIDGES? Robert Angus

STEREO BOOKSHELF Norman Eisenberg

JAZZ John Klemmer . . . Pee Wee Russell . . . Martial Solal 104

THEATRE AND FILM Camelot . . . Michel Legrand 110

THE TAPE DECK Prokofiev from Russia with love.. 1 I3

STEREO RECEIVERS: THE ROLAND GELAIT

BEST-SELLING COMPONENTS Editor and Associate Publisher

a receiver? And what do those specifications mean? NORMAN EISENBERG

Record producer John McClure wittily recounts the Art Director

FURTWAENGLER CLAIRE N. EDDINGS

4 CIRCLE 103 ON READER -SERVICE CARD --3.

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If youheg[n your membership by purchasing just one tape

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CIRCLE 2 ON READER -SERVICE CARD

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CHOOSE A RECORD FREE -NOW! Catalog No.

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In This Harem, English Spoken

12 CIRCLE 48 ON READER -SERVICE CARD *

Curzon in Mozart. Decca /London has

on more of what you want! was at last persuaded to record some

Individual components or complete systems - J Continued on page 20

14 HIGH FIDELITY MAGAZINE

ATTENTION: RECORD BUYERS

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TIME IN A COMMAND SAMPLER. ENCLOSED IS $ (Check or Money Order)

These PREVIEW '68 samplers can only be ordered DIRECTLY Name

Enjoy the Classical Records

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7 RECORD SET FT, E'S in B Minor ( "Unfinished ").

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