ili/stele review...this proposal was recently advanced by jac holzman, president of elektra records,...

Ili/Steleo ReviewThe experts discuss:TURNTABLES ANDTONE ARMS

Reviewed and updated:THE BASICREPERTOIRE

Composer or critic?THE CASE OFHUGO WOLF

A pilgrimage toOPERATICGREECE

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Buy the onethat sounds be

Certainly, Fisher is one of the most impressivenames in high fidelity. ( In fact, the world's largestmanufacturer of stereo components. )

And the 220-T is a most impressive AM / FMstereo receiver: 55 -watts ( IHF ), patented FisherStereo BeaconTM, FET front end, Transist-O-GardTmcircuit protector, 24 -carat gold-plated front panel anda price of only $329.50 ( cabinet $24.95 ).

But if you're ready to buy stereo, please,try to forget for a moment that the 220-T is a Fisher.

Think of it as Brand X. And compare itdirectly with Brands Y and Z.

That way, when you choose Brand X ( Fisher )over the others, you'll know it wasn't the namethat influenced you.

Just the sound.

The Fisher 220-T

When you visit your dealer, be sure to hearthe Fisher XP -6 3 -way free -piston loudspeaker system;10 -inch woofer, 5 -inch mid -range, 11/2 -inch soft -dometweeter, 300 and 2500 Hz crossovers; $99.50.

Mail this coupon for your free copy of the FisherHandbook, 1967 Edition. This 80 -page reference guide to hi-fiand stereo also includes detailed information on all Fishercomponents. Mail coupon to:

Fisher Radio Corp.11-35 45th Road, Long Island City, N.Y. 11101

Nam,

Addrc-

State ZipLCilc

CIRCLE NO. 21 ON READER SERVICE CARD

OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITE TO FIRMER RADIO INTERNATIONAL, INC., CONY is,. CITY, N.Y. 15101.

PI 90. 32. 94. _91 94 lk?S 9° 19 .. izi°

Don't justbuyan

impressivename.

TH

E FISH

ER

220

GARRARD'S 60 INIkU

Tubularaluminum

tone arm hasadjustable

counterweight,resiliently

mounted toprevent

resonance/

quite possibly the BEST BUYamong all automatic turntables

, Automatic/ anti -skatingassembly

, neutralizes/ side pressure/ on stylus

...preventsdistortion

and unevenrecord wear

Built-in precisionstylus pressuregauge, withknurled,optical -toe dial.

Low mass plug-inshell, with

bayonet fitting;takes the

lightest, finestcartrideas.

Cueing/pausecontrol leverraises andlowers tonearm safelyover anygroove.

Heavy cast,balanced,oversizedturntable withdecorativemat and trim.

CONSIDER

FEATURES

Cueing and pause con-trol. Automatic anti -skating assembly. Castoversized turntable.Adjustable counter-balanced tone arm.Precision styluspressure gauge.Shielded LaboratorySerieso motor andother Garrard innova-tions built into thisexcellent unit.

CONSIDER

PERFORMANCETracking as low as V2gram. Wow, flutter,rumble, and speedaccuracy surpassingNAB standards.

CONSIDER

VALUE...only $74.50less base and cartridge

Built to unsurpassedstandards... this verysuccessful compactunit, bearing theGarrard name, is asource of utmostsatisfaction andcontinuing pride inany music system.For complimentaryComparator Guidedescribing all five newGarrard automatics,write Garrard,Dept. AF -5. Westbury,N.Y. 11590.

(a)

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Two interchange-able spindlesfor sure, safe,gentle handling of records(a) short-for single recordplay (b) long-for intermixautomatic play whendesired.

Ilifi SteteolleviewJUNE 1967 VOLUME 18 NUMBER 6

THE MUSIC

WHO'S AFRAID OF HUGO WOLF?A composer -turned -critic may be his own worst enemy HENRY PLEASANTS 39

OPERATIC GREECE: A MUSICAL PILGRIMAGEAn opera lover tours the sites of the Greek legends FLORENCE STEVENSON 44

THE BASIC REPERTOIREUpdatings and Second Thoughts, Part One MARTIN BOOKSPAN 48

THE EQUIPMENT

NEW PRODUCTSA roundup of the latest high-fidelity equipment 20

HI-FI Q R AAnswers to your technical questions LARRY KLEIN 24

AUDIO BASICSAudio Specifications X: FM Tuners HANS H. FANTEL 28

TECHNICAL TALKAmplifier Distortion Measurements, Part One; Hirsch -Houck laboratory reports on theDynaco Stereo 120 power amplifier kit, the MB Model Twelve speaker system, and theSlum' M-68 microphone mixer JULIAN D. HiRscri 31

INSTALLATION OF THE MONTHWall -to -Wall Stereo 53

TURNTABLES AND TONE ARMSThe engineers have their say PETER SUTHEIM AND LARRY KLEIN 54

TAPE HORIZONSHousehold Inventory DRUMMOND MCINNIS 103

THE REVIEWS

CLASSICAL 65

ENTERTAINMENT 85

TAPE 99

THE REGULARS

EDITORIALLY SPEAKING 4

LETTERS TO THE EDITOR 8

ADVERTISERS' INDEX; PRODUCT INDEX 106COVER: SII:VItES PORCELAIN FIGURINE IN THE MUSEE DE VERSAILLES; PHOTO BY EDDY VAN likji VEEN

Copyright Q 1907 by ZiffDavi Publishing Company. All rights reserved. HIFI/Stereo Review. June 1067. Vailume 18. Number B. Publishedmonthly at 307 North Michigan Avenue. Chicago. Illinois 601101. by Ziff -Davis Publishing Coinnany-also the 11,01,1111V114 of Airline alanagemen:and Marketing. Boating. Business & Commercial Aviation. Car and Driver. Cycle. Electronic. Morld. Flying. Modern Bride. Pooular Aviatkm.Popular Electronics. Popular Photography. Skiing. Skiing Aiea News. and Skiing Trade News. (Travel Weekly I. published by Robinson Publica-tions. Inc.. a subsidiary of Ziff -Davis Publishing Company.) One year subscription rate for U.S.. U.S. Possessions and Canada. 88.00: all othercountries. 107.00. Second 1.1.1$, postage paid at Chicago. Illinois and at additional mailing offices. Authorised as strond.class mail by the Post OfficeDepartment. Ottawa. Canada and for payment of postage In cash. SUBSCRIPTION SERVICE: All subscription corre.p loner should be addressed toHIFI/Stemo Review. Circulation Department. Portland Place. Boulder. Colo:a:do 80302. Please allow at least six weeks for change of address.inewilg your oh: ;glare., g. ne,_,...gloginv if Mitt address label from a recent Issue.

4 -CIRCLE NO. 103 ON READER SERVICE CARD 3

HifiktereoltoiolPUBLISHER

PHILLIP T. HEFFERNAN

EDITORWILLIAM ANDERSON

MANAGING EDITORWILLIAM LIVINGSTONE

MUSIC EDITORJAMES GOODFRIEND

TECHNICAL EDITORLARRY KLEIN

ASSOCIATE EDITORROBERT S. CLARK

ART DIRECTORBORYS PATCHOWSKY

CONTRIBUTING EDITORSMARTIN BOOKSPAN

HANS H. FANTELWILLIAM FLANAGAN

DAVID HALLNAT HENTOFF

JULIAN D. HIRSCHGEORGE JELLINEK

IGOR KIPNISPAUL KRESH

DRUMMOND McINNISREX REED

PETER REILLYERIC SALZMAN

EUROPEAN EDITORFREDERIC GRUNFELD

LONDON EDITORHENRY PLEASANTS

ADVERTISING SALES MANAGERLAWRENCE SPORN

ADVERTISINGSERVICE MANAGER

ARDYS C. MORAN

Editorial and Executive OfficesZIR.Davia Publishing CoinPanYOne Park Avenue, New York, New York 10016212 679.7200Eastern Advertising Manager: Jerry SweeneyRobert Ur

idnestern Office307 North Michigan Avenue. Chicago. lillnola 60601312 726.0892Advertising Manager: Jerry SweeneyWestern Office0023 Wilshire BoulevardBeserly Hills. California 9021121:1 Citestview 4.02413: BRadshaw 2.1161Western Advertising Manager: Bud DeanJanan: James YagiIshlkawa Mansion4. Sakuragauka, Shibnya-kuTokyo. JapanTelephone: 462.2911.3Circulation OfficePortland MAIM Boulder. Colorado 80302

EDITORIAL. CONTRIBUTIONS must beabrti,rogl:;, postage and

assumesbliity for return or safety of an work.or manuscripts.

accompaniednitit reasonno responsi-photographs,

Member Audit Bureau of Circulations

ZIFF-DAVIS PUBLISHING COMPANYilliain B. Ziff, Chairman of the Board (1946.1953)

William Ziff. PreeldentW. Bradford Briggs. Executive Vice PresidentHershel B. Sarbln, Senior Vice PresidentPhilip Sine. Financial Vice PresidentWalter S. Mills. Jr.. Vice President, CirculationStanley R. Greenfield, Vice President, MarketingPhIllin T. Heffernan, Vice President.

Electronics DivisionFrank Pomerants. Vice President. Creative ServicesArthur W. Butsow, Vice President. ProductionEdward D. Muhlfeld. Vice President, Aviation DivisionIrwin Robinson. Vice President, Travel Division

EDITORIALLYSPEAKING

By William Anderson

you don't have to get very close to the record industry to discoverthat it bears strong resemblances to most other human activities-it

is wildly illogical, remarkable both for what it produces and what it doesnot, and characterized by an extraordinary amount of redundancy. A glanceat the groaning shelves of your record shop or the bulging pages of theSchwann catalog will confirm this. Granted, music is one of the perform-ing arts, and a certain amount of duplication for variety of interpretationis necessary, but do we really need (as of last count) twenty-one differentreadings of the Grieg Piano Concerto, twenty-seven of the NutcrackerSuite, and thirty-five of Clair de lune? And most of these performances-redundancy compounded-are available in both mono and stereo versions.This is as good an example of too much of a good thing as anyone couldbe expected to come up with, and may partly explain why many othergood things, musically speaking, go unrecorded.

Reasonably and logically, record companies find it good business to keeptheir catalogs as "complete" as possible, to offer buyers their own versionsof best-selling classical standards-but why in both mono and stereo?One answer to this duplication has already been (logically) arrived at-the so-called "compatible" disc which can be played on either stereo ormono equipment. The idea is not a new one: Connoisseur Society, forexample, was issuing genuinely compatible discs as long as five years ago.Many European record producers have been moving in the direction ofcompatibility in the past few years, and Mercury/Philips' new budget -price"World Series" is being issued in compatible stereo exclusively. Despitethe sonic excellence of some (not all) of these discs, however, their suc-cess will undoubtedly be affected by a credibility gap. In the years sinceits introduction, "stereo" has become a thing in itself, established beyondany reasonable doubt as a technological and artistic advance, and it is toolate to try to remove the taint of "compromise" from "compatible."

A head-on approach would therefore seem to be even more logical:release records in stereo only. This proposal was recently advanced by JacHolzman, president of Elektra Records, who feels that the place to start iswith the cartridge-by offering, through dealers, an inexpensive stereocartridge with the trade-in of an old mono cartridge. It takes no greatamount of audio sophistication to realize that any mono system can playstereo records perfectly (though without separation) simply by using astereo cartridge with (1) left- and right -channel "hot" leads and (2)left- and right -channel "ground" leads wired together. Discontinuationof mono discs has many advantages: manufacturers can eliminate extramixing, pressing, and jacket operations; dealers need not worry over howto balance the mono/stereo stock of each release; and buyers who havenot already done so will be nicely started out on conversion to stereo.

England's EMI (parent company of Angel/Capitol) is the first to graspthis bull by the horns: as of July, their classical releases in England willbe in stereo only, with the decision on popular discs to come later. It isa sensible first step: exact figures in this area are hard to come by, butmost experts agree that classical -disc sales are now preponderantly stereoanyway. And what do you want to bet that EMI will now find it possibleto add a few firsts to the catalog rather than spend extra time and moneyon mono duplications of the stereo repertoire?

4 HIFI/ STEREO REVIEW

Full -Sized Bozak SpeakersDon't Cost More

They Just Look and SoundBetter

For instance, your Bozak dealer can show you how to own aModel B-300 full-size, two-way system, like those shown, for aslittle as $152.50-. Ask 7irn about the man)/ ways Bozak mEkesit easy for you to enjDy natural musicreproduction for a modest investment.

DARIEN, CONNECTICUT

*Slightly higher in the Deep South and Far West.

JUNE 1967 5

RCA VICTORSTRAW TAPIR

THE AL HIRTBEST OFAL HIRT THE HAPPY

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HARR5BELAFONiTt

RCA VICTORSTEREO TM,

Henry.Mancinipresents

TheAcademyAwardSongs

SI"Oscar"Winners

RUBINSTEINRAMIE root.CONIT.141,:

R weetne Slimiest

PnateMARIOLANZA

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AN EVENINGWITH

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THE NM SUNS111150 VONIFILNALTER

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ON TOUR UP CLOSE

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AN EVENING AT Tiff -POPS"BOSTON POPS ARTFRIR FIEDLER

"MCORMO UNI AI SHIVOM Mll MUM

Here's why. We waited until we developed a 33/4 ips reel tape with clarity and purity of sound compar-

able to our best 71/2 ips tapes. Now we've got it. . We waited until we hadthe facilities to meet today's demand for pre-recorded tapes. Now, inIndianapolis, we've got the world's largest and best -equipped tape dupli-cating plant. H We waited until we could offer an initial release that wouldgive you an exciting variety of performances. And here are 31 new re-leases never before available on reel tape-including the exciting newCollector's Series of rare mono recordings that are fully compatible forplayback on 4 -track stereo systems. Each is on a standard 7" reel-theequivalent of at least two L.P. albums (except in the case of Broadwayshows). -1 Sure, we waited. But when you hear these new tapes-see thefull -color boxes and attractive prices-you're sure to agree they were worthwaiting for!

-QOM! -I .11,1.14

GREAT AIONENTSmv (BAND OPERAIf UMW 0005 (MS Of

SOAKING Milt LAMA WWIMIFFS PRICE ROOM SHAW CHORALE

IVOR VICARS

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GERSHWINFIEDLER BOSTON POPS

1.1 OIL 0 Roo.

Prot FQ.vre. .17 'WO toli, 00.110111 TWO C01.1,1 PRRIO AMY.

The Best of Al Hirt, Volume 2/The Happy Trumpet --Al (He's the King) Hirt TP3-5001

In My Quiet Room-Harry Belatonte/An Evening withBelatonte/Mouskouri - Harry Belatonte,Nana Mouskouri TP3.5002

Old 'n' Golden Goodies - Variety Pack TP3-5003 A Gershwin Holiday - Variety Pack TP3-5004 Grand Tour/The Latin Luboff - The Norman

Lubott Choir TP3-5005 Lightly Latin/Perry Como in Italy - Perry Como

TP3-5006 The Jazz Giants - Variety Pack TP3-5007 24 Great Songs of the *60 s - Variety Pack TP3-5008 Distant Drums/The Jim Reeves Way - Jim Reeves

TP3-5009 Choice/A Heart Filled with Song -John Gary

TP3-5010 Miss Smith Goes to Nashville/Connie Smith -

Connie Smith TP3-5011

6 Furl/ STEREO RI VIEW

RCA VICTORSTEREO TARE

PERRYCOMO

LATIN

PERI MU X!

PERRYCOMO

IN ITALY

Ott MU114115

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iut NMI1011111 ROOMS

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[TIME MintGitIO WAIMEAWNW AIMS

/0,0( !If 401.4.1.1.1411 w IWt.PI C, LULVIS IEVer AL, Pe Of 1.0 M11.,

"Hey, RCA Victor.How come you waited

so long to bringout 33/4 ips

eel tapes?"

EtRCAi

VICTORITAP

DISTANT DAMS TteJIM iffr Ft.eVeS

REEVESnor0...,104.11rt PPR 1.i.Aof

EB VICT04EB OPT ICE

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(LASS 4E (6Fl 0 'I) FLOYD

(RAVER CRAMER

THEGLENN MILER

CARNEGIEHALL CONCERT

M

I ELI I4

NC cwnwor 121-ArEFIEO TAPE

YOICS THAT WILL Mink We AIUVI FORLYEA Lay, Bed

Lte lammit 4r 6,1

114150.1GROWS 11046HAWAII

Henry Mancini Presents the Academy Award Songs- Henry Mancini, His Orchestra and Chorus

TP3-5012I Want to Go with You/Eddy Arnold Sings Them Again- Eddy Arnold TP3-5013

Peter Nero on Tour/Peter Nero - Up ClosePeter Nero TP3-5014

Chet Atkins Picks on the BeallesiTeen SceneChef Atkins TP3-5015

Glenn Yarbrough - Live at the hungry Ole LonelyThings - Glenn Yarbrough TP3-5016

The Easy Way/The Last Word in LonesomeEddy Arnold TP3-5017

Class of '66/The Best of Floyd Cramer Floyd CramerTP3-5018

The Glenn Miller Carnegie Hall Concert/GlennMiller Concert - Glenn Miller and His Orchestra

TP3-5020

CHOICEJOHNGARY

RCA VICTOR ELIIIITERIE0 TAPE

.7 7-MARY ROBERT

MARTIN PRESTON

I 09.

agn.mr. MOWN

cuN1Yg1 0c.1.1".,11.11810 .11.4

Annie Get Your Gun - The Original Cast Recording- Music Th ater o! Lincoln Center Product or -Ethel Merman 103-1002

I Do! I Do!- The Original Broadway Cast Recording- Mary Mar ..n. Robert Preston 103-1003

Concerto No. 1 in D Minor, Op. 15 (Brahma) -Rubinstein; Leinsoort, Boston Symphony CrchestraConcerto No. 2 in B -Flat, Op. 83 (Brahma) -Rubinstein; Krips, RCA Victor SymphonyOrchestra TF-3-5001

The Student Prince/The Vagabond King -Mario Lanza TP3-5002

An Evening at the' Pops" - Fiedler. Boston PopsOrchestra TR3-5003

Great Moments from Grand Opera - Variet!, PackTP3-5005

Gershwin - Wild; Fiedler, Boston Pops OrchestraTR3-5006

fylATY.CONASt 1.460 4./..

Lucrezia Borgia (Complete) (Donlzetti) - Cabana,Verrett, KrE,us. Flagellc Perlea, RCA KahaneOpera Orchestra TR3 -8001

Living Strings Plus Two Pianos Play Songs ThatWill Live Fc.rever/Living Strings Plus Two PianosPlay Music We All Love Best TC3-5001

Musical Orchids from Hawaii/More Hawaii in HI-FI- Leo Addeo and His Orchestra TC3-5002

Latin Soul/'Tijuana Taxi" and Others LivingMarimbas TC3-5003

Using Strings Play Music from the Motion Picture"Camelot", 'Marne" and Other Songs fromBroadway and Motion Pictures I ,vInctPlus Trumpet TC3-5004

RCA VICTOR(The most trusted name in sound

CIRCLE NO. 42 ON READER SERVICE CARDJUNE 1967 7

With a name likePioneer, you'd expectsomething differentin a Receiver

Well, here area few somethings

Unique vertical throw lever controls assurepositive, finger-tip switching.Separate compensation for 3% and 71/2 ipstape speeds.Special DIN socket accommodates connect-ing plugs to the outputs of European re-corders.Separate input jacks provide for two mag-netic phono and for ceramic/crystal cart-ridges.Matched grain, oiled walnut cabinet included at no extra charge ($360).Plug-in Speaker Connectors instead of con-ventional terminal strips insure positivecontact. Plugs are covered with flexibleNeoprene to insure against shorts.Operates at 115 volts or 230 volts, A.C. 50-60 cps. The utmost in line voltage flexibility.

The SX-I000TA is the kind of receiver you'ddesign for yourself. Happily, Pioneer has doneit for you. In one handsome unit it incorpo-rates more features, more flexibility plusquality.You should see and listen to the SX-1000TA. Ifyou desire complete specifications, fill in thepublication's reader service card. However, fordealer listings, please write us direct.

PIONEER ELECTRONICS U.S.A. CORP.140 Smith St., Farmingdale, L. I., N. Y. 11735

(516) 694-7720

PIONEERManufacturers of

Quality High Fidelity Receivers TurntablesSpeaker Systems Loudspeakers Headsets

LETTERS TO THE EDITORTape Talk Congratulations! It's about time someonecaught on to stereo cartridge tapes! FrankPeters' article in your March issue was won-derful. I especially enjoyed it because I'm astereo record buff turned cartridge buff. Myonly gripe is that the performances on car-tridge tapes are so often interrupted; I'm oneof those purists Mr. Peters mentioned. But Ireally enjoy music, and I think stereo car-tridge tapes are going to be the thing to havefor all stereo and music fans.

MIKE J. MARTINColumbia, Pa.

I read your March issue on tape recorderswith interest, and was glad to see, at theconclusion of Herman Burstein's article onself -reversing tape recorders, that I am notalone in wondering why tape -recorder manu-facturers do not wake up and producequality machines that will reverse themselvesthrough all four mono tracks.

A large part of the material one wants torecord in the home is apt to be suited tomonophonic recording. It would be a wasteof tape to make stereo recordings of many ofthe older records one wants to preserve, ormusic broadcast monophonically on the ra-dio, or the majority of home conversationsand skits.

Since quality self -reversing tape recordersare usually in the $500 price range, it seemsfoolish for manufacturers to skimp the fewdollars it would take to offer mono as wellas stereo self -reversal. The first one thatdoes offer it will have me and many othersas potential customers.

STEPHEN F. ScHuurmEtsSanta Barbara, Calif.

Because I spend what I consider to be asubstantial sum on prerecorded tapes, I havea few grievances that I would like to voice.

First: why, since the price of a tape is somuch higher than its disc counterpart mustpurchasers of complete operas on London/Ampex settle for those really miserable littlebooklets patronizingly referred to as libret-tos? For less money, disc purchasers get alarge, clearly readable booklet with beauti-ful photos, informative text, and a beautifullayout. Some criticize the Angel people forincluding a postcard to be mailed requestingthe "real article," but I, for one, preferwaiting a few weeks for a really gorgeous

Angel libretto to settling for one of those lit-tle things stuffed into other tape boxes.

Second, when is Caedmon going to re-lease its really marvelous catalog of spoken -word treasures on tape? Three and three-quarters ips is now a readily accepted speedfor music, and for speech it is a natural.

Last, but not least, a pox on those compa-nies who insist on releasing lieder recitalson tape without benefit of texts!

WALTER KLUSPhiladelphia, Pa.

The Hidden Handel Yes, it is "scarcely credible," as H. C.Robbins Landon writes concerning Handel'sAlexander's Feast ("Music's St. Cecilia,"April ), that there is but one recording of thissplendid work. Very few works (and I ownabout 3,000 LP's) have provided me withas much exhilaration as this one has. It isfortunate that the performance is on thesame level as the music.

Alas, the same can not be said of theonly -complete'. renderings of Julius Caesarand Solomon, which are ghastly travesties ofthe original masterpieces. Reasonably authen-tic recordings of these works are long pastdue. Still another Messiah makes me boilwith anger when such wrongs need to berighted. I wish to add my voice to the manywho are pleading for more recorded Handel-the still unknown bulk of operas and not afew oratorios. Many fine ones slumber whi!ewe are deluged with relative trivia or anoth-er recording of a warhorse.

JAMES R. STEEL, JR.Abington, Pa.

G & S We should like to add our cheers for thecharming article by Paul Kresh on Gilbertand Sullivan (February). He may be pleasedto know that, over the past sixteen years,there has developed to the southwest of Bos-ton a cult of addicts who share his convic-tions. Their nucleus is our organization, theNeponset Choral Society, which is now pre-paring its annual presentation of a G & Sclassic. This year it is The Sorcerer. ShouldMr. Kresh be within convenient distance tosuccumb to his weakness, we would be de-lighted to welcome him.

With this performance, we will havebrought our total of different operettas to

(Continued on page 10)CIRCLE NO. 38 ON READER SERVICE CARD

CIRCLE NO. 56 ON READER SERVICE CARD --)o.

Any similarity between this new $89.50 automaticand an expensive Dual is purely intentional.

When you make a famous and costlyproduct, the most advanced in its field, you'rebound to have some imitators.

But we were never quite satisfied withimitations of our $129.50 and $109.50 automaticturntables. They all lacked a certain touch.

Ours.So we decided that if we wanted to

see a perfect imitation of a Dual at a lower price,we'd have to do it ourselves.

Then it would be a genuine Dual.With genuine Dual performance. (After all, wehad inside information.)

That's how the new 1015 came into be-

inc. The only automatic under $90 that can berealistically compared to the top -priced Duals.

Same low -mass tonearm design withdynamic balance. Same low -friction bearings.Same 1/2 -gram tracking. Same dead -accuratean-i-skating control to assure equal force on bothgroove walls. Same auto/ manual cueing systemfor gentle stylus placement on any part of therecord. Same Dual precision throughout.

Then why does the 1015 cost less?We are using a new platter, a new

kind of counterweight, and a slightly different mo-tor. And we have omitted thefine -speed adjustment andthe rotating spindle, luxuryfeatures that nobody else hasanyway. You can't have theultimate Dual for only $89.50.

But you can havea strikingly similar one. Sosimilar that there's no differ-ence in performance.

Our engineers didit intentionally.

United Audio Prod-ucts, Inc.,535 Madison Avenue,New York, N.Y.10022. Dual 1015

Five dollars brings youlifetime savings on stereo

music for your car!Join the Cartridge Tape Club of Americaand save 1/3 on all stereo tape music!

What kind of music? You name it? It's allstereo. Jazz. Folk. Rock. Movie sound track.Broadway. Popular to classical. All labels in-cluded. More than 4,000 selections to choosefrom! What do you save? A lot. At least 1/3on every selection you make. Something else.You never pay postage. Just a handling chargeof 25 with every order. (We guarantee every

tape you buy for one full year.) What does itcost? Five &liars. This buys you a lifetimemembership in the club. To go with it, you'llreceive America's most complete catalog ofcartridge tape stereo music. And ... new releasesheets each and every- month. How do youjoin? Easy. Fill in the coupon. Mail it in withfive dollars. You're a member for life.

LIST CLUBPRICE PRICE

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1. The Best of the Beach Boys 5.98' 3.99 22. Music To Watch Girls By -2. Aftermath -Rolling Stones 5.98' 3.99 Bob Crewe Generation 5.98' 3.993. Doctor Zhivago-Soundtrack 5.98" 3.99 23. S.R.O.-Tijuana Brass 5.98' 3.994. Man of LaMancha-Soundtrack 6.98' 4.66 24. Louie, Louie-Kingsmen 5.98' 3.995. Born Free -Roger Williams 5.98' 3.99 25. Here I Am -Dionne Warwick 5.98' 3.996. Mamas and Papas -Second Album 5.98' 3.99 26. Wicked Pickett -Wilson Pickett 5.98' 3.997. In My Life -Judy Collins 5.98' 3.99 27. Wade in the Water -8. Rhapsody for Young Lovers - Ramsey Lewis Trio 5.98' 3.99

Midnight String Quartet 5.98' 3.99 28. Nancy, Naturally -Nancy Wilson 5.98' 3.999. Sergio Mendes & Brazil '66 5.98' 3.99 29. Alfie-Billy Vaughn 5.98' 3.99

10. Georgy Girl -Seekers 5.98' 3.99 30. Best of the Righteous Bros. 5.98' 3.9911. That's Life -Frank Sinatra 4.99" 3.33 31. There's a Kind of Hush All Over12. Carryin' On -Lou Rawls 5.98' 3.99 the World -Herman's Hermits 5.98' 3.9913. Color My World-Petula Clark 4.98" 3.33 32. Sugar -Nancy Sinatra 4.98" 3.3314. Best of Lovin' Spoonful 5.98' 3.99 33. Collections -Young Rascals 5.98' 3.9915. Winchester Cathedral - 34. The Best of Buck Owens 5.98' 3.99

Lawrence Welk 5.98' 3.99 35. Knockers Up -Rusty Warren 5.98' 3.9916. Revolver -Beatles 5.98' 3.99 36. Zorba the Greek "Soundtrack" 6.98' 4.6617. Incomparable Mantovani 5.98' 3.99 37. The Best of Bert Kaempfert 6.98 4.6618. California Dreamin- 38. Chartbusters-Ted Heath 5.98' 3.99

Wes Montgomery 5.98' 3.99 39. Broadway Spectacular -19. Trini's Greatest Hits-Trini Lopez 4.98" 3.33 Stanley Black 5.98' 3.9920. Side By Side -Sadler & Young 5.98' 3.99 40. Everybody Loves Somebody -21. East -West -Butterfield Blues Band 5.98' 3.99 Dean Martin 4.98" 3.33

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Dear Mr. President:I want to join your club.So, I have enclosed a $5.00 check or money order. I

understand this brings me full membership privileges. Andthat's for life.

This means you will send me your latest catalogs now andnew release sheets every month. And that I can buycartridge tape music from you for at least one-third off listprice. I understand I may buy whatever I want, as oftenas I want.

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- 1

nine (plus Trial by Jury). We strive to pre-serve the traditional touch, and give it thefull treatment, with professional scenery, cos -

turning, and orchestra.LEONARD W. WEAVER, DirectorNeponset Choral SocietyEast Walpole, Mass.

Warm congratulations on "Confessions ofa Gilbert and Sullivan Addict." It is spar-kling and informative -and makes almost asgood reading as do the immortal works ofGilbert himself. All it needs is Sir Arthur'smusic (and that, of course, as all addictsknow, runs through our heads at any hour ofthe day or night). I don't know when I'veenjoyed an article more.

TAY HOHOEENew York, N. Y.

Like Paul Kresh, my husband and myselfare addicts. We too have stretched our necksaround the pillars in the Jan Hus Housebasement, have risked life and limb in a verytawdry sector of San Francisco to view areally splendid rendition of Patience, havesought out G & S in Boston and in the mid -West, and have gone the route of the high-school attempts. One of the better recordingswe cherish was given us by an East Indianwho was addicted in Delhi. We are savingyour article and have framed the cover ofthe kabuki players.

ALICE WESCIIKERockville, Md.

Mr. Kresh thanks Mr. Weaver for his kindinvitation; he also thanks Mr. Hohoff, Mrs.Ir'eschke, and the hundreds of other reader, -who wrote to express their appreciation ofhis G & S article. Unfortunately, his initialresolution to answer all of them personallyproved unrealistic, and he has asked the edi-tors to express his gratitude for the warmresponse.

Are Records Musical? My wife and I appreciate your generallyexcellent reviews; both of us enjoy those ofthe music, and I those of the equipment. Itis refreshing to find a group of editors andcritics who not yet have succumbed to thecommon critic's disease -misanthropy. Tryremain skeptical without giving in to cyni-cism in this age of the big sneer is indeedadmirable.

In particular, I read with interest the de-bate between Hans Keller and Yehudi Me-nuhin centering on the question, "Are recordsreally musical ?" (February). There is onefact which should in part determine one's an-swer to this question but which seems gen-erally to be overlooked or at least seriouslyneglected, to wit: many really have no liveoption in their listening choice. Some of usare unfortunately far removed from any con-cert stage and simply are not in possession ofmeans adequate to justify traveling a hundredor more miles for a concert very often. Sothe question of whether or not a recordedrendition of Messiah is as "musical" as thefinest performance is beside the point, forit certainly better presents Handel's master-piece than does the local church organistwith imported string quartet and a chorusgarnered from local choirs.

EDMON L. ROWELL, JR.Critz, Va.

(Continued on page 12)I-10

CIRCLE NO. 9 ON READER SERVICE CARDCIRCLE NO. 56 ON READER SERVICE CARD ).

Which three Duals won't you. buy?

To some of you, buying a Dual auto-matic turntable may pose somewhat of a prob-lem. Not that it was our intention to create one.

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Please enroll me for 3 months, without charge orobligation, as a member of the Citadel Record Club.Prove to me that it is the one club with every singleadvantage and none of the disadvantages of all theothers. I understand that I am entitled to all mem-bership privileges, including large discounts onrecords of all labels, without any obligation to buyanything, ever.

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111.===11.111.111===MINEMEMIlliCITADEL RECORD CLUB

I found the article "Are Records Musi-ct I less interesting for the points of dis-agreement between Messrs. Hans Keller andYehudi Menuhin than for their "far-reach-ing agreement" concerning the decline ofamateur musicianship in general and ama-teur chamber music in particular. While Ido not take issue with their opinion of thelack of skilled amateurs, I think Mr. Kelleris on the wrong track in blaming this lack onthe phonograph. The most proficient and en-thusiastic amateurs I've known were seriousaudiophiles as well, yet opportunities to playalways took precedence over opportunities tolisten.

The real problem is that the professional -music fraternity is unwilling to allow theamateur musician to regain the place he heldin serious music till the late nineteenth cen-tury. Everyone is to fall into one of two mu-tually exclusive categories: professional mu-sicians or listeners. The amateur musician isleft to practice his skills in frosty isolationfrom the mainstream of musical practice.(Records make this isolation seem somewhatless acute, at least.) Music educators reservetheir time and facilities for the aspiring pro-fessionals. Union rules limit even morestringently the already limited number ofpublic performances. Young composers ad-dress their chamber works to their profes-sional colleagues, heedless of the amateur'stechnical limitations.

It is encouraging to find Mr. Menuhinand Mr. Keller concerned with this prob-lem. But until their concern is generallyshared by the rest of their profession, thesituation will persist, phonograph or nophonograph.

East Lansing, Mich.

Plaints about PlugsI always look forward to Julian Hirsch's

"Technical Talk" in HIFI/STEREO REVIEW,and I was especially pleased with the obser-vations in the March issue, "Some Bones toPick." I would like to add my own "bones"regarding the input connections on manyamplifiers and preamplifiers-at least on theones that I have had. The trouble is thatthese inputs are located entirely too closetogether, and it is almost impossible to insertthe newer phono-input plugs into them.Most of the newer plugs are covered with aconvenient and certainly more durable "han-dle" of rubber or plastic, and I find I mustshave them down on the sides in order toinsert them. This is also true of the inputconnections on my tape recorder, whichhave an interior made of formica or somesimilar substance that will readily crumbleif a plug is forced into them.

WILLIAM S. NOCE, CAPT., CHC, USNFPO New York, N. Y.

Classical Market In the classical recordings field (or possi-bly any other, for that matter), supply createsdemand, and not vice versa. If the record -buying public has discovered Charles Ivesand Carl Nielsen it is because conductors suchas Leonard Bernstein and Leopold Stokowskiare secure enough to risk recording worksthat seemed, not too long ago, like derangedwhims in recording circles. And if I ownstereo versions of only the Eighth and theNinth Symphonies of Vaughan Williams, itis because those are the only ones to be had

(Continued on page 14)

CIRCLE NO. 11 ON READER SERVICE CARD CIRCLE NO. 44 ON READER SERVICE CARD --)4.

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in that medium. I suppose I should be happythat the other seven are available at all. Butthat isn't enough. With great reproducingequipment and recording techniques, I wantmore. I believe that a sizable minority cravesto hear what lies outside the standard re-corded fare.

THOMAS LEE WINSTON, PvT., USAFt. Wood, Mo.

Yardumian After reading Mr. Arthur Pierce's letterin your April issue, I felt it was time thatsomeone stand up for Richard Yardumian.I happen to he a big Yardumian fan, and so,naturally, I do not like to see him denigratedbefore my eyes. I will agree that this com-poser's music is not supercharged, like Va-rese's or Khachaturian's, but I also believeit has a great deal of merit. Underneath therather reserved exterior lie some profoundlymoving experiences if one wishes to look forthem; they aren't easily apparent. May Imake the plea that listeners not mistake arestrained piece of music for a boring one?

C. C. ROUSEBaltimore, Md.

Contra Critics After reading Mr. Shea's letter praisingGeorge Jellinek for his opera reviews(March), I read Mr. Jellinek's favorable re-view, in the same issue, of the horrid newDon Giovanni, with its stodgy conductingand its inadequate performances of all theroles with the exception of Leporello andElvira, and possibly Giovanni.

Furthermore, the prejudice shown by yourcontributing editors Martin Bookspan andEric Salzman toward Herbert von Karajanis totally uncalled for. Never have thesegentlemen found even the slightest merit inKarajan's performances. This is especiallycrucial in Mr. Bookspan's "Basic Repertoire"series. As far as that series is concerned, oneof the great musical personalities of our eradoes not exist-except for a brief commentin the Der Rosenkaralier review of severalyears ago.

Which, I suppose, goes to prove that onemust make up one's own mind, and the lessattention paid to critics the better.

LAWRENCE KINGChampaign, Ill.

Mr. King should feel better after read-ing George Jellinek's review of Karajan'snew recording of Die Walkiire in this issue,page 59.

Stereo Enhancement I have enjoyed reading Larry Klein's Q& A column for some time, and use manyof the suggestions in my part-time customstereo business. I am, however, also con-cerned with word usage, and I would liketo point out that you cannot say "stereo en-hancement" in referring to reprocessing ofmono recordings to stereo. "Enhance" meansto increase, and you cannot increase some-thing that was not present in the first place.The proper words are "rechannel" or -re-process...

I am pleased, though, that you are carefulabout using the word "monophonic." Theword "monaural" does not belong in thefield of audio and should be completelyeliminated from its vocabulary. Monaural isnever correct (unless you are talking about

(Continued on page 16)CIRCLE NO 47 ON READER SERVICE CARD14

HIFI/STEREO REVIEW

The new KLH* Model Five isdesigned to supply the highest level ofloudspeaker performance for thelowest possible cost. It is intended tobe compared, without qualificationsor any consideration of its size andcost, to the most expensive andformidable speakers ever made.

And it doesn't sound the way youwould expect it to sound.

The Model Five is not meant tosound like a bigger, better bookshelfspeaker system. It's not designed tosound a little richer than the KLH*Model Six, or a little more brilliantthan Brand X or Y.

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its full p3tential only with the verybest of today's-and tomorrow's-recordings. On an indifferentrecording, it won't sound impressiveor even worth its price. In fact, itsometimes won't sound as good asour less expensive speakers.

The Model Five is a gamble, onour part and on yours, that the bestrecordings of today will become thestandard for tomorrow.

We think that's an excellentgamble, and that the Model Five willshow its abilities often enough ontoday's recordings to justify theinvestment by the serious listener.Those abilities extend from thelowest octave of usable bass to thehighest frequencies that make

musical instruments sound likethemselves, with the preciseoctave -to -octave musical balance forwhich all KLH speakers are known.

The Model Five meets everyrequirement we can use to definehighest performance in a speaker.It does so for a lower cost than weonce believed possible. And it isscaled to fit gracefully into a livingroom, so that you will not have todisrupt your home for the sake ofyour interest in music and sound.

If you would like to hear how wedefine highest performance in aspeaker, listen to the Model Five.For a list of KLH dealers and furtherinformation on the Five, pleasewrite to KLH, 30 Cross Street,Cambridge, Massachusetts 02139.

TOAD[,*,, Or LM RESCARCM ND DEVELO MMMMM DOOM.

JUNE 1967CIRCLE NO. 31 ON READER SERVICE CARD

15

a one -eared person or someone deaf in, orlistening with, one ear).

PHILIP N. BRIDGESAshton, Md.

Re Reed When I read the rave review by Rex Reedof Liza Minnelli's new album "There Is aTime" (March), my curiosity was arousedand I immediately bought the album. Afterlistening to it over a dozen times, I can seewhy Mr. Reed had to play it ten times beforehe could calm down enough to review it.This is unquestionably one of the most ex-citing performances I've ever heard on rec-ords. I've played the album for family andfriends, and they are equally enthusiastic.

I look forward to great things from MissMinnelli, and I want to thank Rex Reed for

his excellent full -page article, which wasdirectly responsible for my buying the disc.

BARRY BROOKSWinthrop, Mass.

Rex Reed's piece on Liza Minnelli seemedgenuinely heartfelt. One revealing commentwas the statement that one wants to reachout and take care of Liza, and one couldn'timagine anyone wanting to take care of Bar-bra Streisand.

He's right. And that's why Liza can nevershare Streisand's throne. Notice the tendency,when speaking about Barbra Streisand,simply to refer to her by her last name. Onecan never imagine Liza Minnelli being re-ferred to simply as Minnelli.

Only performers who project great inde-pendence can possess thrones. Royalty takes

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SAVE MONEY EVEN ON YOURMEMBERSHIP FEESave money on your enrollment. You can givegift memberships with full lifetime privileges foronly $2.50 each. Splitting the cost with one per-son brings the cost down to $3.75 each, If youenroll four others, the cost will be $3 each.

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NAME

ADDRESS

CITY STATE ZIP

Send gift memberships at $2.50 each to names andaddresses listed on attached sheet.

I am also interested in pre-recorded tapes.

care of; they are not taken care of. The per-former who commands awe above affectionreigns. No one wants to cuddle Sinatra, andhe's not doing badly. Those who are mostoften called by their last names are the selectfew who have reached the highest pinnacle.

T. GOUGHNew York, N. Y.

Thanks to Rex Reed for his wonderful re-view of Liza Minnelli's new album "ThereIs a Time." I agree with him on every count.Like her mother, Judy Garland, Miss Lizais a winner!

WALTER LONGACREWills Point, Tex.

I would like to thank Rex Reed for hiswonderful review of Chad Mitchell's newalbum, "Chad Mitchell Himself" (March).I recently purchased the album, and I thinkit is an excellent one. Now that Chad ison his own, he has the chance to broaden hisselection of songs, and I feel, as Mr. Reeddoes, that Chad Mitchell will become theentertainer for all seasons.

VENF.TTA MARQUISPhoenix, Ariz.

In his review of Mel Torme's new album"Right Now" (February), Rex Reed throwsthe man the usual bouquets that I'm sureTorme is tired of getting: "singer's singer,"etc. But then he gives Torme the gas abouttaking mediocre arranging verbatim fromother albums. I agree that such pilferingusually taints hit -collection albums-but inthis case it is an asset, for we can comparesingers. I ask Mr. Reed to listen to Walk OnBy again: Torme's phrasing, intonation, andperfect vibrato make Dionne Warwick'sversion sound like an also-ran.

Someday, somewhere, somebody is goingto write a perceptive article about why oneof the most perfect singers in the businessnever really achieved the popularity he sorichly deserved.

RANDY SEYBOLDAustin, Tex.

Rex Reed shows he knows his stuff whenhe recommends "Cabaret" (March). It isone of the most refreshing show albums thatI have ever become acquainted with.

ROBERT E. DECKMANLos Angeles, Cal.

Taste and Numbers Your music and record reviews must beby a person who is trying to promote operaand long-haired productions away beyondone's capacity to absorb. It may be a socialstatus among a certain type of social group,but the sale of such items is a small percen-tage of the total record business.

I long have been a record lover, and I havea few records of this type that I was hookedon in record clubs, but I never played a sin-gle one of them more than once, and some Inever played all the way through.

If you can't hum it or whistle it, it is notworth playing, nor listening to. There aremany records that could be reviewed with alot of interest, that are in the listeninggroup most of us enjoy, and I am hopingthat HIFI/STEnEo REVIEW will give us re-views that we can enjoy reading, and buildour desire to buy regular listening records.

L. E. WINFIELDMattoon, Ill.

CIRCLE NO. 55 ON READER SERVICE CARDI6

HIFI/STEREO REVIEW

ANY GOOD CARTRIDGE WILL TRACK THESE PASSAGES

3UT ONLYA HIGH

TFACKABILITYCARTRIDGECAN COPEWITH THIS

GROOVE!

CLOSE THE TRACKABILITY GAP(AND YOU'LL HEAR THE DIFFERENCE)

The photomicrograph above portrays an errant, hard -to -track castanet sound in an otherwise conservatively mod-ulated recording. The somewhat more heavily modulatedgrooves shown below are an exhilarating combination offlutes and maracas with a low frequency rhythm comple-ment from a recording cut at sufficiently high velocity todeliver precise and definitive intonation, full dynamicrange, and optimum signal-to-noise ratio. Neither situa-tion is a rarity, far from it. They are the very essence oftoday's highest fidelity recordings. But when played withan ordinary "good" quality cartridge, the stylus invariablyloses contact with these demanding grooves-the casta-

1-11 l -J 1=t

nets sound raspy, while the flute and maracas soundfuzzy, leaden, and "torn apart." Increasing tracking weightto force the stylus to stay in the groove will literally shaveoff the groove walls. Only the High Trackability V-15Type II Super -Track® cartridge will consistently and effec-tively track all the grooves in today's recordings at record -saving less -than -one -gram pressure ...even with cymbals,orchestral bells, and other difficult to track instruments. Itwill preserve the fidelity and reduce distortion from allyour records, old and new. Not so surprisingly, everyindependent expert and at.thority who tested the SuperTrack agrees.

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0 1967 Shure Brothers inc.CIRCLE NO. 46 ON READER SERVICE CARD

JUNE 1967 19

NEW PRODUCTSA ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

Crown's Model SA 30-30 solid-state power amplifieris rated at over 20 watts per channel (sine -wave power)into an 8 -ohm speaker and over 30 watts per channel intoa 4 -ohm speaker. The unit's damping factor is over 200 atall frequencies below 1,000 Hz. Response is ±1 db from10 to 50,000 Hz at full rated output, and harmonic dis-

tortion is less than 0.2 per cent for all power levels upto 20 watts. The amplifier uses silicon transistors andprinted -circuit modular construction. The SA 30-30 mea-sures only 13/4 x 8 x 19 inches, and it can be mounted ina standard relay rack or in the carrying case of the Crowntape recorders. Price for rack -mounting unit, $199; with)black cover (as shown) for shelf installation, $215.

Circle 171 on reader service card

Sonotone's dual -impedance CDM80 car-dioid microphone can be adjusted by the user(by switching cable connections at the micro-phone) to operate at either 50,000 ohms or 200ohms impedance-balanced or unbalanced. At50,000 ohms impedance, sensitivity is -59 db at1,000 Hz; at 200 -ohm impedance, sensitivity is-83 db at 1,000 Hz. Frequency response is 80to 10,000 Hz and rejection of unwanted soundat the rear of the microphone is 16 to 20 db.

To eliminate voice "popping," the CDM80 incorporatesan acoustical wind -blast screen that permits close miking.The CDM80 is equipped with a large on -off switch, andthe brushed -chrome case measures 51/4 inches high by 11/4inches in diameter (at top). Designed for rugged use, themicrophone has a diaphragm made of polyester film, andthe complete cartridge is mounted in a rubber sleeve thatprotects against physical shock. Price: $43.50.


Lafayette's ModelRK-880 two -speed, four -track stereo tape recorderis completely transistor-ized and incorporates anumber of features usual-ly found only on higher -priced tape decks. The useof three heads provides

off -the -tape monitoring facilities plus sound -on -sound andsound -with -sound. In addition, this machine enablesthe user to adjust playback and record equalization andbias current from the front panel, thus permitting ac-curate matching of tape -oxide characteristics to achieve theoptimum combination of extended frequency response, lowdistortion, and high signal-to-noise ratio. Other featuresinclude a front -panel, low -impedance headphone jack, di-rect recording from a magnetic-phono cartridge, two VUmeters (which work in both the record and playbackmodes), a digital tape counter with zero -reset button, anda four -pole hysteresis -synchronous motor.

Specifications include a frequency response of 30 to 22,-000 Hz at 71/2 ips, and 40 to 12,000 Hz at 33/4 ips, both at±3 db. Wow and flutter are less than 0.15 per cent at

71/2 ips and less than 0.25 per cent at 33/4 ips. The signal-to-noise ratio is better than 53 db. The bias and erasefrequency is 96 kHz, and the bias can be varied from 0.3to 1.5 ma. Crosstalk is better than 60 db. Playback equali-zation of 50, 70, 90, and 140 microseconds is available.The size of the RK-880 in its portable case is 16 x 8x 113/4 inches. Price: $249.95.


Utah is producing a loudspeaker, theModel C5FC, especially designed for instal-lation in automobiles as part of a stereotape system. The new speaker is intendedto upgrade present systems or be includedas part of the original tape -player instal-

lation. This 5 -inch round speaker has a 5.5 -ounce barium -ferrite magnet, and its total depth is less than 2 inches,which permits easy installation in car doors. A moisture -resistant cone prolongs speaker life. The finish is baked -onblue enamel. Impedance is 8 ohms, and power -handlingcapacity on program material is 10 watts. List price: $7.50.


Orrtronics has announced theintroduction of a continuous -loopmagnetic -tape magazine, the CousinoAudio Vendor Model 1510, designedespecially for operation on small, bat-tery -operated portable tape recorders.The Model 1510 Audio Vendor,which measures 2% inches in diame-ter, will work on standard reel-to-reel tape recorders that normally usethree-inch reels or larger. Playingtime (at 1%-ips tape speed) before

repeating is ten minutes. The unit fits the feed reel spindleof most recorders. The continuous -loop tape magazine canbe used for music, language study, repetitive drill, exhibitsound effects, sales messages, and other similar applica-tions. Price: $4.75.


Audio Devices is produc-ing blank four- and eight -trackcontinuous -loop tape cartridgesdesigned for those machines thatwill record on the Fidelipac andLear Jet Stereo -8 cartridges. Theblank Audiopak/4 cartridge,

which contains 300 feet of special lubricated tape, ispriced at $4.15. The Audiopak/8 contains 150 feet of tapeand is priced at $3.85. Both models come with a protectivesleeve that includes an instruction booklet and two pres-sure -sensitive labels.


Gotham Audio is importing the physically redesignedBeyer professional DT -48s headphones and accessories.The new phones are improved in both user comfort andconvenience of connection. The electrical specifications ofthe phones are unchanged. The overall frequency responseof the phones (16 to 18,000 Hz) is adjusted so that theauditory impression of the frequency range is essentially



areused as laboratory measurement-standards-

speakers and turntabees

Reverberant test chamber and associated laboratory test bench of thePerma-Power Company of Chicago, manufacturer of instrument amplifiers andsound -reinforcement systems. The AR -2a' speaker on the pedestal is usedas a distortion standard to calibrate chamber characteristics. This testfacility, described in a recent paper by Daniel Queen in the Journal ofthe AES, employs only laboratory -grade equipment. (Note theAR turntable on the test bench.)

blit theywere designed for 11111Sie.

Offices of the Vice Presided and General Manager, and of theProgram Director of radio station WABC-FM in New York City.AR -2a' speakers and AR turntables are used throughoutWABC's offices to monitor broadcasts and to check records.WABC executives must hear an accurate version of theirbroadcast signal; they cannot afford to use reproducingequipment that adds colorat.on of its own.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141CIRCLE NO. 1 ON READER SERVICE CARD

JuNE 1967 21

NEW PRODUCTSA ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

flat from about 40 to 15,000 Hz. The DT -48s has animpedance of 5 ohms per phone and can he driven fromthe standard earphone jacks or the speaker terminals ofany amplifier. The signal power required is 5 millivolts;maximum power is 0.4 watt. The phones weigh 12 ounces,

and the ear cushions are removable by the user for wash-ing or replacement. The phones are guaranteed for fiveyears. Price: $85. Accessories available include a speaker/phones switchover unit ($7.75) and plug-in matchingtransformers ($17.40 each) for using the DT -48s withlow -impedance (600 -ohm) lines.


Wen offers a free, four -page,illustrated catalog that describesits line of "goof -proof" single -post soldering guns. Intendedfor the electronics hobbyist andkit builder, the catalog describesthe "slim -line" single -post Model75, a 25- to 100 -watt ($4.95)

"pistol" designed for the beginner and hobbyist; the Model222 "Hot -Rod" medium -range soldering gun ($7.95),which has interchangeable tips and delivers 25 to 200watts, for the professional and home craftsman; and theModel 450, a heavy-duty gun ($13.95) with a heat rangefrom 25 watts up to 450 watts. All three guns have abuilt-in spotlight and a trigger switch for instant heat.Models 222 and 450 are also available in molded -plasticcarrying cases with such accessories as interchangeabletips for three separate heat ranges.


University is producing theMini-Ette, a small -size (15 x91/2 x 6 inches) two-way speakersystem that fits comfortably on abookshelf of normal depth. De-signed primarily to be used inpairs as the main speakers insmall systems, Mini-Ettes can al-so be used as extension speakers

elsewhere in the home. The Mini-Ette has a frequency re-sponse from 40 Hz to beyond audibility, a power -handlingcapacity of 20 watts on program material, and a nominalimpedance of 8 ohms. The system includes a 61/2 -inchhigh -compliance woofer in a sealed air -suspension com-partment and a 31/2 -inch cone tweeter. A 6 db per octavenetwork provides a 2,000 -Hz crossover. Price: $49.50.


Audio Originals is offeringthe Model 101D, a new room -divider component storage cen-ter. Finished in satin walnut incontemporary style, the divideris 60 inches high, 431/2 incheswide, and 17 inches deep. Thebottom equipment -cabinet sectionprovides a pull-out changer/turn-table shelf on the right and a

component -mounting area, with an adjustable shelf, onthe left. The interior of each equipment -housing compart-ment is 193/4 inches wide, 13 inches high, and 151/2 inchesdeep. Price: $144.50.


Nortronics is producing a kit,the WR-30, to convert the new monoWollensak and Revere transistorizedtape recorders from half-track to full -track recording. The conversion kit

consists of a full -track erase head and a full -track record/playback head mounted on a brass plate to permit full -track recording that is compatible with studio -type tapetransports. The all -metal erase head has a double gap forcomplete erasure, while the record/playback head has alaminated core and a very narrow gap for optimum high -frequency performance. The WR-30 fits the new 1500SSand 1400AV Wollensak recorders as well as the olderT1500 models. Price: $57.


Meister Manufacturing is marketing 7 -inch alu-minum take up reels. They are available in anodized gold

and natural aluminum colors and will fit any recorder thatwill take a 7 -inch reel. The reels are guaranteed againstwarping. Price (for either color): $2.98.


KLH's Model Twenty -Two is a two-way speaker system which uses an eight -inch acoustic -suspension driver for lowfrequencies and a two-inch direct radiatorfor the mid- and high -frequency ranges.Its oiled walnut cabinet measures 18 in-ches high by 101/4 inches wide by 7.1i6inches deep, and it is finished on all foursides to permit vertical or horizontalplacement. The impedance of the system

is 8 ohms, and it can be used with amplifiers of 12 wattsof power per channel or higher. KLH guarantees that anytwo Model Twenty -Two's will match within 11/2 db overthe entire frequency range. Price: $54.95.


22 CIRCLE NO. 52 ON READER SERVICE CARD-.

When engineers get together,the conversation turns to pickups.

PHOTOGRAPHED ET FRANZ FOSON AT THE CAPITOL TOWER. HOLLYWOOD

It's an irresistible topic.Especially since Stanton came out with the 581 Calibration Standard.That's an engineer's pickup, if there ever was one.Beautiful curve-within 1 db from 20 to 10,000 Hz, 2 db from 10,)00 to 20,00) Hz-and it's certified in writing with each cartridge. Fantastically small and compliantmoving system to trace the wildest twists in the groove. weight ( only S grams! )to take advantage of low -mass tone arms. And, of course, the "Longhair" brusito clean the groove ahead of the stylus. No wonder engineers use the Stanton 581as a stereo reference standard. And to impress other engineers with their pickupmanship.( Available with 0.5 -mil or elliptical diamond; price $49.5C.For free literature, write to Stanton Magnetics, Inc., Plainview, L I., N.Y. )

grapy( ul

FREE\./

SELECTION

SF

INGO No4..

,s

N

Now! A brand new, high quality head-phone for the lively set. Big 31/2- re-producers deliver deep. rich bass andpristine highs. Exciting new styling hasdeluxe foam -filled vinyl earcushions.The Combo is designed for comfort.fun. adaptability and concert -qualitylistening anytime. anywhere ... yet itcosts so little! See it now at your hi-fidealer's. only $19.95

COM] -30 by

T

DIVISION OF THE TELEX CORPORATION MANUFAGTURERS OF MAGNECORD TAPE INSTRUMENTS ANDOTHER PRODUCTS OF SOUND RESEARCH, 3054EXCELSIOR BLVD MINNEAPOLIS. MINN. 55412CIRCLE NO. 53 ON READER SERVICE CARD

Hi Fi Q&AAu

ByLARRYKLEIN

Tone -Arm LengthQI intend to buy either a 12 -inch or

. a 16 -inch tone arm for use with111). turntable. What are the pros andcons of each length?

CHARLES DAVISOswego, N.Y.

AThe description "16 -inch arm". does not mean that the arm it-

self is 16 inches long, but rather that itcan be used to play 16 -inch transcrip-tion discs. And unless you'll be playingsuch discs, there is no real advantage inusing the longer tone arm. As a matterof fact, because of its necessarily higherMUSS and moment of inertia. a longertone arm is frequently less stable than ashorter one. The difference in trackingerror between two well -designed armsof slightly differing lengths will not besignificant.

Circuit Design and PerformanceQI am interested in buying an FM

. tuner and have always thoughtthat a good tuner has at least four i.f.stages. Yet highly respected brands withfine performance specifications seem tohave no more than three i.f. stages. AmI right about the stages needed?

ANDRE C. DE PORRYCharlottesville, Va.

AThe number of i.f. stages in a tun-. er (like the number of drivers in

a loudspeaker system or the number ofmotors in a tape transport) should notbe an overriding consideration whenevaluating the merits of a component.The audio consumer should be concernedwith performance specifications (andtheir realization), not the particular pathchosen by the audio designer to achievethose specifications. In regard to speakersystems, for example, I don't care wheth-er the drivers and their suspensions aremade out of one or a dozen pairs of oldovershoes-what concerns me is thefidelity of the sound that comes out ofthe system. When I am impressed by theperformance of a component, then, andonly then, do I become interested in thespecific design approach employed.

Speaker FlutterQI have a pair of stereo speaker

. systems whose grille cloths areremovable. The other day I was playinga record with the grille cloth off onespeaker and noticed that the woofercone was fluttering violently wheneverthe stylus was in the record groove. The

cone movement is apparently not pro-ducing any sound, and the movementhas nothing to do with the music com-ing from the speaker. Is this sort of thingnormal for a compact speaker system,and if not, what can I do to eliminate it?

ROBERT TYLERWaukegan, Ill.

AAssuming that, as you say, the woofer -cone movement is inde-

pendent of the musical program materi-al, it must be caused by some defectin your setup. The cone movement, al-though not audible as sound because ofits very low frequency, may be taxingyour amplifier's low -frequency power re-serve and may also be causing a typeof intermodulation distortion and driv-ing your speaker into non -linearity.

As far as the cause is concerned, suchspeaker flutter can result from turntablerumble or amplifier instability. The sim-plest way to check both units would beto substitute another one for each andsee which eliminates the problem.

Phono-Cartridge LifeQI have frequently wondered what

. the expected life of a phonocartridge is. Is there any rule of thumbthat can be applied to a cartridge, ordoes it vary from model to model?

PAUL MILLERSunnyvale, Calif.

AI expect that the life of a cartridgeexceeds the length of time you

will want to use it. By this I do notmean to imply that cartridges, likeclothes, go out of style but rather thatby the time the diamond stylus is wornout (particularly with the lighter -track-ing cartridges) a new cartridge will beavailable (from the same manufacturer)that is audibly superior to the old one.This is not a matter of built-in tech-nical obsolescence, but simply an indi-cation of how fast-moving the cartridge -design field is. The only rule of thumbI know of is to check the manufacturer'sliterature. If a cartridge has been re-placed by a later model, the odds arevery great that the later model is animproved one.

Sonic Bad DaysQI have recently upgraded my hi-fi

. installation, replacing every com-ponent with a new model that has beenfavorably reviewed in your magazine. Iam quite pleased with the quality of

(Continued on page 26)CIRCLE NO. 4S ON READER SERVICE CARD-)3.24

Chances are that many of your favorite FM stations arenot the ones closest to where you live. Their signals are abit weaker and subject to blanketing by stronger signalsfrom a nearby station. Thus, all the advantages of a high-priced, highly sensitive tuner can go down the drain if per-formance on weak stations is marred by interference fromstrong local signals.

The new Sony FM stereo tuner is highly sensitive (2microvolts) so that it can pull in the weakest stations. Forall its sensitivity, the ST -5000W is unusually insensitiveto cross -modulation. An ingenious new cadmium -sulfide( CdS) bandpass RF attenuator prevents cross -modulationcaused by weak stations being blanketed by strong signals.This automatic and continuously variable attenuator reactsappropriately to the strength of the signal coming down theantenna lead and simultaneously refuses to pass any signaloutside the FM band.

There's so much to recommend the ST -5000W. 45transistors and 30 diodes are employed-Sony transistors.Double -tuning IF transformers at all 8 stages of the IF sec-

tion reject spurious signals and noise. A 5 -gang, high -precision, silver-plated tuning capacitor contributes to ex-cellent selectivity and accurate tuning. The slide -rule dial,probably the longest and most accurate used in any tuner,is absolutely linear. When you dial 96.3, you're on 96.3.And the center of any channel can be pinpointed visuallywith the tuning meter. Another meter helps adjust the an-tenna for maximum signal pick-up. A stereo switch auto-matically selects the correct mode-stereo or mono. There'salso a foolproof stereo indicator light. An adjustable CdSmuting switch supresses interstation noise, but not weakstations. A hi -blend switch assures good stereo reception,even on stations with weak, noisy signals. An AFC circuitcan be switched in under extreme operating conditions.

Hear why the sensitive Sony ST -5000W is so insensitive.Tune it in at your favorite dealer. The supreme pleasure ofowning this fine instrument is well worth $399.50. (Sug-gested list.) For details write: Sony Corporation of Amer-

ica,Ye

Dept. H., 47-47 Van Dam Street, LongSO Island City, N.Y. 11101.

How can such a sensitive FM stereo tuner be so insensitive?Tune in and find out.

(7) rJ `5{

FSTEREO TUNER

5000St AV r411 If 11,04%

HOWCAN YOU TELL

A GOOD TAPE RECORDERWHEN YOU HEAR

ONE?

A lot of Magnecord owners tell us theyhad to buy and use as many as four dif-ferent tape instruments before they knewa good recorder/reproducer when theyheard one. But we've got an easier andmuch less expensive way for you to learnwhat it takes to satisfy a tape recorderowner. Our new brochure waiting for youfree at your Magnecord dealer', tells youexactly what to look and listen for in a highfidelity tape instrument. Just follow thesimple suggestions when you shop, andyou'll be discerning the fine points of dif-ference between tape recorder/reproducerslike an expert in no time! . . . And youknow what') The minute you do. learn whatit takes to tell a good tape recorder, we'llbet you take home a Magnecord!

NEW II + REELS A MAGNECORD DCLUSIVETHAT INCREASES PLAYING TIME 50%!

NOTE: ASK YOUR DEALER ABOUT THI NEW EASYFINANCE PLAN FOR MAGNECORD E IJIPMENT

agnecordDIVISION OF THE

TELEX COR.ORATION9600 ALDRICH AVENUE SOUTHMINNEAPOLIS, MINNESOTA 55420

OTHER TELEX DIVISIONSMANUFACTURE TELEX HEACPHONES

AND VIKING TAPE INSTRUMENTS

sound I am now getting, but one thingtroubles me: like my old installation, thenew one has an occasional bad day onwhich a familiar record just does notsound quite as good as it usually does.The problem disappears by itself. Whatcauses this? Could it be fluctuation inthe line voltage? Do components gettired and need an occasional day of rest?Or does human hearing have its baddays?

E. DAKINSouth Bend, Ind.

AIf I were a doctor, I would tell. you that there's a lot of that go-

ing around and to take (or give your in-stallation) ten grains of aspirin, get agood night's sleep, and call me tomor-row if things aren't better. It happensthat there is a lot of that going around,and the question of what causes thesetemporarily difficult hi-fi days remains aminor mystery. It is not likely that youra.c. line voltage is fluctuating enough tocause this kind of problem. It has beensuggested that atmospheric conditionsmight be the cause, and it would be in-teresting to see whether there is any cor-relation between poor performance on agiven system and low barometric pres-sure or high atmospheric humidity.

In any case, we still have the questionof whether the basic reason for the au-dibly poor performance resides objec-tively in the equipment or subjectivelyin the listener. And if it does originatein the listener, is it a psychological orphysiological phenomenon? If it is theequipment that is at fault, then two ormore trained listeners should be able toagree on the objective existence of theproblem. However, if the problem re-sides in the listener's head (in the ear orbrain), then we have a somewhat morecomplicated matter to resolve-and off-hand I can't think of how, except per-haps to attempt to correlate the periodsof poor performance with special en-vironmental conditions.

If your hearing were truly not func-tioning normally, you should, with con-centration, notice it during conversationas well as when listening to music.

One last thought on the subject-many a case of short-lived distortion hasbeen traced to accumulation of debrison the stylus tip. Particularly when discshave been treated with a spray, a hard,almost microscopic glob will form on thetip, and it cannot be easily brushed off.A Q -lip moistened with alcohol and ap-plied gently will clean the tip and elimi-nate that problem, at least.

Because the number of queries wereceive each month is greater thanwe can reply to individually, onlythose questions selected for thiscolumn can be answered. Sorry!

CIRCLE NO. 33 ON RE26

SERVICIVARDHIFI/STEREO REVIEW

Test drive a pair o. n Scott S-11 speakers today!

You bring the wheels . . . Scott's got the speakers!Scott's all -new S-11 speakers are absolutely unparal-leled in performance. To prove it to you, Scott wants

you to listen to a pair at leisure, in your home, withyour own equipment, at no cost or obligation.

Test these speakers with your favorite records, withFM stereo . . . even with AM. Compare them with your

present speakers . . . regardless of cost. Once you'veenjoyed Scott's new S-11 speakers in your home, you'llnever again be satisfied with any other speaker.

Who else but Scott, the top name in solid-statecomponents, could design a speaker system so

perfecly matched to the needs of solid-state com-ponents? Only Scott speakers have been specifically

designed to give optimum performance withtoday's advanced solid-state amplifiers and re-ceivers. Scott Controlled Impedance speakersboti safeguard your valuable equipment andgive you the kind of sound you wanted when

you bought transistor components. . the kind of sound that

prompted AUDIO's Larry Zide tostate, ". . . we were strongly im-

pressed by the clarity of re-production...These Scotts are

as clear a musical soundas we would want . . .

Frequency sweeps wereunusually smooth over theentire range ... Transientresponse is quite sharp withlittle hangover ... a stereo

pair will do justice to thefinest sound source. Wewould like to think that we

are quite fussy about thekind of sound we want.

Certainly these Scotts ful-fill our demands without

need of qualifications."Need more proof?

Take home a pair of Scott S-11 speakers today,and hea- for yourself the dramatic difference.

Dimensions: 24" x 14" x 111/4". Price, $149.95.

'TAKE E TO YOUR DEALERTake this certificate to your Scott dealer for your :0 -day free home trial of Scott S-11 speakers.

Name

Address

City

State Zip

Here's all you do:1. Take this certificate to your Scott dealer.2. Pay the dealer for a pair of Scott S-11 speakers under his

normal terms.3. Take home the S-11 speakers and try them out.4. If, within ten days, you are not completely, ecstatically de-

lighted with the performance of the Scott S-11 speakers,return them to your dealer, in the same condition inwhich you received them, and get your money back.

Scott...where innovation 's a tradition

SCOTT"As! C,,pt.249-rt6. 211 PoAderrm.!I Read, Maynard, Mats., 107E4 Exec, Scott Int.rtkat °ma!, Maynard, Mass.

',cm Scott, ranu'acturers of superb ,orrpcnents, compacts, k.ts, speakers, and consoles. © rcp,r `ht 19(7, H.H. In".

CIRCLE NO. 100 ON READER SERVICE CARD.1 UNE 1967 27

AUDIOBASICSby HANS H. FANTEL

SPECIFICATIONS X: FM TUNERS

buy Sony tape

just to vet theiamaimu new

"Easy Threader"

tab!It is a fact that each reel ofSony Professional RecordingTape contains two "easythreader" tabs which makeany tape reel instantly andeffortlessly self -threading. ElBut Sony (maker of thebest-selling tape recordersin the world) also makesthe world's finest recordingtape. And we'd rather haveyou buy it for that reason!Sony tape captures thestrength and delicacy ofany sound. Sony tape repro-duces those sounds for per-fect playback, over and overagain. " Sony ProfessionalRecording Tape brings outthe best in a tape recorder.

And that's why we'd like youto buy it.

SONY SUPERSCOPE

AMERICA'S FIRST CHOICE IN TAPE RECJRULRSCIRCLE NO. 50 ON READER SERVICE CARD28 HIFI/ STEREO REVIEW

SENSITIVITY, as I indicated last month, is not the be-all and end-all inestimating the total merit of a tuner. In most critical reception areas,

where the incoming signals have ample strength, satisfactory tuner per-formance hinges on other qualities which, oddly enough, are rarely con-sidered by the prospective buyer. Among them: AM rejection, selectivity,and capture ratio.

AM rejection describes the tuner's ability to squelch electrical inter-ference, whether it is atmospheric static or man-made electrical noise. Manymanufacturers now list AM rejection among the FM tuner specs, and asa rough guide one should assume that an AM rejection rating of -35 dbor better will give satisfactory results in most situations.

Selectivity, often overlooked in tuner specifications, can be importantboth in urban and rural locations. Selectivity refers to the tuner's abilityto keep separate any stations that are close together on the dial. If you livein areas where only a small number of FM stations are within receivingrange and they happen to be widely spaced out across the dial, selectivityis obviously not a problem. But in some metropolitan and suburban re-gions the FM band is getting so crowded that selectivity is essential. Atuner with a selectivity of 45 db or more will spare you the annoyanceof overlapping signals.

Cross -modulation rejection is a specification related to sensitivity. Itrefers to the tuner's ability to accommodate r.f.-input signals with a widerange of signal strengths. In non -technical language, it describes thetuner's resistance to being swamped by a strong signal from a nearby sta-tion. If this happens, the tuner's input stage "cross -modulates" and thestrong station appears at several points on the dial, often blanking outother stations. A tuner with a cross -modulation rejection of 80 db orthereabouts is not likely to run into that kind of trouble even if you livewithin a stone's throw of the transmitter. Moreover, recent improvementsin transistor antenna -input circuits and the use of field-effect transistorsmake tuners better able to cope with excessively strong signals.

Capture ratio is a term that is often misunderstood. If two signals comein on the same dial frequency, the tuner should "capture" the strongerone clearly and suppress the weaker one. The capture ratio tells how muchstronger one of the two conflicting signals must be to bring about thiscomplete separation; hence, the lower the number, the better the perform-ance. For example, a capture ratio of 4 db is considered adequate, and aratio of 2 db is excellent. (It means that one station need be only 2 dbstronger than the other to override interference from it.)

Formerly, capture ratio was important only to FM listeners living be-tween two cities that each had FM stations operating on the same fre-quency and reaching the listener's location with approximately the samestrength. But now, with stereo, capture ratio performs an added functionin addition to separating conflicting stations on the same channel. It helpsreject multipath signals, which in FM correspond to ghost images in TV.Good capture ratio thus contributes to the clarity of stereo reception andto the maintenance of proper stereo separation, unencumbered by thevagaries of signal reflection from the surrounding terrain.

Marantz components are too good for most people.

P'S P/1 - el -AkAA

/41 flt

PFig11111!41. low

Are you one of the exceptions? For the most astonishing set of specificationsyou've ever read, write "Exceptions," Marantz, Inc., 37-04 57th St., Woodside, New York 11377,

Department A-18. mailtwA SUBSIDIARY OF SUPERSCOPE, INC.

The Marantz components Illustrated, top to bottom: SLT-12 Straight-Une Tracking Playback System Model 15 solid-state120 -watt Stereo Power Amplifier Model 7T solid-state Stereo Pre -amplifier Console Model 10B Stereo FM Tuner


What other automaticturntable compares with

this BSR McDonald 500for features and value?

Let's start with the tone arm because that's the

key to an automatic turntable's quality. The BSR

McDonald 500 has a resiliently mounted, coarse

and fine vernier adjustable counterweight, a feature

found only on the most expensive turntables. For

perfect sound reproduction this micrometer stylus

pressure control permits 1/3 gram settings from

0 to 6 grams. The cueing and pause control lever

lets you select the exact band on the record -

without fear of damage to therecord or the cartridge. You can

even pause at any point and then

gently lower the arm into the same groove. The BSR McDonald 500

also has a lock that automatically secures the tone arm whenever

the machine is in the "off" position. Jam -proof arm design is another

None!

protective feature. The low mass tubular aluminum

tone arm is perfectly balanced both horizontally and

vertically and is supported on virtually frictionless ball

bearings to assure sensitive and accurate tracking.

Other quality features include a 4 -pole motor that is dynamically

balanced, resiliently mounted and hum -shielded ... interchangeable

center spindles for manual or automatic selection ...a light-

weight cartridge shell with fingerlift that will accom-

modate most mono or stereo car-tridges. Write for details and nearest dealer.

Ci9BSR Mc DONALD

PRECISION -CRAFTED IN GREAT BRITAINBSR (USA) LTD., BLAUVELT, N.Y. 10913

In Canada: Musimart of Canada Ltd.

30CIRCLE NO. ON READER SERVICE CARD

HIFI/STEREO REVIEW

T C IC L TALKBy JULIAN D. HIRSCH

AMPLIFIER -DISTORTION MEASUREMENTS-PART I: Paradoxical though it may seem, the distortionof an amplifier is most difficult to measure at both ex-tremes of its power -output range. In the power range be-tween 1 watt and a few decibels below its maximumpower, a typical high-fidelity amplifier presents no meas-urement problems. At very low power outputs, noiseand hum may affect the measured distortion, while pro-longed operation near the clipping (or overload) levelfrequently results in nonrepeatable measurements andsometimes damages the amplifier.

Let us first define the basic procedure and terminologyof distortion measurement. Harmonic distortion is thegeneration of frequency components at integral multiplesof the input frequency. For example, a 1,000-1-12 inputsignal fed to a non -distorting amplifier will produce anoutput only at a frequency of 1,000 Hz. If the amplifieris less than perfect (and all are, to some extent), theoutput will contain traces of the second and third har-monic frequencies of 2,000 and 3,000 Hz, in additionto the fundamental 1,000 -Hz signal. Higher -orderharmonics, if present, are usually at a much lower signallevel than the second and third harmonics.

The measurement process consists of feeding a low -distortion test signal to the amplifier under test and thenmeasuring its total output. The har-monic analyzer is adjusted to sup-press the fundamental test signalin the amplifier's output. The re-maining signal is read on a meteras a percentage of the original in-put signal. A number of com-mercial harmonic -distortion analyz-ers are available, all of whichcontain the necessary tuning, switching, and meteringcircuits for measurements in the range (from 20 to 20,000Hz) covered by the instruments.

The distortion measured by such an instrument con-tains all the harmonics, plus any noise and hum thatmay be present in the output signal. In other words,everything present in the output signal, other than thefundamental frequency component, is lumped in a singlemeter reading as distortion.

Unfortunately, every amplifier adds a certain amountof noise (either subsonic "flicker" or hiss, as well ashum) to the signal passing through it. Consider a hypo-

thetical audio amplifier whose noise level is 70 db be-low its full power of 30 watts. In this case, the noisepower output is 3 microwatts. If the distortion at 30watts is 0.3 per cent (or -50 db), the distortion poweris 300 microwatts, far larger than the noise. A distortionmeasurement can therefore be made at this level withgood accuracy, unaffected by noise and hum.

Suppose that at an output of 0.1 watt (a typicallistening level), the distortion is still 0.3 per cent. Thedistortion power in this case is only 1 microwatt. Whenthis is added to the 3 microwatts of noise, the meterindicates a distortion level of about 0.6 per cent. In thisexample, if the contribution of the noise is ignored, anerror of about 100 per cent can be introduced into thedistortion measurement. Many amplifiers are not as goodas the one used for the example above, and hence muchlarger measurement errors can be expected in such cases.

Distortion analyzers have provision for examining thedistortion component on an oscilloscope. An experiencedeye can easily distinguish between true harmonic distor-tion and noise, hum, or any other masking signal. Theoscilloscope also helps one to determine whether thedistortion is predominantly second or third harmonic, orboth. It is a virtual necessity in measuring harmonicdistortion and analyzing the significance of the reading.

The proceeding discussion is

predicated on the use of a perfect,distortionless signal source. Anydistortion present in the input testsignal will appear in the outputas well, in addition to the distor-tion generated by the amplifier.Ideally, the test signal should haveless than one -tenth as much dis-

tortion as the amplifier being tested. In practice, a rea-sonably valid measurement can be made if the signal hasone -fifth as much distortion as the amplifier.

Many amplifiers nowadays have distortion levels of0.2 per cent or less under most conditions, and figuresunder 0.1 per cent are not uncommon. It would seem,therefore, that a generator whose distortion exceeds0.02 per cent is unsuitable for testing a good modernamplifier. The generators with very low distortion arequite expensive and are used chiefly in precision a.c.measurements in calibration laboratories. Furthermore,the distortion analyzer itself introduces some distortion

REVIEWED THIS MONTH

Dynaco Stereo 120 AmplifierKLH Model Twelve Speaker System

Shure M-68 Microphone Mixer

JUNE 1967 31

into the measurement, usually between 0.03 per cent and0.05 per cent.

Inexpensive harmonic -distortion analyzers and audiogenerators, such as those made by Eico and Heath, haveresidual distortion as low as 0.06 per cent. Althoughthis limits accurate measurements of distortion to valuesover 0.3 per cent, it does not preclude their effectiveuse in measurements at lower levels. When we obtaindistortion readings between 0.06 and 0.1 per cent, werecognize that the amplifier's distortion is, at most, com-parable to that of the test equipment. When this occurs,we do not become unduly concerned, but merely reportthe fact that our instruments are not capable of measur-ing the true amplifier distortion.

Sometimes a manufacturer who has devoted great ef-

fort to reducing his distortion to the vanishing point(and has had to design special test equipment to meas-ure it) is disturbed by the fact that our equipment can-not provide reliable measurements much below 0.1 percent. I sympathize with him, but I have never seen itseriously suggested that a reduction of distortion from0.2 per cent to 0.02 per cent has the slightest effect onthe audible performance of an amplifier. Any amplifierwhich is too good for us to measure accurately is verygood indeed, and higher praise would require an im-moderate use of superlatives on our part.

In a subsequent column, I will comment further onthe significance of distortion at very low and very highpower levels, and on the peculiar problems of high-leveldistortion measurements.

EQUIPMENT TEST REPORTS c%)

By Hirsch -Houck Laboratories

DYNACOSTEREO 120POWER AMPLIFIER

Ovi.R the past decade, Dyna amplifiers have achieved anenviable reputation for uncompromised quality at bargainprices. Either in the form of easy -to -build kits or as fac-tory -wired models, the Dyna units have consistently matchedor surpassed the performance of competitive models costingfar more.

As we see it, the "secret" of Dynaco's success has been intheir refusal to incorporate gadgets or passing fads intotheir products. Sound engineering practice, combined withdeceptively simple yet highly effective circuit design, hascharacterized every Dyna product we have tested over theyears.

It has been obvious for some time now that transistorshave gone beyond the fad stage. Dyna was understandablyreluctant to release a transistorized amplifier until theywere sure it could at least match the performance of theirvacuum -tube models. They have unquestionably achievedthat goal in the new Stereo 120 power amplifier. The Stereo120 is rated at 60 watts per channel continuous output(both channels driven) with less than 0.25 per cent dis-tortion between 20 and 20,000 Hz. These specifications areslightly better than those of a pair of the very popularvacuum -tube Mark III Dyna amplifiers, except that theStereo 120 is considerably smaller, lighter, and cooler thanone Mark III.

Practically all of the weaknesses of early transistordesigns have been eliminated from the Stereo 120. It haspractically unmeasurable distortion at almost any powerbelow maximum output. It is completely stable under anyconceivable load or drive condition. The transistors arenearly immune to damage from overdriving or short-circuited output leads. The Stereo 120 has no controls oradjustments, internal or external, except its power switch.An electronic delay prevents the turn -on "thump" experi-enced with some solid-state amplifiers.

The input impedance of the Dyna Stereo 120 is 100,000

ohms, which is high enough for it to be driven by mostpreamplifiers, including current models of the Dyna PAS -

2X, PAS -3X, and the soon -to -be -released solid-state PAS -4.A simple modification of older Dyna preamplifiers willpermit them to operate with the Stereo 120.

Although the Stereo 120 is rated for 8 -ohm loads, itwill drive f -ohm loads with no diminution of power, andwill deliver nearly 40 watts to 16 -ohm loads. Large amountsof a.c. and d.c. feedback are used to reduce distortion and(more important) to make the amplifier meet its specifica-tions without the use of specially selected transistors. Apatented protective circuit limits the maximum currentthat can be drawn by the output transistors (under short-circuit conditions) to a safe value. A similar circuit pro-tects the power supply against short circuits. The powersupply is regulated to insure full output -power capabilitieswith line voltages from 100 to 130 volts. (Most amplifierslose an appreciable portion of their available power if theline voltage falls below 120 volts.) Another advantage ofthe Stereo 120's very effective power -supply regulation isthat it provides essentially the same power rating by con-tinuous -power measurement or by the so-called "music-

power" rating method.HIFI/STEREO REVIEW'S kit builder, who built the unit for

this test, reports that the construction manual for theStereo 120 is in the Dyna tradition of clear, straightforward,step-by-step procedures. The three circuit boards that com-prise the right- and left -channel driver stages and thepower -supply circuits are prewired (and pretested), whichmakes possible a total assembly time of about five hoursfor the kit. The protective circuit in the power supplypractically eliminates any possibility of damage resultingfrom wiring errors.

In our laboratory tests, we found the distortion of theDyna Stereo 120 to be literally unmeasurable with ourinstruments under most conditions below full -power opera-tion. This is no reflection on the test instruments, whichhave a residual distortion of about 0.06 per cent, but israther to the credit of the Stereo 120. At a full 60 wattsper channel, the distortion was under 0.1 per cent from 30to 7,000 Hz, rising to 1 per cent at 20 Hz and to 0.2 percent at 20,000 Hz. At lower powers it was under 0.1 percent from 20 to 10,000 Hz, reaching 0.13 per cent at 20,000Hz with 30 watts output. (Continued on page 34)

32 HIFI/STEREO REVIEW

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19 Voices, 200 Watts Peak Power, Chimes,2 Speaker Systems, "Stereo" Sound And FullProfessional Features At Over $500 Savings!

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Luxur ous Hardwood Cabinet And Bench ... handcrafted and hand -rubbed with a lustrous walnut finish ... ready for the sub -assembliesas you complete them. Cabinet measures 40' H x 48' W x 25' D.Other Professional Features Include two 44 -note keyboards, 28 notesof electronic chimes, 13 -note bass pedals, keyboard and pedal sustain,revert,, selective repeat percussion to produce realistic xylophone,mandolin and marimba sounds; selective attack percussion; manualbalance; timbre mellow to emphasize the warm character of orchestralvoices; variable vibrato; pedal percussion and volume; expressionpedal; stereo headset outlet and 5 -year warranty on plug-in tonegenerators. Liberal credit available, too. Get all the details by sendingfor your FREE Heathkit Catalog!Kit TO -87, organ & matching bench, 250 lbs. 8995.00

Optional Band Box Percussion1011/, IP Adds 10 percussion voices to the

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Like To Hear It Perform?Then send for organ demonstration recordTOA-67-3 (7', 331/2 rpm). Listen to the beautifulvoices, true organ tone and professional capa-bilities of this superb instrument. For GD-325Borgan below, order record GDA-325-1. Enclose50c for postage & handling.

II

IIIII

I

HEATH COMPANY, Dept. a.0-63enton Harbor, Michigan 49022 Please send FREE Heathkit Catalog.O Enclosed is 50c. Please send organ demonstration record no.

O Enclosed is $ plus shipping.

Please send model (s)

Name

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State ZipPrices & specifications subject to change without notice. CL -284

Kit TOA-67-1, 8 lbs . $145.00

I


2

I 4

O9f, 0.5

t.1 0.2

0

BOTH CHANNELS DRIVEN WITH ik-OHM LOADS, ONE CHANNEL MEASURED

DYNACO STEREO 120

REF. POWER OUTPuT(60w- - -- HALF -POWER OUTPUT -5db)

-POWER OuTPUI(-10d0)LOW

_.0./. ......":";°.-.ow k...150 400 200 500 Hz 2kHz

FREQUENCY IN CYCLES PER SECOND (Hz)5kH 108Hz 20

kHz

At 1,000 Hz, harmonic distortion was under 0.1 per centfrom 0.1 watt to 70 watts. Intermodulation distortion wasunder 0.1 per cent below 1 watt and reached 0.2 per centat 60 watts. The frequency response was perfectly flat, asindicated by our meters, from 20 to 20,000 Hz. Hum andnoise with an open input were 80 db below 10 watts, or 88db below 60 watts. An input signal of 0.7 volt will drivethe Stereo 120 to 10 watts per channel, more than enoughfor any normal listening situation.

We checked the maximum power, at the point where thewaveform became clipped, into different load resistances.At 4 ohms, the output was a staggering 90 watts, althoughthis could not be maintained for long and actually corre-sponds to the often -used "music -power" output rating. At8 ohms, the clipping level was 66 watts, and at 16 ohms itwas 37.5 watts.

As a test of the protective circuits, we drove the amplifierto full power and short-circuited the speaker -output ter -

2

4 '

O

BOTH CHANNELS DRIVEN WITH S -OHM LOADS,ONE CHANNEL MEASURED

g 0.5

z

It 0.2

0301 02 05 2 5 10 20 50 100

CONTINUOUS AND EOUIVALENT SINE -WAVE POWER OUTPUT PER CHANNEL IN WATTS

- 'MHz TOTAL HARM. DIST.- - -GO/7000 Hz 14,1 MI DIST.

DYNACO STEREO 120

AA.Akw

.00=M

minals. One sample of the Stereo 120 withstood suchbrutal treatment indefinitely; another, after several suchshorts, blew out one channel. This sort of test is, of course,not really representative of the conditions encountered inuse. At less than full power output, both samples of theStereo 120 were unaffected by short circuits of any duration.

We agree with Dyna's own appraisal of the Stereo 120.Its sound quality is easily equal to, though not better than,a pair of Mark III amplifiers. Considering that the MarkIII is widely accepted as being one of the finest poweramplifiers ever produced for home use, this is a noteworthyachievement. Comparing the sonic quality of the Stereo120 with that of any other premium transistor amplifierwould be a difficult and probably fruitless endeavor. How-ever, we can state that we have never heard an amplifierthat sounded better. The Dyna Stereo 120 kit costs $159.95.It is also available factory -wired for $199.95.For more information, circle 187 on reader service card

KLH MODEL TWELVESPEAKER SYSTEM

WE HAVE observed that the products of any one speakermanufacturer tend to have a basic similarity in sound char-acter. This is to be expected, since the designer's "taste" insound or his personal philosophy of speaker design willinevitably be expressed, for better or for worse, in his. crea-tions. In respect to KLH's speakers, we have always foundthem to be especially clean, open -sounding units with out-standing transient response. As one progresses from theleast expensive to the most expensive KLH models, theimprovements are largely in the bass region and power -handling ability. The new top -of -the -line Model Twelve,in addition to following this trend, has an exceptional mid-range and high -end plus several other noteworthy features.

The KLH Model Twelve is a full-size floor system withno pretensions to compactness. It measures 29 x 221/4 x 15inches and weighs some 85 pounds. The cabinet houses asingle 12 -inch woofer, two 3 -inch mid -range cone speakers,and a single 13/4 -inch tweeter. The nominal crossoverpoints are 500 and 4,000 Hz, and the nominal impedanceis 8 ohms. Although the acoustic -suspension principle isemployed in the Model Twelve, the relatively large en-closure permits moderately high efficiency to be attained.KLH rates the system as suitable for use with amplifierpowers of 25 watts or higher, and our tests confirm this.

Part of the KLH Model Twelve system is a unique con-tour -control box. This is a compact (9 x 10 x 21/2 inches)walnut -finished box that contains the crossover -networkcomponents, plus four switches that permit a limited con-trol of the system's overall musical balance in segmentsof about one and one-half octaves. The frequency rangesaffected by the contour switches are 300-800 Hz, 800-2,500Hz, 2,500-7,000 Hz, and 7,000-20,000 Hz. The low -bassresponse is left fixed as a reference. Each control permitsa slight boost or cut (2 to 3 db) of the indicated frequencyband. Anyone operating the switches casually might notdetect any change in sound character. However, listeningto broad -band noise, such as FM interstation hiss, clearlyreveals the effect of the contouring. This feature gives thediscriminating listener the opportunity to tailor the systemresponse to his own situation, in a manner not possiblewith conventional speaker -level controls or amplifier tonecontrols.

Recognizing that the subtle effects of the contour controlcan he best appreciated from the normal listening position,KLH hag' provided a 40 -foot, four -wire cable to connectthe contour -control unit to the speaker system. The controlscan be located in the listening area, where the speakerresponse can be adjusted as desired. If this type of in-stallation is inconvenient, the control unit can be mountedon the rear of the speaker enclosure, where it is held byVelcro hook -and -pile strips. An 18 -inch cable is providedfor interconnection of the units when so installed.

In accordance with our usual practice, we measured theresponse of the KLH Model Twelve at eight differentpoints in the listening room. The averaged data show anoverall response of about ±5 db from 30 to 15,000 Hz(the upper limit of our microphone calibration), with allcontour controls in the flat position. The response curve isfree of sharp irregularities, and its general contour sug-



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. Heath hi-fi exclusive. Provide near -per-fect bandpass characteristics, (70 db selec-tivity) yet no adjustment is ever needed!

AR -115 SPECIFICATIONS - AMPLIFIER SECTION: Dynamic Power Output Per Channel(Music Power Rating): 8 ohm load; 75 watts. Continuous Power Output, Per Channel':8 ohm load; 50 watts. Power Bandwidth For Constant 0.5' Total Harmonic Distortion':6 Hz to 25 kHz. Frequency Response (1 watt level): *1 db, 6 to 50,000 Hz. .3 db, 4 to70,000 Hz Harmonic Distortion: Less than 0.5'; from 20 to 20,000 Hz at 50 watts output.Less than 0 at 1,000 Hr with 50 watts output. Less than 0.2' ; at 1,000 Hz with 1 watt output.Intermodu Patio. Distortion (60 Hz: 6,000 Hz =4:1) Less than 0.5' with 50 watts output.Less than . 1 watt output. Damping Factor: 45. Input sensitivity: PHONO; 2.2millivolts ,..,!,. :a 155 mv). TAPE; 200 millivolts (overload 4.5y). AUX; 200 millivolts (over-load 4.5v). Hum & Noise: Volume control at minimum position; -80 db. PHONO; (10 milli-volt reference); - 60db. TAPE 8 AUX. (200 millivolt reference); -65 db. Channel Separation:PHONO; 45 db. TAPE 8 AUX.; 55 db. Output impedance (each channel): 4, 8 8 16 ohms.Tape Output Impedance: 100 ohms. Input Impedance: PHONO; 51 K ohm (911AA clue!.ized). AUX., TAPE & TAPE MON.; 100 K ohm. Tape Output: 0.17 volt. FM SECTION (Mono):Sensitivity: 1.8 v.'. Frequency Response: .1 db, 20 to 15,000 Hz. Volume Sensitivity:Below measurable level. Selectivity: 70 db'. Image Rejection: 90 db. IF Rejection: 90 dbminimum'. Capture Ratio: 1.5 db'. AM Suppression: 50 db'. Harmonic Distortion: 0.5":;,or less'. Intennedulation Distortion: 0.5' ;. or less'. Hum IA Noise: 65 db'. SpuriousRejection: 100 db'. FM SECTION (Stereophonic): Channel Separation: 40 db or greater.Frequency Response: .1 db, 20 to 15,000 Hz. Harmonic Distortion: Less than 1'; at1,000 Hz with 100 modulation. 19 6 311 kHz Suppression: 55 db or greater. SCA Suppres-sion: 50 db. AM SECTION: Sensitivity: 12 microvolts of 1,000 kHz. Image Rejection:60 db at 600 kHz. 40 db al 1400 kHz. IF Refection: 70 db of 1,000 kHz. Harmonic Distortion:Less than 1.5' at 400 Hz, modulation. Hum 6 Noise: 45 db. Power Requirements:105-125 or 210.250 volt 50/60 Hz AC. Dimensions: Overall, 16j,i' wide x high xdeep.

Rcited II -1F (Institute of High fidelity) Standards.

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Contains full descriptions and specifi-cations of AR -15 and over 250 easy -to -build kits . - . stereo/hi-fi, color TV,electric guitars 8 amplifier, organs,AM -FM -shortwave radios, test, marine,CB and ham radio. Mail coupon or writeHeath Company, Benton Harbor, Mich-igan 49022.

I

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The New I leatlikit AR -IS . . . Crowning Achievement Of The World'sMost Experienced Solid -State Audio Engineers! There's mulling like itanywhere in the transistor stereo market place. Besides the use of space-age integrated circuits and exclusive crystal filters in the IF section,it boasts other "state-of-the-art" features like these:150 Watts Dynamic Music Power . . . 75 111F watts or 50 R MS wattsper channel . . . the highest power output of any stereo receiver. De-livers the coolest, most natural sound you've ever heard.All -Silicon Transistor Circuitry .. . a total of 69 transistors, 43 diodesand 2 IC's for maximum reliability & stability.Positive Circuit Protection ... four Zener diodes and two thermal circuitbreakers protect the driver and output transistors from overloads andshort circu.ts of any duration.Field Effect Transistor FM Tuner ... cascode 2 -stage FET RF amplifiersand an FET mixer provide high overload capability, excellent crossmodulation and image rejection. Sensitivity 1.8 uv. Features a 4-gangvariable capacitor and 6 toned circuits for extreme selectivitm under themost adverse conditions. Completely shielded ... completely assembledfor best performance.Two Calibrated Tuning Meters . . . a signal strength indicator tells youwhen you receive the strongest signal - doubles as a VOM for check-out during or after kit construction. A special "Center -Tune" meterputs you on exact station frequency.Tone -Flat Switch . . . bypasses tone control circuit for completely flatresponse.Automatic FM Squelch . . . noise and AFC operated to hush between -station noise before you hear it.Stereo Only Switch . . . silences all mono when you wish to listen tostereo broadcasts only. An added tuning convenience!Super SCA Filter ... removes SCA and noise frequencies above 57 kHzfor clean, quiet listening.Massive Power Supply ... for low heat and superior regulation - elec-trostatic and magnetic shielding for lowest hum and noise.Electronic Filter Circuit . . . provides power supply with exceptionallylow ripple and excellent regulation.Adjustable Phase Compensator for Station Differences . , so you can beassured of the best stereo.Wide Range Magnetic Phono Inputs . . . extra overload characteristics(98 db dynamic range). All inputs adjustable from front panel. Plusautomatic switching to stereo, transformerless design, filtered outputsand a host of other deluxe features for the discriminating audiophile.An assembled wrap -around walnut cabinet with a vented top is avail-able at $19.95. Liberal credit terms also available.

t Kit AR -15 (less cabinet). 28 lbs. $329.95AE -16, assembled walnut cabinet 7 lbs $19.95

HEATH COMPANY, Dept. 40-6Benton Harbor, Michigan 49022

D Please send FREE Heathkit Catalog.

0 Enclosed is $ plus shipping.

Please send model (s)

Name

11:=0:Ea

Address

City

Jure,. 1967

State ZipPrices 6 specifications subject to change without notice. HF-202


DoesSherwooduse F. E. T.'s ?

Did you think because Sherwood makes such beautiful receivers we would neglectField -Effect -Transistor circuitry? The new Sherwood ALL -SILICON Model S-7800-FETFM/AM 140 -Watt Receiver shown above has been specially designed for urban strong -signallocations.* This ALL -SILICON receiver offers unexcelled FM reception in areas wherepowerful local stations can interfere with the reception of distant and weaker stations. TheModel S-7800-FET also features two separate front -panel rocker switches for multiplespeaker installations throughout your home. Write for a complimentary copy of the newMultiple -Speaker Installation manual.*Spesially.selected Field -Effect Transistors in RE and Mixer stages of S.7800-FET improvecross -modulation rejection almost 10 times (20 db)

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JUNE 1967 CIRCLE NO. 45 ON READER SERVICE CARD3-I

gests that the response can be adjusted so that it is sub-stantially flatter in any given room.

In any case, we consider the numerical -response dataon a speaker such as this to be trivial. The importantthing is its sound, which we can unhesitatingly describeas superb. The KLH Model Twelve has an airy, openquality which we have heard only rarely in years of listen-ing critically to loudspeakers. There is an effortless, naturalquality and a freedom from coloration that together placethis speaker, in our opinion, among the handful of trulyoutstanding speakers we have heard over the years.

The tone -burst measurements of the KLH Model Twelveconfirmed what we already knew-that it has excellenttransient response and no signs of sustained ringing orspurious output. Its low -frequency harmonic distortion ata 1 -watt drive level is under 2 per cent down to about 55Hz, and hits 10 per cent at about 30 Hz. The ModelTwelve's bass response has been tailored to balance themiddle and high frequencies and does not have the over -

The excellent tone -burst responses at high and low frequenciesconfirm the Model Twelve's superior listening characteristics.

whelming quality that one might expect from a speaker ofits size. However, the Twelve is certainly in no way defi-cient in the bass-including the very lowest frequencies.

The KLH Model Twelve sells for $275. Even if you arenot in the market for a speaker of its size and price, do,if you have an opportunity, listen to it carefully. Exposureto the sound of this speaker system can provide a valuablereference for judging lesser products, a category that in-cludes most of the systems currently available.

For more information, circle 188 on reader service card

SHURE M-68MICROPHONEMIXER

ANYONE who has tried to make a live tape recording ofa singer with an instrumental accompaniment knows howdifficult it is to achieve a balance in level between the voiceand the instrument-particularly if the amount of amplifi-cation applied to each can't be controlled. For the advancedtape -recordist, the need to use and control several micro-phones simultaneously presents a difficult problem. Thoserelatively few recorders that do permit the mixing and con-trol of independent high- and low-level inputs (such as thetape -output jack on a preamplifier and a microphone) sel-dom have the flexibility to accommodate two or moremicrophones. Experienced recordists therefore have come torely on devices called mixers.

Shure's M-68 a.c.-operated microphone mixer is a versa-tile, moderately priced unit that bridges the gap betweenthe low-priced, relatively inflexible passive mixers and theexpensive professional models. The Shure mixer accommo-dates up to four microphones, plus a high-level auxiliary

source such as a second tape -recorder or tuner. Each inputhas its own volume control, and a master volume controlregulates the overall output. There is no interaction be-tween the input controls. The microphone input jacks areprofessional -type Cannon connectors and are located at therear of the mixer. A standard phono jack is used for thehigh-level auxiliary input. Three output levels are provided:low impedance (50 to 250 ohms) and high impedance(33,000 ohms) through a Cannon connector, and a high-level, high -impedance output through a phono jack. Thehigh-level output jack is intended to be connected to theauxiliary input of a tape recorder or amplifier. There isalso a 28 -volt d.c. jack that can he used either to powerthe M-68 mixer from a battery supply or to provide power(from the M-68) to Shure's Model A68P magnetic phono-cartridge preamplifier.

Adjacent to each microphone input and the microphoneoutput is a slide switch that converts them from low tohigh impedance. The voltage gain in the high -impedancesetting is one -tenth of that in the low -impedance setting.

The maximum output level before clipping occurs is

rated at 60 millivolts for low -impedance microphones, 0.85volt for high -impedance microphones, and -I volts for thehigh -impedance auxiliary input. The rated frequency re-sponse is ±2 db from 30 to 20,000 Hz.

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38HIFI/STEREO REVIEW

F.

WHO'S AFRAID OF

HUGOWOLF?A bare -knuckle critical style made few

friends and many enemies for the youngcomposer -journalist in Viennese musical

c_rcles of the Eighties

By HENRY PLEASANTS

THEY called him "the wild Wolf," and this Wolfwas, indeed, pretty wild. Hugo Wolf, that is,

whose name will be associated forever with thoseof Schubert, Schumann, Brahms, and Richard Straussamong the greatest composers of the German lied.

But it was not Wolf's lieder that inspired the epithet.It was his prose. From January, 1884, until April, 1887,Hugo Wolf was the music critic of a Vienna journalcalled the Salonblatt. He was twenty-four when he tookthe job and twenty-eight when he gave it up-or wasconstrained to leave. Although he is remembered else-where only as a composer, his performance as a criticlives on as a legend in the memories of the Viennesemusical public.

And it was the stuff of which legends are made, likeDavid and Goliath, or Daniel in the lion's den-exceptthat Wolf, as a latter-day Daniel, pulled the lions' tails.The den was a very Imperial Vienna, and the lions thatpopulated and governed it musically were JohannesBrahms; the critics Eduard Hanslick, Brahms' prophet,and Max Kalbeck, his biographer; Hans Richter, whowas musical director of the Imperial Court Opera, con-ductor of the Vienna Philharmonic and also conductorof the Society of Friends of Music; and Arnold Rose,who, as concertmaster of the Philharmonic, had founded(1883) the Rosé Quartet, one of the most famous and

long-lived string quartets in the history of chamber music.It was not as if this David, or Daniel, had any Wun-

derkind accomplishments or precocious achievements asa composer to support his effrontery in dismissing thelions as indolent jackasses and their admirers as lazysycophants. He was the son of an obscure Styrian tanner.His education, both literary and musical, was deficient.He had left prematurely, or been kicked out of, everyschool he attended, including the Vienna Conservatoryof Music. And his sole credential as a professional musi-cian was an engagement as assistant conductor of theprovincial opera at Salzburg, to which his violent temperand unruly tongue had put an end in just two months.

That was in the winter of 1881-1882. Afterwards heearned a living of a sort in Vienna as an accompanistand private teacher, thanks to the efforts of well-to-dofriends and sponsors. Despite his impatience with societyand his unprepossessing appearance-he was just overfive feet tall-Wolf had charm, and there were, initiallyat least, those who could condone his social faux pas.But by the winter of 1883-1884, he had managed toestrange most of them, and his situation was desperate.It was at this point that one of the last of his influentialfriends arranged for his employment by the Salonblatt.

Nothing could have been more incongruous. FrankWalker, Wolf's biographer, describes the Salonblatt as

JUNE 1967 39

the "mirror of Viennese society. ... With its portraits ofthe nobility, its accounts of the season's balls, reviews ofsport, and guidance to the vagaries of feminine taste, itwas digested every Sunday by all fashionables and would -he fashionables in the city." As Ernest Newman put it,Wolf's performance in the pages of this journal sug-gested "the entry of a howling dervish into a boudoir."

It was not just his way of pouncing upon unwaryMutants or finishing off aging lions. Vienna probablyenjoyed a malicious chuckle when it read that FrauleinJenny Broch, "when it comes to miaowing, can hold herown with any house cat," or that Theodor Wachtel'ssinging was "indistinguishable from that of a tom cat ofmodest vocal endowment whose tail has been acciden-tally caught beneath the pedal," or that the reputableHerr Theodor Reichmann "sang pretty badly, made amess of the ballad and was stoutly supported therein bythe accompanist." Other critics, particularly young critics,have indulged in that kind of cutting witticism at theexpense of small fry. But Wolf buried his fangs in morefearsome prey. He was anti -Establishment through andthrough, the angry young man of music, as Robert Schu-mann had been in the 1830's when, as founder of Dieneue Zeitschrift fir Musik, he led his imaginary Davids-bindler into battle against the Philistines.

But Wolf's militancy was more quixotic. Schumannhad been up against nothing more formidable than thefashionable piano virtuosity of Thalberg, Herz, andKalkbrenner and the epidemic of variations on popularoperatic airs, vapid etudes, and salon pieces inspired bythat virtuosity. And his espousal of Chopin, Mendels-sohn, and Brahms was quickly vindicated by their success.Fifty years later Schumann's Davidsbfindler, or theirdescendants, looked suspiciously like Philistines to thedisciples of Wagner and Liszt; and in Brahms, as theirGoliath, and in Hanslick, as their scribe, they had ablechampions. Wolf, as an evangelist of the "music of thefuture," took them on single-handed, and in Vienna, thecitadel of reaction.

Wolf's missionary zeal in behalf of Berlioz, Liszt,Wagner, and ultimately Bruckner led him into tacticalblunders. His praise of Liszt's symphonic poems was tooexuberant, his disparagement of Brahms too severe. Andso he is remembered as the man who said that "there ismore intelligence and sensibility in a single cymbal crashin a work of Liszt's than in all of Brahms' symphoniesand serenades put together." Which is too bad. LikeHanslick, he shouted in the heat of battle, and the fool-ish things he said at the top of his voice-as was also thecase with Hanslick-drowned out the perceptive obser-vations he made when he had his wits about him.

Wolf's work as a critic never achieved Hanslick's pro-fessional standard either as commentary or as literature.Nor can I agree even with critic Ernest Newman that hiswas "the best collection of musical criticism ever put to-

gether by a great composer." But he was, like Schumann,a musician's critic, and the best of his work was distin-guished from that of the true professional critic by thecomposer -craftsman's special insight. It is reflected inthis excerpt from an early discussion of contemporarychamber music:

It is the skillful exploitation of technique, not the com-pelling musical thought, that prompts our modern com-posers to write chamber music. That is why their adagiosare so flat, so contrived, so labored-poverty of invention,with a bored grimace, smirking at us through playful arch-ness....

The modern composer is most secure in scherzos andfinales. He needs only to be a proficient contrapuntist andto shuffle the voices into a vari-colored compote. He istaken immediately for a professional. Intricate inversions,school -masterly transitions, and always a dainty fugato-oreven a fugue! The public reacts to that sort of thing withawe and respect: two, three or four themes-if no morecan be accommodated-piled up, burst asunder, reassem-bled and put to flight again!

ONE senses the craftsman as well as the combatant inWolf's comments on Brahms, although the combatantis, unhappily, the more conspicuous, especially in his re-views of the Third and Fourth Symphonies. He ratherliked Brahms' chamber music, notably the Sextet in G,and he was unrestrained in his admiration of the AltoRhapsody and the song Von ewiger Liebe. But in Brahmsthe symphonist he saw the standard-bearer of reaction, apretender to Beethoven's throne, bent on quashing theclaims of Wagner and Liszt. This view of Brahms in-spired the fanciful imagery of Wolf's review of the Sym-phony No. 3:

As a symphony of Dr. Johannes Brahms a conscientious,respectable enough job; as the symphony of a second Bee-thoven an utter failure! For what we must require of a sec-ond Beethoven is precisely that element which is totallywanting in Brahms: originality....

Schumann, Chopin, Berlioz, Liszt, the leaders of thepost -Beethoven musical revolution (Schumann thought hehad found the Messiah in-Brahms!), seem to have left noimpression upon him; and he was either blind or feignedblindness as the eyes of an astonished mankind openedwide and overflowed with tears in the glare of Wagner'sradiant genius as Wagner, like Napoleon, borne on thewaves of the revolution, commanded the flood into newchannels, created order and accomplished deeds that willremain forever vivid in the memory of all men.

But this man, who has written three symphonies, andprobably intends to follow these with another six, can re-main untouched and unmoved by such an apparition, forhe is only a leftover of old remains, not a living organismin the mainstream of the time....

A bit rough, certainly, but not all wrong, either. AsNewman put it, "Brahms was a greater composer thanLiszt; but nothing significant has come out of the schoolof Brahms, while nine -tenths of the life of modern musicis derived from the school of Liszt and Wagner." New -


Most students of the art of the German lied agree that the Big Five composers in this uniquely beautiful song form are Hugo Kolland (1. to r.) Franz Schubert. Robert Schumann. Johannes Brahms, and Richard Strauss. Other enthusiasts. however, insist that weleave room in the pantheon for a few more-Karl Loewe (17964867), Robert Franz (18154892), Y rjo Kilpinen (1892.1959), and. ...

man was writing in 1912, but it reads well enough to-day. In this sense Wolf was correct. But so was Hanslick.Wagner and Liszt were in the mainstream, as Wolfwould be in the brief period of his maturity as a com-poser; but this mainstream, as Hanslick foresaw, woulddisappear in the desert of atonality.

The early performances of Bruckner's symphonies inVienna found Wolf and Hanslick taking predictablepositions. Hanslick's hostility to Bruckner inspired dis-paragement hardly less excessive than Wolf's disparage-ment of Brahms. But both men could be perceptive inadvocacy, and Wolf's first assessment of Bruckner, basedon a two -piano performance of one of the symphonies,can hold its own as criticism against Hanslick's extraordi-narily sensitive appreciation of Brahms:

It is a certain want of intelligence that makes Bruckner'ssymphonies, for all their originality, grandeur, power, imag-ination and invention, so difficult to grasp. There is alwaysand everywhere the will, the gallant assault-but no satis-faction, no artistic resolution. Hence the formlessness of hisworks, the seeming extravagance of the exposition. Bruck-ner wrestles with the idea, but he lacks the courage to cometo the point and then, fully in the clear as to his intentions,get on with it.

NOT all of Wolf's criticism dealt with such momentousmatters as the course of Western music. He had to com-ment too on the everyday events of musical life in Vien-na. Not surprisingly, for a man destined to make hismark as a composer of vocal music, he was partial toopera. He was very good-and very hard-on singers,and what he had to say about them throws an instructivelight on his objectives as a song writer and on his expec-tations of the singer as an interpreter.

Concern for characterization underlies his every obser-vation. He insisted that singers be good actors, thatsound and gesture he harmonious and mutually comple-mentary. Voice for voice's sake was intolerable, as welearn from this comment on an Italian company's per-formance of Rossini's William Tell:

An Italian singer will relate the most shattering occur-rence with unexampled composure if there is no high B orC in prospect. But let the composer provide suitable oppor-

tunity for laryngeal exercise, and the most commonplacesituation will inspire the same singer to demonstrations ofexcitement and agitation more or less farcical dependingupon the vocal display involved. . . . Our German singersmay be anything but actors (granting some exceptions),but they still harbor, thanks to Richard Wagner's healinginfluence, a spark of artistic intelligence, sobriety, andsentiment.

The most explicit exposition of Wolf's operatic philos-ophy as it concerned the singer's responsibility is con-tained in a review of Rosa Papier in the role of Elisabethin Tannhanser:

The effect of her singing upon anyone listening with eyesclosed will be utterly convincing. But one also has the feel-ing from time to time that it is all a farce. The singer, inopera, should be inseparable from the actor, and neithershould be accorded the slightest priority over the other.Lovely, ample, mellifluous, bell -like, crystal-clear voices-and voices described by any other of the usual adjectives-may be granted only a secondary place in assessing theability of opera singers. Only those who are equally athome in the arts of interpretation and representation maybe thought of as fully accomplished. Not that we haveanything against lovely voices. On the contrary! Just solong as the lovely voice is used as a means to an end, toenhance the musical expression, or to give it a certaincoloration!

Even from artists entirely and successfully sympatheticwith this point of view Wolf often demanded more thanthey could give-or noted, with due respect, the sourceand nature of their failing. He was hearing some of thegreatest Wagnerian artist who ever lived-AmalieMaterna, Therese Malten, Rosa Sucher, Lilli Lehmann,and Heinrich Vogl-and his observations are among themost acute in the literature of Wagner criticism. Of LilliLehmann's Isolde, for example, he says:

Lehmann's Isolde is half man, half woman, which isabout as wrong as wrong can be. The poet's Isolde is allwoman, passionately in love with Tristan, by him rejected,denied, affronted, and scorned. Now no woman is morefeminine than when she is in love, and Isolde is in lovefrom the rise of the curtain on the first act until theLiebestod. . . . Lehmann's Isolde seems ever to be askingherself: "Am I still a queen? Should I not be ashamed to bea queen and yet to love-and not to be loved in return?"Whereupon she strikes a commanding attitude and an -

JUNE 1967 41

nounces, with utter satisfaction: "Yes, I am a queen, everyinch a queen!" She who portrays Isolde may confrontTristan's heartless defiance with the woman scorned, butnot with the princess offended.

My favorite among all Wolf's notices, however, bothas criticism and as literature, is his review of a Beethovenrecital by Hans von Billow, one of those performancesthat Billow called a Beethorenvortrag, or Beethoven lec-ture. Billow was a compulsive talker, famous for his im-promptu oratory as well as for his playing, and he had acaustic tongue. On this occasion, apparently, he was un-der police constraint to keep his mouth shut. Wolf, afterhaving some fun with Billow's suffering as an involun-tary Papageno, observes that "this dainty Mephistophelesdoes not seem to hit it off happily with the police," andcontinues:

Nor, unfortunately, does he hit it off happily with Bee-thcven. The living Beethoven, especially, frightens him.And so, in order to get at him at all he simply kills him.And now begins his true vocation as a Beethoven player.The corpse is carefully dissected, every organ pursuedthrough it subtlest ramifications, the entrails examined withthe ra7t attention of a haruspex. The anatomy lesson runsits course. The Beethoven thus revealed, however, allcarved and sawed, belongs in the conservatory, not in therecital hall, just as art exhibitions are meant for pictures,not for skeletons and models of arms and legs....

Not all of Wolf's criticism was as good as this. Intem-perance was his severest shortcoming, and it made himhis own worst enemy. Describing the unfriendly recep-tion of Liszt's Mephisio Waltz at a Vienna Philharmonicconcert, and blaming the public's hostility on the in-fluence of the critics, Wolf could say:

Thus the public reacts to a new work not from the im-mediate experience of the work itself, but first from thenewspaper review, available as an intellectual and abdomi-nal stimulant for a few pennies, the quality and efficacyguaranteed by a familiar label. Go, go to a chemist, I say,and buy yourselves a nux romica or some other emetic.The effect, in the end, is the same, and you spare yourselvesthe price of a ticket. And that such a public, the contemp-tuous tool of a contemptuous press, should preside asjudges over the works of a genius! An idle mob that entersthe concert hall as it would a toy shop, that makes of man-kind's noblest works a trivial entertainment; and, whenthat fails, turns away disdainfully from the work of artand, with patrician decorum-hisses! Pfui, pfui! And onceagain: Pfui!

Such explosions were not rare-against the public,against institutions, and against individuals. They reflecta nervous agitation probably explicable as a forecast ofthe mental instability that would so tragically shortenWolf's career. They certainly blemished, and they prob-ably shortened, the career of a remarkably acute critic.

They retarded his career as a composer, too. Wolf was,after all, attacking the very people to whom he must lookfor entree to Viennese musical life, and it was not longbefore he tasted the fruits of his impertinence. His early

Quartet in D Minor was rewarded with a note from theRoses, who had played it through and "unanimously re-solved to leave the work for you with the doorkeeper ofthe Court Opera House."

And when the Philharmonic played his symphonicpoem Penthesilea at a rehearsal on October 15, 1886, theresult was, in Wolf's words:

. . . Babel itself! Afterwards there was resounding laugh-ter on the part of the orchestra, and then [Hans] Richteraddressed them. "Gentlemen," he said, "I should not havelet the piece he played to the end, but I wanted to see formyself the man who dares to write in such a way aboutMeister Brahms."

Wolf's performance and experiences as a critic reflectproblems common to both young critics and composer -critics. Young critics tend to be impatient with inade-quacy, scornful of moderation, and reluctant to learnthat inadequacy's exposure does not lead instantly tocorrection-or to the humble abdication of the Establish-ment. Composer -critics are vulnerable to retribution, pos-sibly susceptible to flattery, and almost inevitably given tospecial pleading.

AMONG the composer -critics, Wolf had most in com-mon with Hector Berlioz, who was of similarly impa-tient and volcanic disposition, and whose career as acomposer was inhibited, in Paris at least, as the result ofhostility engendered by his pen. Schumann was more real-istic. There was a certain dignity in his role as evangelistfor a reverent appreciation of great music, primarilyGerman, of course. And he was fortunate in having hisevangelism become fashionable-in Germany. VirgilThomson, in our own time, had some fun with the Estab-lishment during his tenure as critic for the New YorkHerald Tribune; but as a composer he was himself al-ready established, and his performance was neither sooutrageous nor so bold as it seemed-engagingly impu-dent, but hardly defiant. The avant -grade, in his time,was well on the way to becoming the academie that it istoday. And one must, in any case, question the proprietyof his view of the critic, vis-a-vis the contemporary com-poser, as a member of "a conspiracy to defend the faith."

There is no record of why Hugo Wolf's criticismssuddenly ceased to appear in the Salonblatt in April of1887. It is astonishing, in view of his addiction to invec-tive and vituperation, that they appeared for as long asthey did. Probably readers were more amused, at first, 15yhis outbursts than outraged or enlightened by his in-sights. One assumes that, after the novelty wore off, thereaders of the Salonblatt grew tired of being told-or ofhearing their idols told-to go to hell.

Henry Pleasant:, HIFI/STEREO REVIEW'S London Editor, is pres-ently translating the critical u ritings of Hugo Wolf, as he has donepreviously for critics Robert Schumann and Eduard Hanslick.

42 HIF1/STEREO REVIEW

COMPOSERS AND CRITICSTHE old saw "those who can, do; those who can't, criticize" has never been true in music. Music is a field

that seems inevitably to inspire criticism in those who produce it, and the idea that composers are too single-mindedly preoccupied with building something not to be able to take a few minutes to tear something else downis patently a false one. Even the greatest composers have given us occasional choice witticisms about other peo-ple's music, and more than one of them has made a reputation for himself as a professional evaluator of themusical scene about him. Composers bring to the job of critic a special sensitivity born of working the same claythemselves. They also bring a quite remarkable courage, the courage of a man who is well aware that in criticiz-ing another he may be cutting his own throat. Eight composer -critics are pictured below. -James Goodfriend

Music critic of the Journal desDebats from I835. HectorBerlioz contributed to severalother musical publications. HisMemoirs. Evenings in the Or-chestra. and other collectedwritings contain what is stillsome of the juiciest criticism inmusic history. In his spare time.he also managed to write theSymphonie fantastique, Faust,and a few other trifles.

Robert Schumann, the well-known editor of the Nene Zeit-schrift fiir Mnsik, was a regularcontributor, under several pseu-donyms. to the critical litera-ture of his day. His judgmentsare still quoted, and his felici-tous phrases are often used with-out credit. Luckily, his criticallabors did not keep him fromproducing Dichterliebe. theFantasia. and more.

For over three years, as musiccritic of the Wiener Salonblatt,Hugo Wolf brought that fash-ionable weekly to the attentionof a far wider intellectual rangeof readers than ever the pub-lisher dreamed. Wolf made aname for himself in Viennesemusical circles, but the namewasn't a nice one, and the ac-ceptance of his music was delay-ed by his opinions of others'.

A noted contributor to La RevueBlanche. Gil Blas. and La RevimS.I.NI.. a selection of whose criti-cal writings was published underthe name Monsieur (troche. theDilettante Hater. Claude De-bussy was among the most po-etic and the most pungent ofcritics (Grieg: "A pink bon -bonfilled with snow"). He also com-posed La Mer. the Preludes. andPelkas et M el kande.

The quantity of Paul Babas'collected critical works is in di-rect contrast to the scarcity ofhis music, but the quality of bothis consistently high. Regular re-viewer for three publications andcontributor to a half -dozen more.he covered the Parisian musicalscene like a rug, He also wrotesome fine music, his operaAriane et Barbe-Bleue and hisballet, La Peri, for example.

Virgil Thomson trod the criti-cal path early, writing for VanityFair and the Boston Trameriptbefore becoming music critic ofthe New York Herald Tribune.His witty coverage of the NewYork and world musical scenethere was one of the delights ofthe time, not rivalled since. Ilealso wrote Four Saints in 'ChiveArts and some of our very bestfilm score's.

William Flanagan, whose rdtiques are well known to readersof HIFI/STuti.o REviEw and thelate New York Herald Tribune.contributes also to Notes. Parti-san Res ieu. and the MusicalQuarterly. Composer of some ofthe most graceful of content:tor-ary vocal music, he is current!)working on commissionsill/ ihe.Yew York City Opera, the Clar-ion Concerts Society, and others.

Well known as a music critic forthe .Vew York Times and theHerald Tribune. and currentlyreviewing for HiFt/Smti.tivim. Eric Salzman also tearhes at New York's Queens Col-lege, and is author of a I k inprint and several in progress Hisvocal and instrumental composi-tions are regularly performedhere and in many other countriesthroughout the world.

JUNE 1967 43

Stark against the Grecian sky and alandscape of rugged mountains, these

ravaged columns are part of the remainsof a temple at Delphi. Pilgrims came

from all over Greece to consult the DelphicOracle-among them Orestes, who was

instructed to slay his mother Clytemnestraand her lover Aegisthus-and thisdramatic site at the foot of MountParnassus on a ledge overlooking

deep valleys may well have convincedthe ancients that here they

could learn the will of the gods.

PER TDCEEC

A musical pilgrimageBy FLORENCE STEVENSON

r -iiiE civilization of ancient Greece has for centuriesinspired writers to produce ecstatic poems andprose. For me the most felicitous artistic tributes

to the glory of Greece are found in music, particularlyin opera-Greek legends and literature provide ideallibrettos for a medium that thrives on outrage, tears, andtribulation.

When operas set in Greece-works such as Orfeo edEuridice, Medea,Elektra, and Oedipus Rex-are present-ed on the stages of the world, designers rarely departfrom the scenery that supposedly signifies Greece: col-umns. Electra raves in front of columns, Medea's impas-sioned agonies usually find her clutching columns, Or-feo's melodies echo through column -studded glades, andAlcestis mourns in a columned temple. Yet Homer praisedthe wine -dark seas and other Attic glories, while in theirtragedies Aeschylus, Sophocles, and Euripides extolledsteep cliffs and rocks, storm -battered crags, golden light,and rich -pastured meads. Therefore, when I went lastsummer to Greece to attend the Athens Festival, I hopedto discover something more than the thicket of columnswe usually associate with the Greece of ancient times,

and I made arrangements to visit some of the places inwhich the operas were actually set and from whence thelegends grew.

Naxos and CreteThe island of Naxos is associated with Ariadne, whose

legend has been set to music by composers from Monte-verdi (1608) to Milhaud (1928), but Richard Strauss'Ariadne auf Naxos is the version most often performed.Certainly the story of the princess of Knossos, who be-trayed her family to save her lover Theseus only to be,in turn, betrayed by him and abandoned on lonely Naxos,contains all the ingredients of tragedy. The island itselfadds another dimension of excitement to the tale.

The largest of the island group that includes Miloand Faros, Naxos rises yellow -green from the dark -blueAegean Sea. On one side, its stretch of harbor is shadedby a sloping hill on which, gleaming salt -white againstthe radiant sky, is a slanted arch, all that remains of atemple to Apollo. It is easily accessible, and walkingalong the jagged shore, past a line of small white -washedshops, by empty fishing boats and poles from which


octopuses are suspended to dry, you arrive rather quicklyat the ruin -crested slope. In another few minutes you canreach the summit, where amidst the thistles, poppies, andwild oats lie great fallen blocks of ravaged marble anda broken floor. As you stand there, harried by a roughwet wind, a sense of Ariadne's desolation steals over you.Turning from the ruins and gazing downwards, you seesnarling waters plunging against the rocky crevices ofthe cliff and, in your mind's eye, envision her despair as,bereft of the parents who had cherished her, and castaside by the man she had loved, she stared at the bleakstretch of shore and the turbulent sea.

Before Ariadne went to Naxos, she dwelt on anotherisland, Crete. Here, thanks to the patient labors of theBritish archeologist Sir Arthur Evans, her home, thepalace of Knossos, has been excavated and partially re-stored. It is located near Heraklion, the largest city ofCrete. Like much of Greece, Heraklion is a mixture ofEast and West, bearing traces of ancient, medieval, andmodern conquests. In ancient times it was peopled byMinoans, who were subdued and absorbed by warriorsfrom Mycenae, a city on the mainland; in more recenttimes it was ruled first by the Venetian republic, and thenduring four unhappy centuries it was occupied by Turkey.

Crete is the setting of Mozart's Idomeneo. It is thestory of the king of Crete, who, on returning from theTrojan War, promises the sea god Poseidon that in re-turn for a safe voyage he will sacrifice the first livingthing he meets when he lands at home. This turns out tobe his son, who according to the myth was duly sacri-ficed, but Mozart's version ends happily nonetheless.

Cretans still proudly recount the myth that Zeus, theruler of the gods, was born in the Dictaen Cave in East-ern Crete. Zeus figures directly or indirectly in manyoperas, but they are usually set on the mainland. In Offen-bach's Orphee aux Enfers, for example, he appears in hislofty home on Mount Olympus.

In this detail from a Greek vase (about 480 B.C.), Oedipus con-fronts the riddling sphinx. The Oedipus story has found oper-atic expression in works by Enesco, Leoncavallo, and Stravinsky.

z

Eleusis-AthensThe story of Orpheus brings to mind the Mouth of

Hell (or Hades), which is outside the city gates of Ath-ens in a district called Eleusis, now dominated by a largecement factory. The sacred way is still there, and so isthe triangular cavity in the rocks called Pluto's Cave-supposedly the egress through which Pluto made his wayinto the sunlight to find Persephone, daughter of thegoddess Ceres. Impressed by her golden beauty, he ab-ducted the nymph to cheer his gloomy halls. (Stravinskyhas written an opera, Persephone, on the subject.) Itwas here, too, that Eurydice came, following her husbandOrpheus back to life, until his fatal glance banished heronce more to Hades-a story which formed the basis ofmany operas, most notably Gluck's Orfeo ed Euridice.

In Athens itself there are, of course, the world's mostcelebrated antiquities. The familiarity resulting fromyears of studying pictures of them does not lessen theexcitement of that moment when suddenly you glance upand see before you that high and crumbling hill crownedby the Acropolis and the Parthenon.

Below the hill is the theater of Dionysus where, inthe Golden Age, spectators witnessed the first perfor-mances of Oedipus, Antigone, and other tragedies. Thecenturies have been unkind to it too; it is a place ofheadless statues, shattered rounds of seats, fallen columns,encroaching cypresses, and great chunks and tiny pebblesof the marble that once made those vanished palaces andthose mighty sculptured figures. Only in the museumscan you see the nymphs, satyrs, gods, and goddesses intheir artful gossamer stone draperies or in their una-adorned beauty, but it is pleasant to consider that theywere pure and shining in verdant blossoming shrubberywhen Theseus and his Amazon queen Hippolyta awaitedthe wedding masque, described so aptly in Shakespeare'sMidsummer Night's Dream, and set so tunefully byBenjamin Britten.

Aulis, Thessaly, OlympusThe antiquities of Athens are marvelously preserved

compared with those of Aulis, where Agamemnon, whofigures in such operas as Gluck's Iphigenia in Aulis and,indirectly, in Elektra, was ordered to sacrifice his daugh-ter to the winds. In the course of a northward journey toMount Olympus, my guide indicated a pair of hills sepa-rated by a shallow span of blue-green water. "That,"she said casually, "is the Aegean Gulf, where Agamem-non and his fleet set sail for Troy." A second later, sheadded, "And here is Aulis." Where? All that her fingerpointed to were long brown furrows filled with wildoats, and then, suddenly, I saw it-a small patch of landguarded by rusty barbed-wire fences behind which Icould see an assortment of broken walls.

Further foraging revealed portions of a Roman bath,the product of a later period, and, a few yards away, the

45

stones that supposedly were the foundation of the verytemple where shrinking Iphigenia was led to die. Thereis still a bit of the altar where she lay and from whichshe was so fortuitously rescued by the goddess Artemis,who made her a priestess of her temple in Tauris(Gluck's Iphigenia in Tauris). In those days, Aulis wasa seaport, and though the waters now lie miles away,tiny sea shells can still he found in that dry, dusty soil.

On the same route that stretches from Athens toOlympus is the fertile plain of Thessaly. Admetus (mar-ried to Alcestis, heroine of Gluck's opera Alceste) wasthe King of Thessaly. Here, in some leafy glade, stoodthe palace where the monarch played host to Hercules.The hero repaid his hospitality by wrestling with Deathand saving the soul of Alcestis, who had agreed to die tospare her ailing husband.

Further north is Mount Olympus' cloud -capped peak.The mountain, 9,000 feet high, seems even mightierwhen seen from the village of Platimon, over which ittowers. On a June afternoon, I sat in a small cafe, breath-ing in the odor of frying fish and watching the sinkingsun approach Olympus. At the left, the Aegean Sealapped gently at the rocky shore. In the gathering twi-light, the calm sea, which had been incredibly blue, deep-ened to the hue of a silver mirror faintly tinged withpink, while the great round sun, shorn of its blindingrays, reached Olympus. And in the twinkling of an eye,it simply disappeared. It was easy to understand why theancient Greeks envisioned gods and goddesses dwellingbehind Olympus' cloudy curtains or saw fauns, satyrs,and nymphs clustering in the shady forests or besidewillow -hung streams. It was on these slopes that thenymph Daphne was wooed by Apollo and ultimatelywas turned into a laurel tree, a tale retold in RichardStrauss' opera Daphne.

If myths and legends seemed to live in the woods nearOlympus, Delphi, which I visited on the way back toAthens, yielded an even richer harvest. It was at Delphithat the famed oracle purported to transmit the propheticwords of Apollo. It was this same oracle who warnedLaius, king of Thebes, that he would be killed by his ownson, a prophecy he took so seriously that he hurried home,seized his hapless infant son, pierced the boy's feet, andordered that he be left to die on the mountain top. Thechild, Oedipus, rescued from this fate by a kindly shep-herd and raised in a neighboring city by a king and queenhe believed to be his parents, heard from the Delphicoracle that he would kill his father and marry his mother.Years later he unwittingly fulfilled the prophecy.

Near Delphi, you pass the deep narrow valley whereOedipus met Laius, argued with him, and killed him, with-out knowing the old man was his father. The sight of thatvalley arouses an even greater sympathy for the unhappyOedipus. It is such a hot and thirsty strip of land and he,half -mad with rage and fear, must have been driving his

OPERATIC GREECE ON RECORDSA selective discography

CHARPENTIER, M -A.: Midee (excerpts). Bou-langer Ensembles. DECCA 9678.

CHERUBINI: Medea. Callas, Serafin, La Scala.MERCURY SR 39000, OL 3104.

GLANVILLE-HICKS: Nausicaa (selections).Stratas, Modenos, Ruhl, Surinach, Athens Sym-phony. CRI 175.

GLUCK: Orfeo ed Euridice. Forrester, Stich -Ran-dall, Mackerras, Vienna State Opera Orchestra.BACH GUILD BGS 70686/7, BG 686/7.

HANDEL: Acis and Galatea. Sutherland, Pears,Boult. OBEAu-LYRE 60011/2, 50179/80.

HAYDN: Orfeo ed Euridice. Handt, He!twig,Swarowsky, Vienna State Opera. Vox OPBX 193.

MONTEVERDI: Orfeo. Krebs, Guilleaume, Wen-

zinger. DEUTSCHE GRAMMOPHON ARCHIVE ARC3035/6. 11 Ritorno di Ulisse in patria. Fahberg,Bence, Ewerhart, Santini Chamber Orchestra. VoxSDLBX 5211, DLBX 211.

MOZART: Idomeneo, Re di Creta. Lewis, Jurinac,Simoneau, Pritchard, Glyndebourne Festival Or-chestra. ANGEL 3574.

OFFENBACH: La Belle Hiline. Leibowitz, ParisPhilharmonic. RENAISSANCE SX 206. Orpheusin Hades (selections). Bronhill, Weaving, Faris,Sadler's Wells Theater. ANGEL S 35903.

ORFF: Antigonae. Borkh, Alexander, Haefiiger,Leitner, Bavarian Radio Symphony. DEUTSCHEGRAMMOPHON 138717/8/9.

RAMEAU: Diane et Action; Orphie. Verlooy,Grehling, Koch, Ewerhart. DEUTSCHE GRAMMO-PHON ARCHIVE 73123.

STRAUSS, R.: Ariadne au/ Naxos. Schwarzkopf,Schock, Karajan. ANGEL 3532. Elektra. Borkh,Schech, Madeira, Fischer-Dieskau, Bohm.DEUTSCHE GRAMMOPHON 138690/1, 18690/1.Daphne. Gueden, Little, Streich, King, Wunder-lich, Schoffier, Bohm, Vienna Symphony Or-chestra. DEUTSCHE GRAMMOPHON 138956/7,18956/7.

STRAVINSKY: Oedipus Rex. Shirley, Verrett,Gramm, Reardon, Stravinsky, Washington OperaSociety. COLUMBIA MS 6472, ML 5872. Perse-phone. Zorina, Molese, Stravinsky, ColumbiaSymphony Orchestra. COLUMBIA MS 6919, ML6319.

horses headlong over that rough pitted earth under theincandescent sun when he met and slew his father.

Finally, you reach Mount Parnassus, still lightly pow-dered with snow, and it is here that holy Delphi nestles.At that height, the wind blows strongly and incessant-ly, shrieking like a pack of furies. I visited Delphi attwilight. When I finally reached the sacred groves, I feltthat the gods of Greece still dwelt within those shadowyglades. Despite all the Christian shrines that dot theroadways, despite all the churches with their austere By-zantine saints, the pagan gods must, I think, still linger

46 REVIEW

METROPOLITAN OPERA ASSN.

on the broken altars, waiting, yearning for worshiperswho have been dust for twenty centuries.

Thebes, Corinth, MycenaeAfter the mystic experience of Delphi, it was disap-

pointing to discover that the site upon which the ravag-ing Sphinx had waited to expound her riddles was merelyanother large wheat field. Thebes (the setting for Stra-vinsky's Oedipus Rex), where Laius ruled and where poorJocasta made her disastrous second marriage, is only avillage, stripped of all but a very few of its antiquities.

Corinth and Mycenae proved more rewarding. Corinthis the setting of Cherubini's Medea. There the usual mud -stained walls and temples still stand, and although manyof these bear the impress of a later Roman occupation,there is yet Glauce's fountain, said to be the spot wherethis miserable princess, beloved of Jason, plunged afterdonning the poisoned robe given to her by the hero'svengeful witch -wife Medea.

One of the last sites I visited was Mycenae, the settingfor Strauss' Elektra. It was excavated by the Germanarcheologist Heinrich Schliemann, who thought that inbaring the citadel and its neighboring mammoth beehivetombs he had discovered the home and final restingplaces of Agamemnon and his ill-starred family.

"Agamemnon's Palace" lies atop a high hill over adesolate plain; in the distance are misty blue mountains,

Among the many contemporary singers who have given outstand-ing performances in Greek roles are (top left) Nicolai Gedda asAdmetus and Eileen Farrell as 41cestis in Cluck's Alceste; (left)Leonie Rysanek as Chrysothemis and Birgit Nilsson as Electrain Richard Strauss' Elektra: and (above) the Greek -Americansoprano Maria Callas in the title role of Cherubines Medea.

and closer loom barren slopes rough with clumps ofdusty grey -green grass. The palace is surrounded by shat-tered circular walls where, long ago, citizens built theirsmall houses to shelter beneath the all -protecting strong-hold of their king. Most of the stones that paved theroad leading to the palace are gone, and there is littletrace of the portico where the maddened Electra lingeredand where she met her long -lost brother Orestes, whodashed into that great palace to find and slay his mother,the faithless Clytemnestra, and her lover Aegisthus.

There are still many classical columns in Greece. Asfor the fallen palaces, the wooded glades, the yellowedfields, the great mountains, the amazing azure waters,the flowering trees and bright roses, perhaps it is as

well that set designers make no attempt to depict them,for no mere brush could ever achieve their actual splen-dor. The composers, who have been inspired by mythsand legends, were not, after all, striving for authenticity,but rather for the spirit of the country, which they musthave felt through the medium of its literature. Havingvisited the land, you are aware that the music it has in-spired best celebrates, extols, and maintains the imper-ishable essence of Greece.

Florence Stevenson is a free-lance writer whose articles onmusic (especially opera) and travel appear regularly in severalnational magazines. She is a contributing editor to Opera News.

JUNE 1967 47

THE BASIC REPERTOIREUPDATINGS AND SECOND THOUGHTS -PART ONE

By MARTIN BOOKSPAN

IT WAS in the November, 1958, issue of this magazinethat the "Basic Repertoire" series began. The biggestnews in the record world in that autumn was the

disc debut of a young American pianist who, only afew months earlier, had captured the fancy of the na-tion by winning first prize in the Tchaikovsky Interna-tional Competition in Moscow. Naturally, Van Cliburnselected the Tchaikovsky B -flat Minor Piano Concerto forhis first recording; it was one of the works he had playedso successfully in the process of winning the competi-tion. And so, equally naturally, I selected the Tchaikov-sky concerto as the first item to be covered in my surveyof the recordings of the "Basic Repertoire." Now, morethan eight years (and two Tchaikovsky Competitions)later, it appears that some kind of mystical cyclic formhas been at work, for in this early summer of 1967 someof the most genuine and intense excitement in the field

of recorded serious music has been generated by the al-most simultaneous release of two new recordings of theTchaikovsky concerto played by the first- and second -

prize winners in the 1966 Tchaikovsky Competition,Grigory Sokolov and Misha Dichter.

In December of 1959, I inaugurated my annual up-datings of, and second thoughts on, my choices-a re-evaluation of the available recorded performances of eachwork in the Basic Repertoire in light of new versionsthat appeared since I had last considered the piece. Thismonth and next I shall be engaged in the ninth such re-evaluation. At this point it might he well to repeat thetwo fundamental precepts that have governed my pro-cedure in this series:

(1) Only recorded performances that are readilyavailable in record shops throughout the country are con-sidered in these monthly comparisons. If a performance


of extraordinary merit is available only by subscription-for example, Fritz Reiner's recording of Brahms' FourthSymphony, contained in The Reader's Digest "Treasuryof Great Music"-the special circumstances are men-tioned. The Schwann catalog and supplementary catalogof imported records have been my sources for determiningthe general retail -store availability of discs; similarly, theHarrison catalog has served as my guide to the availabletape performances.

(2) The judgments offered necessarily reflect the sub-jective tastes of one observer. I feel that the performingmusician holds a kind of sacred trust: he must distill amusical masterpiece through his own psyche and experi-ence, and yet reveal it to us as a timeless and universaltruth. Therefore I am not so much concerned with anote -perfect projection of the printed score as with a di-rect and passionate communication between performerand listener. It is this elusive quality that is such a rareexperience in the music -making of our time-even rar-er, perhaps, in the recording studio than on the concertplatform.

So much for philosophizing; now, on to the ninth an-nual updatings and second thoughts.

Bach: Brandenburg Concertos-Several new completesets of the Brandenburgs have been released during thepast twelve months, including budget -price versions onthe Turnabout, World Series, and Nonesuch labels. Mypreviously preferred set, with Rudolf Baumgartner andthe Lucerne Festival Strings (Deutsche Grammophon Ar-chive ARC 73156/7, 3156/7), is now seriously challengedby the very stylish performances of the Saar ChamberOrchestra conducted by Karl Ristenpart (Nonesuch 73006,3006-two discs) and the Ars Rediviva Ensemble from

Czechoslovakia conducted by Milan Munclinger (Cross-roads 22 26 0004, 22 26 0003-two discs). Both of thesecarry price tags considerably less than that of the DGG Ar-chive set. Of the four available tape performances, thebest all around continues to be Klemperer's (Angel Y2S3627, 33/4 ips), though the Scherchen versions (Westmin-ster T 151, two reels) have individual moments of greaterconviction and insight.

Bach: Chaconne in D Minor-Here the situation re-mains unchanged from last year's updatings: Szigeti's per-formance (Vanguard Bach Guild 627/8/9), contained inhis complete set of Bach's Sonatas and Partitas for Un-accompanied Violin, continues to lead the field. There isstill no performance of this music available for enthusiastsof the tape medium.

Bach: Magni ficat-Again no change from last year: thejoyous reading conducted by Bernstein (Columbia MS 6375,ML 5775) is my first choice. The DGG Archive perfor-mance conducted by Karl Richter (C 3197) is now theonly one listed in the tape catalog; it does not have theexuberance of the Bernstein reading, but it is a worthyrepresentation of the score nonetheless.

Bartok: Concerto for Orchestra-Rehearing the manyavailable recordings has elevated several of them in myestimation. Along with the Leinsdorf performance (RCAVictor LSC/LM 2643; tape FTC 2130), which has been myrecommendation until now, room should also be made atthe top for the performances by Bernstein (Columbia MS6140, ML 5471) and Solti (London CS 6469, CM 9469). Ofthe several low -price versions available, Reiner's (RCA Vic-trola VICS/VIC 1110) is unique for its elemental powerand poetry.

Beethoven: Piano Concerto No. 3-The recent collab-oration between Rubinstein and Leinsdorf (RCA VictorLSC/LM 2947) is a solid contender, but Fleisher and Szell(Epic BC 1138, LC 3790; tape EC 828) remain my firstchoice, with a strong nod too in the direction of Barenboimand Somogyi (Westminster WST 17078, XWN 19078).Among the various budget -price versions, my first choice isSolomon's (Seraphim S 60019, 60019) with the Philhar-monia Orchestra conducted by Herbert Menges.

Beethoven: Piano Concerto No. 4-The choice here isbetween the Olympian serenity of Rubinstein-Leinsdorf(RCA Victor LSC/LM 2848) and the dramatic introspec-tion of Moravec-Turnovsky (Connoisseur Society CS/C163). Both versions nose out such seasoned competitorsas Fleisher-Szell (Epic BC 1137, LC 3789; tape EC 807)and Serkin-Ormandy (Columbia MS 6745, ML 6145; tapeMQ 737). The Serkin-Toscanini performance (RCA VictorLM 2797) is harsh -sounding and hard -driven. Of interestto Gieseking admirers may be the recent release of a

stereo account of his performance, with Alceo Gallieraconducting the Philharmonia Orchestra (Odeon SMC91481); to my ears, it is unduly mannered. Of the fiveavailable tapes, the Fleisher is the most nearly satisfyingto me.

Beethoven: Piano Concerto No. 5 ("Emperor")-New since last year is an idiosyncratic but fascinating per-formance by Glenn Gould with Leopold Stokowski con-ducting the American Symphony (Columbia MS 6888, ML6288), and a stereo release of a fine performance by Giese -king and Galliera (Odeon SMC 91458). The Serkin-Bern-stein recording (Columbia MS 6366, ML 5766) neverthe-less retains its hold on my affections as the most vital anddynamic performance currently available. It is also thebest of the available tapes (Columbia MQ 489).

JUNE 1967 49

Beethoven: Piano Sonata No. 14 ("Moonlight") -Here again the two most recommendable disc versions arethose by Moravec (Connoisseur Society CS/C 1566) andRubinstein (RCA Victor LSC/LM 2654), with Serkin's(Columbia MQ 582) the choice for tape fanciers.

Beethoven: Symphony No. 2 -There has been no newrelease since my evaluation of a few months ago. Amongan unusually rich collection of fine recorded performances,I find most satisfying those by Ansermet (London CS 6184,CM 9044; tape K 80057), Beecham (Angel S 35509,35509), Klemperer (Angel S 35658, 35658; tape version isincluded in a set of the Nine, Y8S 3619, 33/4 ips), andWalter (Columbia MS 6078, ML 5398), with Ferencsik's(Parliament S 156, 156) and Monteux's (RCA VictrolaVICS/VIC 1170) outstanding among the low -price ver-sions.

Beethoven: Symphony No. 3 ("Eroica")-Two ex-tremely worthy new performances have appeared duringthe past twelve months. Bernstein's with the New YorkPhilharmonic (Columbia MS 6774, ML 6174; tape MQ775) and Schmidt-Isserstedes with the Vienna Philhar-monic (London CS 6483, CM 9483). Bernstein gives oneof the great performances of his career, and his is theversion I now prefer above all others.

Beethoven: Symphony No. 4 -As with the SecondSymphony, several exceptionally good performances areavailable, among them Ansermet's (London CS 6070, CM9255; tape K 80057), Klemperer's (Angel S 35661, 35661;tape version in the set of the Nine noted above, Y8S 3619),Ormandy's (included in Columbia D7S 745, D7L 345, aset containing all the Beethoven symphonies), Szell's (EpicBC 1264, LC 3864; tape version included in a set of theNine complete, E7C 846, 33/4 ips), and Walter's (Colum-bia MS 6055, ML 5365; tape MQ 369). In the low -pricefield the performance conducted by Monteux (RCA Vic-trola VICS/VIC 1102) is outstanding.

Beethoven: Symphony No. 5 -As was the case lastyear, Kleiber's (Richmond 19105) is the finest of all the re-corded statements of this score despite its now rather primi-tive sonic reproduction. I continue to favor Reiner's white-hot performance (RCA Victor LSC/LM 2343; tape FTC2032) among stereo -mono versions.

Beethoven: Symphony No. 6 ("Pastoral") -BrunoWalter's account of this symphony (Columbia MS 6012,ML 5284; tape MQ 370) remains unchallenged. In the low -price field the honors go to the Monteux performance(RCA Victrola VICS/VIC 1070).

Beethoven: Symphony No. 7 -Again it is an electri-fying account by Bruno Walter (Columbia MS 6082, ML5404) that sweeps the field, though several other verygood performances exist -those by Bernstein (ColumbiaMS 6112, ML 5438), Steinberg (Command 11014 SD,11014), and Stokowski (United Artists 8003, 7003). Ontape the most satisfying accounts for me are those byAnsermet (London K 80052) and Steinberg (Command C11014 ). Of the low -price disc versions it is again a Mon-teux performance (RCA Victrola VICS/VIC 1061) that Iwould single out.

Beethoven: Symphony No. 9 -To my recommenda-tions of last year -the performances by Reiner (RCA Vic-tor LSC/LM 6096; tape FTC 3005) and Furtwangler(Odeon S 90115/6)-I would now add the fine single -discaccount by Schmidt-Isserstedt (London CS 1159, CM 4159;tape 90121) with the Vienna Philharmonic and a superbquartet of vocal soloists headed by Joan Sutherland andMarilyn Home.

Beethoven: Trio in B -flat ("Archduke") -Several wor-thy new releases have appeared in the past year, but nonechallenges the stupendous performance by Isaac Stern,Leonard Rose, and Eugene Istomin (Columbia MS 6819,ML 6219). There is still no "Archduke" performanceavailable for the tape collector.

Beethoven: Violin Concerto -The recent Menuhin-Klemperer recording (Angel S 36369, 36369) adds anotherfine performance to a long list of distinguished ones. Amongthem my favorites are those by Francescatti and Walter(Columbia MS 6263, ML 5663; tape MQ 409), Stern andBernstein (Columbia MS 6093, ML 5415), and Szeryng andSchmidt-Isserstedt (Mercury SR 39017, OL 3117-a three-

record set given over to Szeryng's performances of violinconcertos by Prokofiev, Sibelius, and Tchaikovsky).

Berlioz: Harold in Italy -The recent Melodiya/Angelrelease of a performance conducted by David Oistrakhwith Rudolf Barshai as viola soloist (S 40001, 40001) doesnot alter the picture: the best of the available discs are

those by Munch and Primrose (RCA Victor LSC/LM2228) and Bernstein and Lincer (Columbia MS 6358, ML5758). The Davis-Menuhin performance (Angel ZS36123), a pretty lifeless one, is the only available tapeversion.

Berlioz: Symphonic fantastique-At long last a per-formance has come along that can challenge Munch'srecording (RCA Victor LSC/LM 2608), which for half adozen years was my recommendation. The new number -onechoice for me is the performance by the London Sym-


phony Orchestra conducted by Colin Davis (Philips SR900101, MG 500101). This Fantastique is as vibrant andsensitive as Davis' above -mentioned Harold in Italy is sopo-rific. The Munch performance (RCA Victor FTC 2113)remains the most recommendable of the tape versions.

Bizet: Symphony in C-Ansermet's (London CS 6208,CM 9277; tape L 80090) continues to carry the day.

Brahms: Piano Concerto No. 1 -The recent Rubin-stein-Leinsdorf recording (RCA Victor LSC/LM 2917)does not displace the Curzon-Szell reading (London CS6329, CM 9329; tape L 80126) from the first position inmy affections.

Brahms: Piano Concerto No. 2 -The Serkin-Ormandyaccount (Columbia MS 6156, ML 5191; tape MQ 357) isstill my favorite, with Rubinstein and Krips (RCA VictorLSC/LM 2296) not far behind. In the low -price field, theGilels-Reiner performance (RCA Victrola VICS/VIC 1026)has unusual merit.

Brahms: Double Concerto for Violin and Cello -Icontinue to prefer the Francescatti-Fournier account withBruno Walter conducting (Columbia MS 6158, ML 5493).Tape fans still have only one version available to them:Schneiderhan and Starker, with Fricsay conducting(Deutsche Grammophon C 8753). In the low -price discfield, the Campoli-Navarra-Barbirolli performance (Van-guard Everyman 136SD, 136) is especially fine.

Brahms: Symphony No. 1 -After a rather manneredreading of the first movement, the new Szell-ClevelandOrchestra performance (contained in Columbia D3S 758,

D3L 358, given over to Szell-Cleveland performances of allthe Brahms symphonies) blossoms out into a truly nobleand uniquely satisfying account of this symphony. Thisis now my first choice among all the available performances,displacing the version conducted by Klemperer (Angel S35481, 35481) which now sounds faded. Bruno Walter's(Columbia MQ 337) is the recommended tape choice.

Brahms: Symphony No. 2 -The new Szell version inColumbia D3S 758, D3L 358) can be added to the manypreviously recommendable performances: Klemperer (An-gel S 35532, 35532); Monteux with the London Sym-phony (Philips 900035, 500035); Kertesz (London CS6435, CM 9435); Steinberg (Command 11002 SD, 11002;tape C 11002); or Walter (Columbia MS 6173, ML 5573;tape MQ 373). My own favorite among them all con-tinues to be the budget -price Monteux performance withthe Vienna Philharmonic Orchestra (RCA Victrola VICS/VIC 1055).

Brahms: Symphony No. 3 -Despite recent perfor-mances conducted by Bernstein (Columbia MS 6909, ML6309) and Leinsdorf (RCA Victor LSC/LM 2936), it is theSzell-Cleveland orchestra account (Columbia MS 6685, ML6085) that I find most deeply satisfying. The tape of theSteinberg performance (Command C 11015) seems thechoice in that medium.

Brahms: Symphony No. 4 -With a nostalgic nod inthe direction of the reissued Koussevitzky performance(RCA Victor LM 2902), I now select the new Szell version(included in Columbia D3S 758, D3L 358) as my number -one choice. In an uncanny way Szell succeeds in produc-ing a performance as provocative as Klemperer's ( AngelS 35546, 35546) yet as impetuous as Toscanini's (RCAVictor LM 1713, mono only). Barbirolli's is an excellentlow -price alternative (Vanguard Everyman 183SD, 183),and Walter's (Columbia MQ 323) will continue to lead thetape field until Szell's performance is released in thatmedium.

Brahms: Violin Concerto -The Oistrakh-Klemperer per-formance (Angel S 35836, 35836) is the one I prefer, butI can recommend the Szeryng-Monteux version (RCA Vic-trola VICS/VIC 1028) to price -conscious buyers. Tape col-lectors are directed to either Heifetz-Reiner (RCA VictorFTC 2151) or Stern-Ormandy (Columbia MQ 371).

Bruckner: Symphony No. 7-Klemperer (Angel S 3626,3626 -two discs), Solti ( London 2216, 7216 -two discs),or Walter (Columbia M2S 690, M2L 290) are the recom-mendations here, with the single -disc Rosbaud performance(Turnabout 34083, 40831 a good bet in the low -pricefield. No tape performance is listed in the current catalog.

Bruckner: Symphony No. 9-Furtwangler's (DeutscheGrammophon 18854, mono only) is number one for medespite deficient sound reproduction. Those seeking thelast word in recorded sound and a generally fine per-formance are directed to the account conducted by Melita(London CS 6462, CM 9462; tape L 80170).

Chopin: Waltzes-Rubinstein's complete set (RCA Vic-tor LSC/LM 2726) is still my preference, but a stimulatingnew release by Jeanne -Marie Darre has recently been add-ed to the catalog (Vanguard VSD 71163, VRS 1163). Atape of Rubinstein's performances (FTC 2169) is a catalogdropout, so Slenczynska's (Decca ST 74-10017) is the onlyone now available.

Copland: Rodeo and Billy the Kid -The Bernstein per-formances (Columbia MS 6175, ML 5575; tape MQ 397)are gems of vibrant excitement and color.

JUNE 1967 51

Debussy: Iberia-Ansermet's (London CS 6225, CM9293) most satisfies me among recordings of all three ofDebussy's orchestral Images, with Reiner's (RCA VictrolaVICS/VIC 1025) the best of the recordings of Iberia only(and priced low, too). The Ansermet performance is alsoavailable, coupled with works by Stravinsky and Ravel,on tape (London L 80085).

Debussy: La Mer-The Giulini recording (Angel S35977, 35977) maintains first place for me, and the later ofAnsermet's stereo recordings of the score (London CS 6437,CM 9437; tape L 80178) runs a very close second. EitherBarbirolli (Vanguard Everyman 177SD, 177) or Munch(RCA Victrola VICS/VIC 1041) should satisfy the price-

conscious.

Dvadk: Cello Concerto -No new releases have ap-peared in the last year. Thus I continue to favor the Rose-Ormandy (Columbia MS 6714, ML 6114) and Starker-Dorati performances (Mercury SR 90303, MG 50303; tapeST 90303) among the stereo -mono versions. But do notoverlook the 1937 performance by Pablo Casals withGeorge Szell conducting the Czech Philharmonic Orchestra(Angel COLH 30) -one of the glories of recorded music.

Dvoidk: Symphony No. 7 in D Minor -This one is atoss-up between Kertesz (London CS 6402, CM 9402),Monteux (RCA Victor LSC/LM 2489, a recent catalog cut-out), and Szell (Epic BC 1111, LC 3748; tape EC 823; thelatter is also included in Epic's disc and tape collectionsof Szell-Cleveland Orchestra performances of Dvaik'sSeventh, Eighth, and Ninth Symphonies).

Dvadk: Symphony No. 8 in G -Several conductorshave evidenced a special feeling for this magical score onrecordings -among them Kertesz, Kubelik, Munch, Szell,and Walter. My own preference continues to be the bud-get -price Barbirolli performance (Vanguard Everyman133SD, 133), but any one of those already named shouldprove deeply satisfying. Tape fans are directed to eitherthe Kertesz (London K 80133) or Szell (Epic EC 806)performance.

Dvoidk: Symphony No. 9 in E Minor ("From theNew World") -The temporarily withdrawn Toscaniniperformance (RCA Victor LM 1778) is due for reissue laterthis year in the budget -price Victrola line. It is worth wait-ing for. It is one of the finest of Toscanini's recordings, amarvel of coiled tension and vitality. In the meantimemy own favorites among currently available recordings arethose by Bernstein (Columbia MS 6393, ML 5793), Kertesz(London CS 6228, CM 9295; tape L 80120, or K 80133with the performance of the Eighth mentioned above),Szell (Epic BC 1026, LC 3575; tape E3C 843) and Walter(Columbia MS 6066, ML 5384; tape MQ 339). In the bud-

get line there is a respectable recording by Sir John Bar-birolli and the Halle Orchestra (Vanguard Everyman182SD, 182).

Elgar: Enigma Variations -The classic Toscanini per-formance (RCA Victor LM 1725) has now been with-drawn; I hope it is scheduled for early reissue on thelow -price Victrola label. Until then, the Barbirolli-HalleOrchestra performance (Vanguard Everyman 184SD, 184)is the disc version I prefer, with the more recent and lessvital Barbirolli-Philharmonia Orchestra performance thecurrent choice on tape (Angel Y2S 3668) -the listed tape(Vanguard C 1915) of the Barbirolli-Halle Orchestra per-formance has never reached me for evaluation.

Franck: Violin and Piano Sonata-Morini and Firkus-ny (Decca 710038, 10038) are my first choice, with Stern-Zakin (Columbia MS 6139, ML 5470) not far behind.There is no tape version listed in the current catalog.

Franck: Symphony in D Minor -The performance byPierre Monteux and the Chicago Symphony Orchestra(RCA Victor LSC/LM 2514; tape FTC 2092) remains, forme, unchallenged.

Gershwin: An American in Paris -Bernstein (Colum-bia MS 6091, ML 5413; tape MQ 322) and Fiedler (RCAVictor LSC/LM 2367; tape FTC 2004) are my choices.

Gershwin: Piano Concerto in F -The team of EarlWild and Arthur Fiedler (RCA Victor LSC/LM 2586; tapeFTC 2101) delivers a highly -charged performance; twoAndres, Previn and Kostelanetz (Columbia CS 8286, CL1495), are less frenzied. Either approach is valid.

Grieg: Piano Concerto in A Minor -A strong new en-try has recently been added to the lists: Gina Bachauer,with George Weldon conducting the Royal PhilharmonicOrchestra (Seraphim S 60032, 60032), but my preferenceremains the Rubinstein performance (RCA Victor LSC/LM 2566; tape FTC 2100). Among older recordings, Lipat-ti's (Columbia ML 4525) is still worth seeking out.

Handel: Messiah -One of the most dramatic develop-ments in the recordings arena in recent months has beenthe appearance of two extraordinary performances of thismuch -abused score, one conducted by Colin Davis (PhilipsPHS 3-992, PHM 3-592) and the other by Charles Macker-ras (Angel S 3705, 3705). Both amount to major restora-tions of Handel's intentions, with Mackerras scoring high-er for historical and stylistic authenticity, Davis forrecorded sound and choice of vocal soloists. Neither versionis yet available on tape, though chances are that theMackerras soon will be.

Handel: The Water Music-Menuhin holds first placein my affections among the recorded versions of the com-plete score (Angel S 36173, 36173: tape Y2S 36279, 33/4ips), with an interesting budget -price performance con-ducted by Pierre Boulez (Nonesuch 71127, 1127). TheSzell-London Symphony performance (London CS 6236,CM 9305; tape L 80089) is my choice among recordings ofthe suite arranged by Sir Hamilton Harty.

Martin Bookspan's updatings and second thoughts onthe "Basic Repertoire" will be concluded in the July issue.


INSTA _LATION OF THE MONTH

WALL-TO-WALL STEREOR. STAUFFER of Danville, Pennsylvania, is a

teacher of special education in a local senior highschool where he specializes in working with men-

tally retarded adolescents. The cabinet of his system wasconstructed under his direction by two of his students,using fir plywood and plastic -laminate veneer. A novelfeature of the setup is the way Mr. Stauffer has mounted

the two Utah Electronics speaker systems installed at theends of his wall-to-wall cabinet. Concealed behind thegrille cloth are two Heritage III speaker systems designedwith the help of a Utah engineer. Both systems are spring -suspended (see photo below left) within the enclosure,effectively removing the possibility of acoustic feedback.

The electronic equipment shown in the top inset atleft includes a Heathkit AA -141A preamplifier, a Sher-wood FM -3000V tuner, and a Rek-O-Kut LP743 turn-table with an ESL tone arm and GE VR1000-3 cartridge.The four -track stereo tape recorder is a Sony Model 250A.The small control box to the right of the turntable con-trols a CDE antenna rotor, and the small control knobto the right of the preamplifier adjusts the level of a four-way Jensen speaker system used as a center channel.

Other equipment and accessories not visible include aHeathkit AJ-53 AM tuner, a Heathkit AA -121 stereopower amplifier, a Telochron timer clock that serves asthe power -control center for the entire system, plus as-sorted splicers, erasers, and so forth.

Mr. Stauffer lives with his wife and two teen-agedaughters on a 150 -acre farm. The whole family uses theinstallation, and their tastes in music range from jazz,pops, and Latin to the Baroque. -L.K.

JUNE 1967 53

The Engineers Have Their Say AboutTURNTABLES AND TONE ARMS

By PETER SUTHEIM and LARRY KLEIN

ALONG AS the field of audio remains as much anart as it is a science, enthusiasts may expect todiscover technical controversy at almost every

turn. Turntables and tone arms are no exceptions, andthough they may seem to generate less discussion thanthe perhaps more glamorous loudspeakers and solid-state circuits, they are nonetheless under constant scrutinyby their designers. The conflicting theories, claims, andcounterclaims that result come about not so much be-

cause of a deliberate muddying of the waters by manu-facturers seeking a sales advantage, but rather because ofthe many different-and honestly held-opinions aboutthe best way to make a record player.

In an effort to clarify for its readers the major areasof dispute, HIFI/STEREO REVIEW conducted a surveyamong the chief technical personnel of turntable andtone -arm manufacturers, including also our own JulianHirsch. Our questions were designed not to get yes or

no answers, but to draw out fact, opinion, and even emo-tion-engineers are people too. The results that follow,distilled from over one hundred pages of technical com-ment, do not arrange themselves into any list of EasyAnswers to Tough Questions. Legitimate differences ofopinion remain just that. But we have been able, withthe help of our technical panel, to sort out which mat-ters are worth serious further attention, which are spuri-ous, which are dead horses, and which may becomesubjects of even hotter debate in the future.-Ed.

TURNTABLES What type of motor and drive system do you use,and why do you prefer it to other systems?

Engineering preference in turntable motors seems tohave settled on variations of just two major types ofdrive: (1) inside -rim drive using an idler, (2) beltdrive, or a combination of both. Alfred M. Zuckermanof Benjamin Electronic Sound (Miracord) gave tworeasons for using the idler drive: first, with a massiveturntable platter and an idler of properly compoundedrubber, there is good filtering of minor speed variations(flutter) in the motor. (He also pointed out that suchflutter is common to all types of drive motors.) Second,the idler drive permits effective turntable braking whenrequired in the operating cycle. Both Julian Gorski(Dual) and Edmund W. Mortimer (Garrard) stressedthe simplicity and reliability of the idler system, Mor-timer adding that wear on a rubber idler is negligible,so it rarely needs to be changed, unlike the drive ele-ments of some other systems.

Thorens turntables use two different kinds of drive,explained Robert Thorens. "For our four -speed, adjust-able -speed models we use two-step speed reduction thatconsists of a belt, a separate stepped pulley, and alow -speed idler wheel. For a two -speed model we usea long belt between the pulley on a double -motor shaftand a heavy flywheel beneath the turntable platter.That system allows the best performance-to -price ratiofor a turntable of simple design."

These remarks seem to put Thorens pretty firmly inthe belt -drive camp, although its use of the belt is notquite the same as in some other machines, such asEmpire's, which uses direct belt drive to the turntableplatter. Herb Horowitz of Empire feels (as does Dr.S. Mabuchi of Sony) that a belt is the best way to isolatethe record from motor vibration. Edgar Villchur ofAcoustic Research feels that belt drive is "the easiesttype to control for motor -noise isolation, and is especial-ly good for low wow and flutter." Edward S. Miller ofSherwood, whose changer is expected to appear late thissummer, takes much the same position: "We have foundthat only a belt rim -driven table provides the isolationfrom motor noise necessary for low rumble."

Opinions were a bit less clear-cut on the matter of the

motors themselves. Record -changing turntables, in gen-eral, need huskier motors than those used with manuallyoperated tone arms; hence, the makers of changers nowon the market use induction or hysteresis motors capableof relatively high torque. Zuckerman of Benjamin/Mir-acord favors the hysteresis -synchronous motor for itsability to run always in synchronism with the a.c. power -line frequency (like an electric clock). "In addition,"says Zuckerman, "the hysteresis motor has an extremelylow stray electromagnetic field, thus reducing motor -

hum pickup by the cartridge." Horowitz of Empire callsthe hysteresis -synchronous motor "ideal for eliminatingrumble and wow and flutter."

Mortimer (Garrard) and Gorski (Dual) stand bytheir variants of the induction motor. Mortimer cited itsreliability and consistency of performance over longperiods of use, but added that, in view of the timeand research being devoted to motor design, we may seea complete breakthrough in this area in the near future.

Thorens uses two types of motor in its different mod-els. A four -pole induction motor is preferred for thevariable -speed drive models, and for their two -speednon -variable model the company uses two low -speed,low -power synchronous motors on a single shaft "tomaintain the nominal speed without introducing thevibrations associated with synchronous or hysteresis mo-tors of higher power."

Acoustic Research and Sherwood have chosen drivesystems that are quite similar. The AR turntable usesa 300 -rpm, twenty -four -pole permanent -magnet syn-chronous motor that is inherently incapable of runningoff -speed. The upcoming Sherwood turntable will usea similar twelve -pole motor, and Miller comments thatit has much less hum -producing a.c. field than a hys-

THE TECHNICAL PANELAcoustic Research, Inc. -Edgar Villchur, President and

Director of ResearchBenjamin Electronic Sound Corp. (Miracord)-Alfred

Al. Zuckerman, Chief EngineerCastagna Research & Development Corp. John Cas-

tagna. PresidentEmpire Scientific Corp.-Herb Horowitz, PresidentGarrard Engineering Ltd.-Edmund W. Mortimer, Chief

Applications EngineerHirsch -Houck Laboratories-Julian D. HirschIMF Products-/wing Al. Fried, PresidentOrtofon S.A.-K. Hagen-Oleton, PresidentPioneer Electronics U.S.A. Corp.-R. ton Sacken, Man-

ager of MarketingSherwood Electronic Laboratories, Inc.-Edward S. Mil-

ler, Vice PresidentShure Brothers Inc.-C. Roger Anderson, Manager, De-

velopment Engineering: Bernhard Jakobs, Manager,Electromechanical Development

Sony Corp. of America-Dr. S. Mabuchi, Vice Presidentof Engineering

Thorens S.A.-Robert Thorens, Consulting EngineerUnited Audio Products, Inc.-Julian Gorski, President

JUNE 196755

The three turntable -drive systems above are simplified versions of the basic types now in use by manufacturers. Drive (A) em-ploys a belt driven from a pulley on the motor shaft. Current practice is to have the belt drive an inner plate and to havean additional removable outer platter. Idler drive (B) has a rubber -rimmed "puck" between the motor -shaft pulley andthe turntable platter's inner rim. Idlerbelt drive (C) employs an intermediate pulley between the belt and the idler wheel.

teresis-synchronous motor. All low -speed motors have alower rumble frequency than do high-speed units. Amotor operating at 400 rpm, for example, will haveits major rumble frequency at 6.66 Hz, which is far

below the audible range.The Sony turntable, according to Dr. Mabuchi, uses

a low -speed (less than 300 rpm) motor powered bydirect current. The low speed and the use of d.c. powerreduce both the intensity and the frequency of rumble.The low speed also permits a large drive pulley to beused, with consequent large contact area and low belttension. Changes in power -line frequency or load on theplatter have no effect on the d.c. motor's speed becauseof a unique negative -feedback solid-state servo -controlsystem built into the turntable. The servo system con-trols the d.c. voltage that powers the turntable motor.

How can turntable manufacturers list rumble fig-ures as low as -58 db when the best rumble -test rec-ords can go down only to about -40 db?

Each of the engineers had a different answer to thisquestion. HIFI/STERtio REVIEW'S Julian Hirsch pointedout that very low rumble figures are usually arrived atby "weighting" the measured results, meaning that rum-ble of low frequency is not given as much weight inderiving the figures as rumble of high frequency.Hirsch feels that this method has a lot to recommend it:"The lower the rumble frequency, the less audible it

will be (because of the Fletcher -Munson effect), andit should therefore be considered less significant than anequivalent amount of rumble at higher frequencies. Un-fortunately, however, I know of no standard that per-mits comparison of the rumble specifications of the vari-ous manufacturers. I would suggest that the Institute ofHigh Fidelity turn its attention to this matter in thenear future." Hirsch added that his own Hirsch -HouckLaboratories use no weighting in measuring turntablerumble, nor do they plan to until the industry adoptsa standard weighting curve: "Our rumble measurements

are based on NAB's reference standard of 1.4 cm/sec at100 Hz, with RIAA low -frequency equalization. TheAcoustic Research test record, made for their own use,is the best we have run across for this test."

A number of others agree that making comparisonsbetween the widely different results of the diversetest methods is not now possible. Dual, for this reason,does not give rumble figures in its ads and salesliterature, prefering simply to quote the results of thevarious test laboratories.

How do the new automatic turntables stand up, interms of performance and reliability, in comparisonwith single -play manually operated turntables?

Significantly, on this point that is currently of con-siderable interest to audiophiles, there were no unfavor-able comments either way. Most of the makers of manu-al turntables did point out, however, that the greatermechanical complexity of the changers would tend toreduce reliability, although conceding that equivalentperformance was possible with either type. Horowitz ofEmpire agreed with Villchur of AR that, for equiva-lent quality of performance, a changer would necessarilyhave to be more expensive than its manual counterpart.

How helpful do you find a conductive turntablemat in reducing dust -attracting static charges on rec-ords? What do you advise to keep records clean?

Mortimer of Garrard made the strongest statement infavor of conductive mats: "Anything that can reduce theattraction of dust to a record will help in keeping rec-ords clean. Dust is a major problem with pickups thattrack at 1 gram or less. If the rubber mat is electricallyconductive, practically all the static charge on the recordis neutralized."

Most of the other respondents agreed, more or less,with Garrard's Mortimer, but R. Von Sacken of Pioneerand E. L. Childs of Elpa Marketing took exception.Childs, reporting the views of Cecil Watts, inventor of


the Dust Bug, stated: "Anti -static mats do not eliminatestatic. Rather, they realign the charge downward towardthe dust and dirt on the mat. While this eliminatesstatic discharge through the cartridge, it attracts the dustand dirt on the mat upward into the grooves on theunderside of the record. This dirt remains on the recordwhen it is removed from the turntable, and the staticcharge is still there to attract more dust from the airand from the record jacket. The only way to eliminatethe static charge from a record is to disperse it by keep-ing the record slightly moist. Anti -static mats make therecord dirtier and more difficult to clean."

As a partial answer to the persistent problem of keep-ing records clean, most of the experts opted for the DustBug or a similar device. Miller of Sherwood cited theeffectiveness of the brush attached to the Stanton car-tridge, and Sony's Dr. Mabuchi recommended use of aradioactive static eliminator.

What improvements, in your opinion, may we ex-pect to see in turntables of the future?

The consensus was that improvements in turntabledesign will lie mostly in more convenience features forthe user, tighter quality control, and, eventually, lowerprices without sacrificing present quality. Thorens thinksit is possible right now to achieve rumble, flutter, andwow levels below the threshold of hearing. Mortimerof Garrard predicts that "pickups and arms will becomeso light and sensitive that there will be no safe wayto handle them manually, and mechanical handling de-vices of some kind will become absolutely necessary."

TONE ARMS Is a low -mass tone arm always desirable? How im-portant is the material of which it is made?

There was a strong consensus here: everyone agreed,with only slight qualifications, that, with today's high -compliance cartridges, low-mass tone arms are not onlydesirable but necessary. They also agreed that the materi-al of which the arm is made is not in itself particularlyimportant. The need, quite simply, is for a torsionallyrigid, light -weight, non -resonant arm, and most com-panies have settled on thin -wall aluminum (or magnesi-um) tubing for their material. John Castagna (CastagnaResearch & Development Corporation) reported thathis firm uses pre -aged aluminum originally made formilitary applications. Mortimer of Garrard mentionedthat, although wood can be used where a very low -reso-nance arm is required, results almost as good can be at-tained with a well -designed metal arm.

Some members of the panel reacted to the word "al-ways" in the question. According to Miracord's Zucker-man, the answer might be either yes or no: "The lowerthe effective mass of the arm, the lower the minimumtracking force for a given cartridge can be. On the other

hand, decreasing the effective arm mass too far couldraise the resonance of the cartridge/arm system intoaudible range if a low -compliance cartridge is used."Anderson and Jakobs of Shure amplified this point inmore detail: "The resonance that results from the inter-action of the stylus compliance and the arm's massshould fall between 10 and 20 Hz, preferably nearer 10.For highly compliant cartridges, a low -mass arm is de-sirable. For older, low -compliance cartridges, a more mas-sive arm is needed to achieve the desired low resonantfrequency for the arm/cartridge combination." The con-clusion to be drawn would therefore seem to be that ascompliance increases with the evolution of cartridge de-sign, the mass of the tone arm will have to be reducedaccordingly. K. Hagen-Olesen of Ortofon feels that low -mass arms would not be desirable if records and turn-tables were perfect, but as of now they are an advantage-particularly when a high -compliance pickup has totrace badly warped records. Dr. Mabuchi (Sony) sug-gests that, considering present conditions, an arm whoseeffective mass can be varied makes a great deal of sense.

Is there any lower limit to stylus force that is im-posed by arm design, as distinct from a limit imposedby the cartridge or other factors?

This question produced a flurry of reaction. Accord-ing to Hagen-Olesen of Ortofon, "Present arm designsalready allow lower stylus forces than do present car-tridges. Until drastic improvements have been made onother points, there is nothing to be gained from improv-ing the tone arm." AR, Dual, and Castagna concurred,Thorens citing pivot friction and sensitivity to externalvibrations as the limiting factors in stylus force. Allagreed that the best arms can now trace at 0.5 gram orless, but there are no cartridges that can.

There was also general agreement that too low a stylusforce is at least as damaging to records as one that istoo high. Von Sacken (Pioneer) lamented some users'tendency to blame their record players for groove jump-ing and arm instability when poor tracing is in factmost often caused by stylus forces that are set too low forthe particular cartridge being used. He blamed cartridgemanufacturers, who advertise fractional-gram stylus forcesthat are (considering the compliance and effective tipmass of the cartridges) theoretically and demonstrablyunworkable on normal records.

Shure, a manufacturer of both arms and cartridges,feels that the arm should impose no lower limit onstylus force, and that the limit should be strictly aquestion of cartridge dynamics. Shure's engineers addedthat arms without skating -force compensation cannot beused at forces as low as those that have compensation.Pivot friction and, in changers, the force required totrip the changing mechanism also figure in establishingthe lower limit of force. (Continued overleaf)

JUNE 196757

Do you believe that anti -skating devices make asignificant contribution to better performance?

Anti -skating is still a hot topic. Most of the panelfelt that skating force is significant enough to be worthcompensating for. Shure's engineers stated, "We havemade many measurements that indicate significant im-provement in tracking at low forces. We have alsofound that anti -skating compensation equalizes styluswear: without it, the tip tends to wear more on theside toward the center of the record." Sony agreed,adding that the higher the compliance of the cartridge,the worse the effects of skating will be.

On the other hand, Villchur of AR is of the sameopinion as Hagen-Olesen of Ortofon, who stated that

the distortion caused by unequal force on the two groovewalls could be eliminated by an increase in stylus force

as well as by special anti-skating compensation: "Theadvantage of skating compensation amounts to no morethan a reduction of 10 to 15 per cent in the minimumstylus force. Under these circumstances we do not think

much of anti -skating devices, particularly those that have

to be adjusted separately. If they are not properly ad-justed they can do more harm than good." This last

point bothers some of the other engineers also. Fried ofIMF referred to Percy Wilson (former technical editorof London's Gramophone) in his reply. Most arms with

skating compensation, according to Wilson, would work

better if the compensation were removed. Second, over-compensation is worse than none at all. Third, a bias

(skating force) compensator may raise pivot friction.On the matter of pivot friction, Dual's Gorski pointed

out that the skating force doesn't really exist, practicallyspeaking, until the arm's pivot friction is low enough.Otherwise the friction simply cancels the skating force,

and in such a case, skating -compensation devices are"just gimmicks." Von Sacken of Pioneer believes that

the improvement brought about by skating compensation

is minor and that, further, "an improperly adjusted ormalfunctioning anti -skating device can introduce greaterdistortion and record wear than an uncompensated arm."

Castagna feels that the devices detract from the per-formance of the tone arm, Horowitz of Empire that theybecome meaningful only at tracking forces below 2grams, and both Hirsch and Villchur answered the ques-

tion with one word-no. Garrard's Mortimer, on the

other hand, states: "Any device that improves record-

player performance is significant."

What is your approach to arm balance?Although the panelists stressed the need for complete

"balance" of tone arms in all planes, they could not

agree on the terminology to use. One man's "static" bal-

ance may be identical to another's "dynamic" or "neutral"balance. Villchur pointed out that the term "dynamic

balance" has been used to mean (a) the use of a counter-

weight, (h) the use of a counterweight with stylus forceapplied by a spring, or (c) static neutral balance hori-zontally and vertically. Static neutral balance (definedin its classical physical sense) is, according to Villchur,the important one: it assures that stylus force will re-main constant with any amount of vertical tilt to thearm. Using dynamic balance in its strict physical meaning(maintenance of balance during acceleration, or chang-ing velocity), Villchur stated that the forces caused bytracking a seriously off -center record with a dynamicallyunbalanced arm amount to a few thousandths of a gram,and so can be neglected even in systems with very lowstylus forces. A tone arm that is in perfect neutral staticbalance in all planes should not, in theory, jump orskip under the influence of shocks applied to its pivotassembly.

Zuckerman of Miracord stressed the need for balanceas a way of making perfect leveling of the player turn-table less important. Thorens felt that leveling a turn-table is not too difficult, and his company therefore con-centrates on balancing the arm mainly to lower its sensi-tivity to external shock and vibration. Shure and Ortofonindicated that they are concerned with both levelingand shock and vibration aspects.

Do you favor a spring, counterweight, or a com-bination of both for adjusting stylus force?

In their answers to this question most of the engineersindicated that the subject cannot be divorced from thatof arm balance (see above). Most felt strongly about

the need for balancing the tone arm in all planes sothat it will be insensitive to external forces (including

turntable tilt), and this influenced their choice ofmethod for controlling stylus force. Dual, Empire, Gar-rard, Ortofon, Miracord, Sherwood, and Thorens use acounterweight to balance out the cartridge weight andthen apply stylus force with some type of spring. Criticsof this approach (Mabuchi of Sony, Fried of IMF,and, to some degree, the engineers at Shure Brothers),who use counterweights only, assert that a spring ar-rangement tends to introduce friction or that stylus force

changes with stylus height (for example, when the arm

on a changer is playing a stack of records or a warpedrecord).

The weight -plus -spring adherents feel that the weight -

only advocates' objections can be overcome with properdesign. The Dual units, for example, use a flat spiralspring, which Gorski of Dual describes as being similar

to the mainspring of a watch: "The spring's length per-mits the stylus force to remain virtually constant through-

out the arc of the tone arm as it plays from one to tenrecords in a stack." AR's Villchur feels that there is

no real technical issue here, that both systems can workequally well, and made his choice of a counterweightwithout spring purely on the basis of simplicity.

58HIFI/ STEREO REVIEW

HI FI/STEREO REVIEW'S SELECTION OF THE TOP RECORDINGS

BEST OF THE MONTHAsin

0( -'!"'Ackerut,e,

CLASSICAL

A PROVOCATIVE NEW APPROACH TO DIE WALKUREHerbert von Karajan begins a recorded traversal of the "Ring" for Deutsche Grammophon

ARAJAN'S VISION OF WAGNER" is the title of abrief essay by Walter Panofsky in DeutscheGrammophon's lavishly annotated new ver-

sion of Die Iralkiire. In illuminating the artistic philoso-phy behind the recording, it reveals that conductor Her-bert von Karajan's approach to the works of RichardWagner has undergone a significant change in recentyears: although, early in his career, he was primarilydrawn to "their intoxicating richness of colour and ef-fects, [he] ... is now concerned above all with Wagner'spolyphony. His work in Vienna successfully refuted theidea that Wagner's music had to be performed bombas-tically if it was to be effective. His renewed preoccupa-tion with the 'Ring' music shows him to be following thesame road with even more determination."

Thus, without being in theleast showily eccentric, thisWalkure is likely to challengethe preconceptions of many Wag-nerians. Its main concerns areclarity of textures, a stressing ofthe human elements in thedrama, and a sustained lyricalflow. The sonic splendors-those surging climaxes and bil-lowing dynamic waves so vivid-ly presented by Georg Solti inthe recent recording for LondonRecords-are understated in Ka-rajan's analytical, lyrical, and rel-atively restrained conception. Theend result is undoubtedly lessoverwhelming, yet its hold on theimagination is firm and unfalter-ing. The validity of Karajan's"vision of Wagner" is beyondquestion.

And, within the framework of HIsunRT VON KARAJANAnalytical, lyrical, restrained ragner

that vision, the casting makes eminent sense. The prin-cipals have been chosen with primary regard for thehuman, rather than the heroic, elements. Regine Cres-pin, the admirable Sieglinde of the London set, under-takes the more dramatic role of Briinnhilde here, anddoes it beautifully-within the Karajan concept. Her"Hojoioho" is firm but conventional, for the penetrat-ing strength and brilliant thrusts of Birgit Nilsson arenot within her grasp. But in the contemplative passages(the Act II dialogue with Wotan and, even more nota-bly, in the opening lines of her "War es so schnahlich"in Act III) she reveals introspective nuances that givethe character a tone of touching femininity seldombrought out in more traditional interpretations.

The Sieglinde of Gundula Janowitz is exquisitelysung, though somewhat less suc-cessfully characterized than theBriinnhilde. Her voice is light,almost fragile at times. Thereare moments when her sensitivetimbre is poignantly appropriate,but in the big moments-"Dllbist der Lenz" and "0 hehrstesIrunder"-it is lacking in weightand intensity. Josephine Veasey'sFricka is a thoroughly competent,if not outstanding, portrayal.

Jon Vickers' Siegmund, on theother hand, is an altogether su-perlative achievement, an irre-sistible blend of tenderness andheroism. The tenor is in finevoice throughout, his "Irinter-same" is strong and shapedwith a fine legato, his phrasingof "Nun weirs, du, fragendeFratt,warum ich Friedmund nichtheisse!" (Act I, Scene 2) is one

JUNE 196759

Conductor Herbert von Karajanrehearses the Valkyries:

(1. to r.) Ingrid Steger (Trial-traute). Barbro Ericson

(Siegrune), Lilo Brockhaus(Schwertleitel, Helga Jenckel

(Rossweisse). Cvetka Ahlin(Grimgerde), Liselotte Reb-

mann (Gerhilde), DanizaMastilovic (Helmwige), andCarlotta Orda: sy (Ortlinde).

of those moments that haunt the memory, and his treat-ment of the Todesverkiindigung scene is heart-rending.So model a hero deserves the best of enemies, of course,and that is precisely what he gets in Martti Talvela'ssturdy, malevolent, and fully authoritative Hunding.

But it is in the figure of Wotan that matters of castingare put to their severest test. For all of Karajan's concen-tration on the human and lyrical elements, Wotan mll.r/remain a superhuman force, and we don't get thisimpression from Thomas Stewart's musicianly but some-what undersized portrayal. When not fighting over-

whelming odds, his singing is very enjoyable-the longnarrative of Act II, in particular, is neatly phrased andabsorbingly projected above Karajan's illuminating or-chestral commentary. The voice, however, is a Wolfram-Amfortas kind of lyrical baritone, not the heroic Wotanvariety, and its quality, mellow in the mid -range, becomestight and unresonant in the higher reaches. But then, acomparison with the London set discloses the unhappy factthat Hans Hotter is not a completely satisfactory Wotaneither. Hotter creates the dramatic illusion of an over-whelming presence, but his singing is frequently a trialto the ear. Stewart's singing is nearly always pleasurable,but it is not big enough to fill the Heldenbariton gap.

The Berlin Philharmonic is captured in this recordingat its sonic peak. Deutsche Grammophon's engineeringoffers solid virtues and much restraint: the sound is rela-tively low-level, rendering some muted percussion pas-sages almost inaudible. But the essence is captured in richsound and clear textures, and many listeners will find (asI do) that extramusical production effects are not reallynecessary. This Die IraIkfire, Karajan style, is to beheard in Salzburg this summer and at the Metropolitanduring the forthcoming season with virtually the samecast. It may not be to every Wagnerian's taste, but iteminently satisfies mine.

It is also, by the way, the opening gun in DeutscheGrammophon's projected traversal of the entire "Ring"cycle. London has just completed a "Ring" with the recentrelease of Die IValkiire (see review in the January issue),and DGG expects to complete theirs by 1970. Plans are tohave Karajan conduct all four of the operas-he will bedoing them in coming seasons at both Salzburg and theMetropolitan. Savoring the excellence of this first ex-ample, we apparently have much to look forward to.

George fellinek

@ WAGNER: Die W'alkiire. Jon Vickers (tenor),Siegmund; Martti Talvela (bass), Hunding; Thomas Stew-art (baritone), Wotan; Gundula Janowitz (soprano),Sieglinde; Regine Crespin (soprano), Briinnhilde; Joseph-ine Veasey (mezzo-soprano), Fricka; Liselotte Rebmann,Carlotta Ordassy, Daniza Mastilovic (sopranos), and In-grid Steger, Lilo Brockhaus, Barbro Ericson, Cvetka Ahlin,Helga Jenckel (mezzo-sopranos), The Valkyries. BerlinPhilharmonic, Herbert von Karajan cond. DEUTSCHE

GRAMMOPHON 139229/30/31/32/33 five discs $28.95,39229/30/31/32/33* $28.95.

PIANIST STEPHEN BISHOP:A BRILLIANT DISC DEBUT

A young American artist brings reflectivematurity to Beethoven sonata performances

CONSIDERING the great quantit:, of excellent perform-ances of Beethoven piano music available on rec-

ords today, one may, I think, be forgiven the tendencyto be a bit blase about still another recording of Sonatas


Opp. 101 and 109. That tendency will be quickly effaced,however, by listening to the beginning of either sonataon a new Seraphim release of these works performed byStephen Bishop: one is immediately aware that this ismuch more than ordinary, well -schooled, technically pro-ficient, and appropriately musical playing.

Bishop, born (1940) in the United States, a pupil ofMyra Hess, and now living in England, is without ques-tion a major talent. In this, his first solo recording re-leased in America (a previous recital disc was availableon Odeon as an import), the young pianist brings toboth the late Beethoven sonatas and the briefer piecesthat round out the record a reflective maturity that is ararity in performers of any age. There is no machine-gunBeethoven here, but there is a deliberation, a feeling forline and melody, a conception of graded dynamics (hispianissimo playing is exquisite), and a sensitivity thatare unusually satisfying. Bishop's playing has all thewarmth and color that characterized that of his renownedteacher, but he also has the power and forward drive ofSchnabel and-as is clear from many individual touches-a mind of his own, his own well -conceived interpre-

STEPHEN BISHOPIf.arnsth and color combined with power and drive

tive ideas. It will be fascinating to watch his career de-velop. Seraphim's piano reproduction is satisfactory, butwhether through the fault of the piano itself (whose toneis shallow and ringy in the upper register) or the micro-phone placement, the instrument's sound does not comeup to the distinction of the performances. Igor Kipnis

0 8 BEETHOVEN: Sonata No. 28, in A Major, Op.101; Sonata No. 30, in E Major, Op. 109; Allegretto, inB Minor; Bagatelle, in C Major; Klavierstiick, in B -flatMajor; "Lustig-Traurig" (two little pieces in C Majorand C Minor). Stephen Bishop (piano). SERAPHIM S60035 $2.49, 60035* $2.49.

JAZZ

WOULD YOU BELIEVECOUNTRY PLUS JAZZ?

Gary Burton's new album for RCA Victor blendstwo traditions for a gleeful musical romp

RCA VICTOR'S new "Tennessee Firebird" album is oneof the most exciting, personal jazz statements in

years, the product of a sensitive young musician namedGary Burton. Burton is still in his twenties, but he hasalready worked with Stan Getz, George Shearing, andAstrud Gilberto, and has, for the past year or two, beenone of the important names to watch in jazz. Now he hasproduced a stunning album of music which (believe it ornot) is an attempt to blend progressive jazz with thehillbilly music of Nashville and the Grand Ole Opry. Ihad to hear it to believe it myself, but it is certainly analbum I now highly recommend to people who are nottoo cemented into the bind of current pop music to bemoved by honesty and simplicity.

And why shouldn't country and jazz blend? As anyonewho has ever been to Nashville knows, there is a joy anda turbulence and, yes, even a sentimentality about countrymusic that could teach many jazz musicians a thing or twoabout what soul is. Stan Kenton recorded an album a

few years ago in which he arranged big -band charts witha Western feel, incorporating the voice of Tex Ritter. Itwas interesting, but nobody bought it. Gary Burton mayhave the same trouble, but I don't think so, because hisalbum is more basic, less complicated, and consequentlymore melodious. He went to Nashville, got in touch withsome top jazz names and some top hillbilly musicians,and they all got together and wailed. Somebody left amike on after one of the sessions, and they recorded thattoo. Out of it all comes a feeling of enthusiasm and ex-citement, so obviously both sides joined the project withequal fervor. The sound of the country folk ad-libbing

JUNE 196761

on their fiddles and the jazz men hooting with glee is ahappy one-not many recording sessions seem to be thismuch fun.

As for the music itself, Burton knocks me out with areally smashing tribute to Bob Wills and his Texas Play-boys, a version of Faded Love you've simply got to hear.And the slow, almost symphonic tone poem he makes outof Smokey Rogers' Gone (opening of side one) is, in myopinion, one of the best single bands of the year. HankWilliams' I Can't Help It if I'm Still in Love with Youis a bit too esoteric for either the country or jazz tradition,as are some of Burton's own compositions (such asBeauty Contest, which has no place in such a collection).But for the most part, this is an educational event thatalso swings. It strikes a chord of reality in me that Ihaven't heard in music for some time, and it deserveswide exposure. Rex Reed

C) GARY BURTON: Tennessee Firebird. Gary Bur-ton (piano, vibes) with various Nashville musicians.Gone; Just Like a Woman; Faded Love; Tennessee Fire -bird; 1 Can't Help It; Alone and Forsaken; and six others.RCA VICTOR LSP 3719 $4.79, LPM 3719* $3.79.

MILES DAVIS:BEST RHYTHM TEAM YET

Explorations of the range and functions of therhythm section are broadening the jazz vocabulary

THE BEST Miles Davis groups have been those withthe strongest and most inventive rhythm sections.

Although such important jazz figures as Philly Joe Jones,Paul Chambers, and Bill Evans are numbered among hisalumni, Davis now has his most stimulating rhythm teamso far-as the unflagging excitement of his new Colum-

bia album, "Miles Smiles," demonstrates.Young Tony Williams on drums and Ron Carter on

bass are both prodigious technicians and restless-thoughlogical-experimenters. They work together so well thatthey give the impression that neither could go in a direc-tion that would surprise the other. What makes theirinterplay all the more fascinating in this set is that theyhave been recorded in such a way that the fullness oftheir ingenuity is continually made clear. Davis has alsohelped by directing that the piano be used sparingly as arhythm instrument-although there are a number ofcrisp, persistently pertinent solos by Herbie Hancock.

These hosannas for the rhythm section are not meant,however, to obscure the central importance of Davis him-self. He sounds particularly at ease in these sessions, and

62

has no problems with the demanding tempos of GingerBread Boy, Dolores, and Orbits. His solos on these whiz-zing tunes, moreover, are models of improvisatory com-posing. In Circle. he reveals again his unique capacityto enter into a ballad as if it were autobiography: he usesa mute here, and there is no other trumpeter in jazz whocan sustain, through a mute, his quality of unsentimentaland yet naked intimacy, nor his ability to keep time atonce so elastic and so tightly controlled. Absorbing indifferent ways are Davis' performances in the searching,almost imploring Footprints and the complex, serpentineFreedom Jazz Dance.

Though tenor saxophonist Wayne Shorter does notquite reach the incandescent performance level attainedby his colleagues, he is inspired by them to deliver someof his most inventive playing on records so far. Sincethis recording was made, Davis has added the formidabletenor saxophonist Joe Henderson to his unit, so that hisnext small combo album is one to look forward to withkeen anticipation. This one, however, is certain to re-main an important part of the Davis discography, bothfor the trumpeter's persistent brilliance and for the lessonby Williams and Carter in how the functions-and thedynamic range-of the jazz rhythm section are beingexplored and changed. Nat Henioff

® ® MILES DAVIS: Miles Smiles. Miles Davis (trum-pet), Wayne Shorter (tenor saxophone), Herbie Hancock(piano), Ron Carter (bass), Tony Williams (drums).Orbit; Circle; Footprints; Dolores; Freedom Jazz Dance;Ginger Bread Boy. COLUMBIA CS 9401 $4.79, CL 2601$3.79.

MILES DAVIS.4 model jazz irn;,,,,,

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ourbest-sellingloudspeaker. Deservedlyso. The Seventeen offers moreimportant performance characteristicsat a lower price than any speakerwe know of.

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41,1J111J1,1111,1111.11,11J111,1).1J1111.1.11.111.11y..,.........,. ...... ..... ..... ...

Nielsen's First SymphonyWritten when the composer was still in his 20's, the First Symphony

clearly shows the harmonic adventurousness and rhythmic vitality thatmarked Nielsen's later scores. This notable recording also includes theonly available recording of the Prelude to Act II from Saul and David.

A completely different aspect of Previn's skill: the sensitive collaborator.With John 1e Lancie, soloist, Previn conducts the London Symphony

in Music iron France for Oboe and Orchestra. This is one of the mostpersonal a bums of the year. Discover it before everyone else does!

CIRCLE NO. 40 ON READER SERVICE LA

CARL NIELSENSYMPHONY telL'No.1 (1892)

ANDRPREVNIr&" DOSYilMPHONY "ORCHESTRSaul and David:Prelude to Act

Music from Francefor Oboe and Orchestra

John de Lancie, OboeLondon Symphony/Andre Previn,conducting

IbertSymphonic concertante

Francais Satie-Debussy

L'Horloge de flore Gymnopedies(The Flower Clock)

at A VII II.SE\

VAIEN

1111' I / STEREO REVIEW

HIFI/STEREO REVIEW'S CHOICE OF THE LATEST RECORDINGS

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

RECORDING OF SPECIAL MERIT

C) C) BACH: Cantata No. 82, "Ich babegenug"; Cantata No. 169, "Gott toll alleinmein Herze haben." Janet Baker (mezzo-soprano ) ; The Ambrosian Singers; BathFestival Orchestra, Yehudi Menuhin cond.ANGEL S 36419 $5.79, 36419 $4.79.

Performance: ExcellentRecording. ExcellentStereo Quality: Excellent

This is a remarkable disc from all points ofview. First of all, it proves that Cantata No.82, heretofore considered a baritone special-ty, can be equally effective when sung by amezzo-soprano, or at least by a mezzo-so-prano with the luscious tones and exquisitephrasing of Janet Baker. Along with her se-cure musicality and assured mastery of Ba-roque ornaments, Miss Baker's singing is aconstant aural delight, rich and even, yet fullof expressive variety. (Note the beautifulpianissimo in the final line of the aria

"Schlummert ern," preceding the finalcapo.) Michael Dobson excels in the im-portant oboe obbligatos in the first and thirdarias, and the performance is captured inideal sonic balance. My only reservation con-cerns the somewhat over -jaunty tempo Men-uhin favors in the final "Ich Irene mich aufmeinen Tod," but Miss Baker manages tosustain her smooth phrasing even in thesetrying circumstances.

Her work is equally delightful in CantataNo. 169, but here she shares the spotlightwith organist Simon Preston, whose obbli-gato in the title aria is absolutely brilliant.Fortunately, the voice -organ interplay is cap-tured by the engineers in ideal prominence,yet in perfect balance with the continuo, and

the results are exhilarating. Menuhin's livelytempo seems exactly right here, and the over-all performance surpasses even MaureenForrester's fine account of this joyous workon Bach Guild 70670/670. G. J.

C) C) BACH: Two- and Three -Part Inten-tions (BW'V 772/801). George Malcolm(harpsichord). NONESUCH H 71144 $2.50,H 1144 $2.50.

Performance- Knowing and attractiveRecording: HeavyStereo Quality Too grandiose

Bach's "inventions- were written as student

Explanation of symbols:= stereophonic recording

CJ = monophonic recording = mono or stereo version

not received for review

z

z

pieces, and student pieces they remain; thatis, they are universally known to piano stu-dents and hardly known at all to concert-goers. But although these works were writtenfor the student, they are pieces of music-and pretty good ones too. The best of them-the E Major two-part, the F Minor two -and three -part --must be classed with Bach'sbest and most profound work; the least ofthem is fashioned with incredible subtletyand skill, often disguised by a disarmingcharm and simplicity. Obviously this is per-fectly valid and even important material forrecording and listening purposes. And Mr.Malcolm is an excellent exponent of these

GEORGE MALCOLMA strong and expressive Bach interpreter

matters; he ornaments beautifully and hisrhythmic flexibility and phrasing strengthare rarely misplaced and nearly always con-vincing, expressive, and meaningful. On theother hand, I do not much like the sound ofMr. Malcolm's (unidentified) harpsichord;it is a big jangly instrument, quite Map-pmpriate for these pieces (such instrumentsscarcely existed in the earlier part of theeighteenth century). Although Mr. Malcolmdoes successfully manage to keep the voicesclear, the instrument and the correspondinglyweighty recorded sound give an effect ofcomplexity and grandiosity that is an un-fortunate match for the sensitise drafts-manship of the music itself and its very

valid interpretation. E. S.


C) BEETHOVEN: Piano Trios (com-plete). Trio in E -fiat, Op. Posth.; Fourteen

Variations, Op. 44; Trios, Op. I, No. I inEllin, No. 2 in G, No. 3 in C Minor; Trioin B -flat, Op. 11; Trios, Op. 70, No. 1 inD ("Geister"), No. 2 in E -flat; Trio inB -flat, Op. Posth.; Trio in B -fiat, Op. No.97 ("Archduke"); Variations on "Ichbinder Schneider Kakadu," Op. 121a.Beaux Arts Trio. WORLD SERIES PHC 4-007four dscs (compatible stereo) $10.00.

Peeormonce: Good and very goodRecording: AttractiveStereo Quality: Strings divided; piano in

middle

One usually thinks of six Beethoven pianotrios, but, by including the youthful E -flatTrio (written in 1791 but published only af-ter Beethoven's death), the Fourteen Varia-tions ( written in 1792 but published in 1804as Op. 44), the Op. 11 Trio originally writ-ten for piano, cello, and clarinet, the Alle-gretto movement in B -flat (also pub!ishedposthumously), and the "Ich bin der Schnei-der Kakadu" Variations, the Beaux ArtsTrio tallies eleven works here, nearly all ofthem interesting.

Playing trios was once a very popular formof light divertissement, and the medium, farfrom having the ultra -serious connotations itusually labors under today, appears to havebeen considered suitable for home entertain-ment and other merry companies. By andlarge, aristocratic amateurs and dilettantes(the word had a good connotation then)played string instruments; eighteenth -centurycomposers seem to have written piano partsfor themselves and string parts for theirfriends, patrons, and students. And thus wehave the Beethoven Trio Variations, theearly, unimportant set printed as Op. 44, andthe remarkable Op. 121a constructed (likethe "Diabelli" Variations) on a trivial poptune i)f the day. The 1791 Trio is Beetho-ven's earliest known work of this kind (thechrorological listing above is not the actualorder on the records, but is given for the con-venience of those interested in following thecomposer's development through the medi-um). Unlike the Variations of a year later, ithas enough character of its own to transcendits obvious origins in the works of Haydn.The Opus 1 set marks Beethoven's arrival onthe musical scene: like the early quartets,these attractive works show a rather charm-ingly awkward mastery of eighteenth -cen-tury form and style and, of course, a greatoriginality and intensity which is alreadyquite individually Beethoven. The Trio Op.11 (the substitution of the violin fororiginal clarinet was apparently sanctionedby Beethoven) is an obvious soirée muricalepiece with its clear intent to be charming andlively (first movement), sentimental (secondmovement) in the reserved style of the pe-

JUNE 196765

Hi Fi/Stereo ReviewRecordand TapeService

Have you been having a littledifficulty obtaining some of therecords and tapes reviewed in thisissue? HIFI STEREO REVIEW Rec-ord and Tape Service to the res-cue! Not a record club - no dis-counts, no special deals.We're heresimply as a service to those of ourfaithful music -loving readers whoare about to give up the search for"hard -to -get" records and tapes.If you want help in your musicaldilemma, all you need do is com-plete the coupon below and mailit in with your remittance. We'llsee to it that your records and tapes are mailed to you promptly, well

packed and fully guaranteed against damage or defects.And if you've been having a hard time finding some favorite record-

ing not reviewed in this issue, we'll do our level best to find it for youalso. Simply fill in as much information as you have available (title,manufacturer, record number) on the coupon below and we'll do therest. If you're not sure of the price, we will be happy to mail your orderC.O.D.

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riod, and humorous (variations on anothersilly musical -comedy tune). After theseworks, the Trios of Op. 70 (the "Geister"-called the "Ghost" in English-and the un-assuming, less -often -played but nonethelessexceptional E -flat Trio) are solid middle -period stuff. With the "Archduke" we areclose to late Beethoven and, in spite of itsseeming simplicity (or maybe just because ofit), the "Kakadu" Variations are squarelyin the late -period style.

I have few complaints about the Beaux ArtsTrio. Their playing is perhaps a little too re-fined and elegant at times-there are placesin Beethoven where a really strong fortissimotone is required, where hammer -blow accentand articulation are really necessary. Theseperformances stop just a little short of thiskind of intense attack. They also omit sev-eral important repeats-an inevitable space -saver when you're cramming so much intoso little space-and they make the commonmistake of thinking that pia andante is a di-rection to slow up when it clearly, linguisti-cally and musically, means "more motion; in-crease the movement."

In other respects, these fine musicians(Daniel Guilet, iolin; Bernard Greenhouse,cello; and Menahem Pressler, piano) arefirst-rate. They are capable of great refinementof tone and articulation, excellent ensemble,considerable flexibility and vitality of phraseshape, and a good sense of the bigger issuesof musical architecture. The sound is firm,clear, and attractive. Philips' "compatiblestereo" provides effective separation of theviolin and cello and gives depth without un-due emphasis on resonance. E. S.

(i) C) BEETHOVEN: Sonata No. 8, in CMinor, Op. 13 ("Pathetique"); Sonata No.9, in E Major, Op. 14, No. 1; Sonata No.10, in G Major, Op. 14, No. 2. Glenn Gould(piano). COLUMBIA MS 6945 $5.79, ML63450 $4.79.

Performance: ErraticRecording: GoodStereo Quality. Good

There are two things about Glenn Gould'snew recording of Beethoven sonatas that I

can say with certainty. First, although I ammyself of no great age, these are not thesonatas as I was taught them; second, asGould plays them, there arc some startlingdisparities between what one hears and whatone sees on the pages of the score.

These remarks will, of course, come as nosurprise to those who are familiar with thecelebrated eccentricities of Gould's perform.ing style. And I am no classical purist so longas any new approach makes its own kind ofsense. But to take as an example Op. 13, the"Pathetique," which is thrice -familiar toanyone who has ever been near a musicschool: after a genuinely powerful introduc-tion. Gould plunges into the body of the firstmovement and renders it virtually senselessby his failure to make distinctions betweentransitions and themes and, so far as thatgoes, between the themes themselves. Thetension of the movement is vitiated in theprocess. The slow movement, furthermore,begins with almost dry understatement inGould's performance, only to be hurtled to aclimax clearly out of proportion to the pian-ist's original premise. And what the break-neck tempo and percussive bite of the finalehave to do stylistically with everything that

(Continued on page 68)(16

HIFI/STEREO REVIEW

We put one ofour best ideason the shelf.

Over the past 30 years, we've had alot of good ideas about speakersystems. Some of them ended up inCinerama in the Houston Astro-dome, in Todd A -O, and places likethat

This one ended up on a shelf. (Ora lot of shelves, matter of fact.)

Which is where you'd expect tofind a 2 cubic foot speaker. Only theBolero isn't just another small -sizespeaker, with a small -size sound.It's different.

What makes it different is thatpart of this speaker isn t what itseems to be. There appear to be twowoofers, but one of them is actually

a free -suspension phase inverter.So?So it's tuned to work in precise

phase with the woofer. And as aresult, you get a bass response thatfew large systems could match.

The true woofer is a full 10", witha massive 10 -lb. magnetic structurethat makes the Bolero as efficient asa big speaker. With one watt of input,you get a rousing 92 dB of sound.Clean sound, no matter how loudyou play it. Powerful sound, evenwith a medium -power amplifier.

Then Altec's 3000H multicellularhorn and driver handles the highswithout shrillness, shriek or quaver.In addition, a built-in 3000 Hz dualelement crossover network withvariable shelving control gives you

precise frequency separation.We didn't stint on the styling,

either. The cabinet is hand -rubbedwalnut, finished on all 4 sides so youcan show off the Bolero any way youwant to. And, just to please thehard -to -please, we made the grille asnap -on, so you can change thegrille cloth to suit your mood ordecor. Any time.

The Bolero fits almost anywhere.(141/2" x 253/4" x 12".)

It also fits almost any budget atjust $169.50.

Give it a listen at your Altecdealer's. And while you're there, askfor your free 1967 Altec Stereo cata-log. Or write us for one. You cankeep it on the shelf next to yourBolero speaker.

AA®A Division of v. Ling Altec, Inc., Anaheim, Califo-ma 92803

CIRCLE NO. 3 ON READER SERVICE CARDJUNE 1967

67

NEWRELEASES

Mascagni:CAVALLERIARUSTICANA

Elena Suliotis, Mario del Monaco,Tito Gobbi. Orchestra e Coro di Roma-Silvio Varviso

Side 4

ELENA SULIOTISOPERATIC RECITALS

Arias from Un Ballo in Maszhiera, LaForza del Destino, La GiocondaStereo OSA-1266 Monc A-4266

Gilbert & Sullivan:THE SORCERER

The D'Oyly Carte Opera Company.The Royal Philharmonic Orchestra-Isidore GodfreyStereo OSA-1264 Mono A-4264

FELICIA WEATHERSVERDI & PUCCINI

ARIASArias from Don Carlo, Otello, ManonLescaut, Turandot, Madama Butter-fly, Suor Angelica, Gianni Sclkicchi.The Vienna Opera Orchestra-ArgeoQuadriStereo OS -26014 Mono OM -36014

Rossini:THE

BARBER OF SEVILLEHighlights

Teresa Berganza, Nicolai Ghiaurov,Ugo Benelli, Manuel Ausensi, Fer-nando Corena. Orchestra and ChorusRossini di Napoli-Silvio VarvisoStereo OS -26007 Mono OM -36007

Beethoven:FIDELIO-Highlights

Birgit Nilsson, James McCracken,Tom Krause, Hermann Prey. TheVienna Philharmonic Orchestra-Lorin MaazelStereo OS -26009 Mono 0M4i6009

'(CORDS

68

has preceded them Is justanyone's guess.And so it goes, the record through-Glenn

Gould doing whatever pops into his headand hands. Sharp insights are cheek by jowlwith arbitrary, capricious improvisation. Mo-ments of beauty and power give way to oth-ers of muddled confusion.

So far as the recorded sound goes, its con-siderable quality would be vastly improvedif Columbia had developed a filter to relieveus of Gould's groaning, breathing. and hum-ming. First time through, one merely thinks,"Well, there it is." But-and this is trulynot Gould-baiting-in repeated listeningsone can live with the recording only by ac-cepting John Cage's theory that any acciden-tal sound heard becomes part of the piece.

Ir. F.

BEETHOVEN: Piano Sonatas: No. 28, inA Major, Op. 101; No. 30, in E Major, Op.109 (see Best of the Month, page 60)

C) @ BEETHOVEN: Symphony No. 3. inE -/fat, Op. 55 ("Eroica"). Vienna Philhar-monic Orchestra, Hans Schmidt-Isserstedtcond. LONDON CS 6483 $5.79, CM 9483*$4.79.

Performance: Classic Mittel-europaRecording: GoodStereo Quality: Good

The special Mittel-europa classic quality thatimbues Schmidt-Isserstedt's reading of the"Eraira" derives from the tradition of FelixWeingartner. Outlines are firmly limned;there is ample rhythmic pulse through thewhole without any sense of pushing toohard; and wind sonorities are treated on avirtual par with violins and violas-as wasundoubtedly the case with the orchestra ofBeethoven's time. Contrary to present-daypractice, Schmidt-Isserstedt does make a de-cided contrast in the pacing of the main sec-tions and trio of the scherzo.

I would not call this a spine -tingling-Eroica," but it is a fine performance in atruly honorable-and sometimes seeminglyforgotten-tradition, in which the musicspeaks for itself without benefit of conduc-torial "wow" technique. The London soundis bright and true-to-life, though troubled bypersistent low -frequency hum. D. II.

i) @ BEETHOVEN: Violin Concerto inD Major, Op. 61. Yehudi Menuhin (vio-lin) ; New Philharmonia Orchestra, OttoKlemperer cond. ANGFI. S 36369 $5.79,36369* $4.79.

Performance: A mite stodgyRecording: GoodStereo Quality: Good

This is Yehudi Mcnuhin's fourth timearound with the Beethoven Violin Concerto.He made the first recording just after theSecond World War with Furtwangler andthe Lucerne Festival Orchestra, and the sec-ond again with Furtwiingler and the Phil-harmonia Orchestra in 1954-the latter aperformance I hope will be reissued on theSeraphim label. In 1960, Menuhin choseConstantin Silvestri as conductor for his firststereo recording of the Concerto with thePhilharmonia, and now, with the Neu- Phil-harmonia, we have the redoubtable OttoKlemperer, seemingly a good choice to helpMenuhin duplicate the 1954 miracle withFurtwiingler.

Alas, this performance fails to take fire,

to soar with the etlortless and inspired lyri-cal grace that is the essence of the musicalcontent. The Klemperer tempos are just ashade slow in the end movements, whichgives a somewhat too weighty feeling to thereading as a whole for my taste. And I won-der whether Menuhin is truly at ease any-where in this performance, except in theslow movement. Evidently there was no com-plete meeting of minds-and hearts-here.The recorded sound is eminently satisfac-tory. D. II.

BERWALI): String Quartet No. 3, in AMinor (see SIBELIUS)

RECORDING OF SPECIAL MERITC) C) BRAHMS: Clarinet Quintet, in BMinor, op. 115. MOZART: Duo No. 1,in G Major (K. 423). Vladimir Riha (clari-

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net) ; Smetana Quartet; Jill Novak (vio-lin) ; Milan Skampa (viola). CROSSROADS22 16 0080 $2.49, 22 16 0079 $2.49.

Performance: PassionateRecording: SpaciousStereo Quality: Good

By any standard, this disc represents a best -buy in the chamber music field. Mr. Riha andthe Smetana Quartet take quite a differentview of the music from that of Gervase drPeyer and the Melos Ensemble on Angel.Surging passion rather than autumnal nostal-gia is the order of the day here, and Riha'sclarinet sweeps all before it in the gypsy -likeimprovisatory passages midway through theslow movement. One might wish for morerefinement, but one could hardly ask for morevitality.

The splendid Mozart violin -viola duo,companion to K. 424 recorded on Crossroads22 16 0015/22 16 0016, makes a splendidbonus. The recorded sound is perhaps a bitover -spacious for chamber -music intimacy.but this is a minor blemish on a clearly majordisplay of vital musicianship. D. H.


HIFI/STEREO REVIEW

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RECORDING OF SPECIAL MERIT0 g BRAHMS: Sonatas for Cello andPiano: No. 1, Op. 38; No. 2, Op. 99. PierreFournier (cello) ; Rudolf Firkusny (piano).DEUTSCHE GRAMMOPHON SLPM 139119$5.79, LPM 39119* $5.79.

Performance: ExcellentRecording: Generally attractiveStereo Quality: Needs more separation

The Brahms cello sonatas are, like olives, anacquired taste. The pieces do turn up incello recitals, of course; but then, cello re-citals are an acquired taste, too. Nonetheless,the dark color of the cello suited Brahms'musical temperament perfectly, and the prob-lems of the medium, far from discouragingthe composer, seem to have tapped a freshwell of Romantic inspiration. The earliersonata, written in 1866, is, in fact, quiteSchumannesque in its Romantic spirit al-though already showing a mastery of bigform that the older composer scarcely everattained. The second sonata was composedover twenty years later, in 1887. It is at oncesimpler and subtler; if anything, it has aneven broader and more extraordinary expres-sive sweep. In both, all the problems of thecello and cello music are at their most acute;the cellist needs a firm bow hand, absolutelysure tone and pitch sense, an ability to sendout great soaring phrases by the dozen and tosustain not only long lines but whole struc-tures while at the same time varying andprojecting the sound of the instrument as afirm and equal counterpart to the piano withits highly developed parts. Records wouldseem an excellent medium for such music,but these pieces have not fared well in thecatalog at all. The recording by Janos Starkerhas its points, but the disc at hand holds thefield for the present and, most likely, for abit of the future as well. We might get some-thing grander, more passionate, more origi-nal from Rostropovich, but I don't think hecould top Pierre Fournier for comprehensionand a quiet, precise sensibility and musician-ship which I find illuminating as well as ex-pressive. Fournier has the requirements de-tailed above for these sonatas, and he alsohas the immensely able and intelligent as-sistance of Rudolf Firkusny. The DGGsound is pleasant, but this is one case whereI would definitely have preferred more pro-nounced stereo -channel separation. Here thebalance problem is handled by putting thecello forward; the piano is clear enough, butaurally a little further back -center. More dis-tinct channel placing of each instrumentwould have better balanced the two as part-ners and yet have given the low-lying celloits due. E. S.

CHOPIN: Sonata for Cello and Piano inG Minor, Op. 65 (see KODALY)


C) C) COPLANI): Twelve Poems of EmilyDickinson. Adele Addison (soprano),Aaron Copland (piano). In the Beginning;Las Agachadas; Lark. New England Con-servatory Chorus, Lorna Cooke de Varon,director; Aaron Copland cond. CBS 32 110018 $5.79, 32 11 0017 $4.79.

Performance: ExcellentRecording: DryStereo Quality Effective in choral music

The Emily Dickinson songs are certainlyamong Aaron Copland's most exceptionalcreations. I say that in full knowledge of thefact that they are neither far-out enough toplease the avant-garde nor really traditionalenough to attract the conservatives. This issurprisingly spare and austere stuff, and itsvery simplicity and austerity will put manypeople off. Still, I think the set will make itsway. First of all, these are quite original con-ceptions-Copland must always be separatedfrom the Coplandites just as surely as De-bussy must be distinguished from the Im-pressionist movie -music pasticheurs. Thesesongs have the composer's best virtues: theyare simple, clear, precise in every detail, andunmistakably Copland. Their very plainnessof statement conceals art. The vocal parts,simple and tonal, approach the quality offolk expression without really being folksy.The piano parts consist at times of only two

AARON COPLANDDefining the American art -song form

or three notes-but they are the right two orthree notes. In a general way, the origins ofthis music are probably to be found in Franceand in Stravinsky. But the accent is Ameri-can, and Copland's ideas are nowhere bor-rowed. Each of the songs has its own particu-lar character (each is, by the way, dedicatedto a different composer). The last song andseveral of the earlier settings have a precise,unpretentious meaning which is simply andcleanly defined in a few telling strokes-ele-gant in the best sense and expressive even intheir dryness. The two or three old -time-

spiritual songs just before the end have asomewhat different sort of sentiment (Goingto Heaven!) which I find not very consistentwith the rest. On the other hand, the best ofthe cycle practically defines the American artsong as a form.

In the Beginning is an a cappella work ofconsiderable dimensions, a setting of versesfrom Genesis. It is another of those artfullysimple works by Copland that contain gen-uine beauties of sound and invention, but itdoes not quite sustain its acres of text andsixteen minutes of length. And a livelier,jazzier performance might help. Las Aga-chadas is a delightful glee -club -type versionof a folk song. Lark, written in 1938, is alively setting of a poem by Genevieve Tag-gard which, with its baritone solo and choral

HIFI/STEREO REVIEW

responses, has the character of a stylizedspiritual; it is the most impressive of thethree choral pieces here.

Adele Addison is the excellent and sympa-thetic soprano in the songs, and Coplandhimself gives her fine support at the key-board. As noted above, In the Beginningmight move along at a little quicker pacethan it does, but then who am I to arguewith the composer? This is an excellentchorus, and the conductor -composer does geta lot of bounce and vitality inside the phrasesthemselves, even when they move at delib-erate speed. The recording of the songs seemsa trifle drier and room-ier than necessary;the choral recording has good quality, but Iheard here a high level of hiss which was notpresent on the other side. E. S.

DVOIUK: Symphonic Variations, Op. 78(see SMETANA)

C) 0 GADE: Symphony No. 1, in C Mi-nor, Op. 5 ("On Sjolund's Fair Plains").Royal Danish Orchestra, Johan Hye-Knud-sen cond. TURNABOUT TV 34052S $2.50,TV 4052* $2.50.

Performance: With loving careStereo Quality. GoodRecording: Fine

Through releases by the Turnabout andNonesuch labels, the recorded literature ofScandinavian music has undergone a remark-able expansion in the pages of the SchwannLong -Playing Record Catalog. I have inmind particularly the music of Sweden'sFranz Berwald (1796.1868) and Denmark'sNiels Wilhelm Gade (1817-1890).

Gade's C Minor Symphony, like the Os -

flan Overture, is the work of a young com-poser-an essay in pristine Romanticism,based (in its opening) on Gade's setting ofthe B. S. Ingemann poem that lends the mu-sic its subtitle. Each movement is evocativeof Danish poetry or folklore. The symphonyis both charming and moving, if lacking inthe fluent inevitability of, say, Mendlessohn's"Italian" Symphony. As a matter of fact,the closest parallel to Gade's First wouldseem to be Schumann's "Spring" Symphony,completed and first performed a year earlierthan Gade's work.

The players of the Danish Royal Orches-tra under the direction of veteran conductorJohan Hye-Knudsen give us here a most lov-ing and communicative reading of the Gadesymphony. The recorded sound is whollysatisfying, and this disc does, indeed, belongwith those of the Berwald symphonies andchamber works as among the finest examplesof Scandinavian music before Grieg. It isworth noting, by the way, that the Turn-about discs of Danish music (the NielsenFourth Symphony and Violin Concerto, theGade symphony, the shorter works of Riisa-ger, Gade, and Nielsen) form part of a nine -disc series, a "History of Danish Music inSound," which will include among futureissues major works of such gifted contem-porary Danes as Vagn Holmboe, Niels Vig-go Bentzon, and Per Norgaard. D. H.

RECORDINGS OF SPECIAL MERITC) ® HANDEL: Chandos Anthems, Vol-ume I: Psalm 96, "0 sing unto the Lord'(Anthem No. 4); Psalm 42, "As pants thehart" (Anthem No. 6). Volume II: Psalm11, "In the Lord I put my trust" (Anthem

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No. 2); Psalm 51, "Have mercy upon me,0 God" (Anthem No. 3). Volume III:Psalm 100, "0 be joyful in the Lord"(Anthem No. 1): Psalm 145, "I will mag-nify Thee" (Anthem No. 5). Helen Boat-wright (soprano) ; Charles Bressler (tenor) ;

Jerrold Held (bass) ; Donald Miller (bass) ;

instrumentalists; Collegium Musicum ofRutgers University, Alfred Mann cond.VANGUARD EVERYMAN SRV 227/228/229SD $2.50 each, SRV 227/228/229 $2.50each.

Performance: Highly accomplishedRecording: SuperiorStereo Quality: Fine

During the years 1717 to 1719, when he wasresident composer to the Duke of Chandos atthe palace at Cannons near London, Handelwrote eleven anthems now known by thename of his benefactor as the "Chandos an-thems." 'these are all settings of Psalms,and they exemplify a cross between the En-glish anthems of Purcell and his contempo-raries and the Latin motets to which Handelmust have been exposed in Rome. The scor-ing involves three-part strings (no violas),three-part chorus, with two or three vocalsoloists plus instrumental obbligatos, andthe music-partly intimate, partly grandiose-represents the composer as a total masterof his element. Handel's original perform-ing forces were quite small, and that hasbeen respected in the present recordings ofthe first six Chandos anthems, which werefirst released a few years ago on the importedCantate label.

The performances, led by the Handel au-thority Dr. Alfred Mann, have great sin-cerity and capture the intimacy of the mu-sic very effectively. Not every stylistic pointis honored (some cadential trills, for exam-ple, are missing), but the solo singing, as wellas that of the small choir, is very accom-plished, and the instrumental playing is ex-cellent. There is naturally a more "English"sound to the Argo performances of anthemsnine and eleven by the King's College Choirof Cambridge, but, overall, the Rutgers in-terpretations are more than worthy and notlikely to be superseded for some time. Thewarm, well-balanced reproduction, with ef-fective but not obtrusive stereo placement,is an added bonus. Texts are included. I. K.

0 ® HAYDN: Symphonies Nos. 82-87("Paris Symphonies"). Little Orchestra ofLondon, Leslie Jones cond. NONESUCH HC73011 three discs $7.50, HC 3011 $7.50.

Performance: DisappointingRecording. On the heavy sideStereo Quality: Adds richness

These symphonies were commissioned by aParis concert organization in 1785 and per-formed in the French capital a couple ofyears later with great success. As EdwardTatnall Canby points out in his liner notes,a remarkable development can be traced inthese works if you (as is recommended) putthem in chronological order. They movefrom the Sturm und Drang of No. 83 ("LaPou!e"), through concertante and galant,to the fully mature style of No. 85 ("LaReine") and the magnificent No. 86 in D.

Alas, these performances don't quite makeit. The Little Orchestra of London underLeslie Jones pro, vices a big -orchestra sound.That in itself is not an error; the Paris or-chestra was said to be the largest in Europe.

Similarly, the strong emphasis on the bassand the accompanying use of an harpsi-chord have all kinds of historical and musi-cal justification. Even the unrefined qualityof some of the playing would not be entirelya drawback if there were readiness, so tospeak, as well as roughness. In fact, theperformances fail on basic and substantivepoints: the introductions and slow move-ments are heavy and fast, the minuets areleaden and slow, the first movements areshapeless, and the finales never get off theground. Mr. Jones fails to get good bowing-either in phrasing or in articulation-outof his strings; woefully missing is a goodstaccato. He also appears to be using a pooredition; essential accents, dynamic contrasts,and even important swells and softeningsare not present or at least do not come off.Ornaments are handled inconsistently, phrasing is unclear and directionless, and a con -

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ClIARI.ES BRESSLERA Hindemith work sung with vitality

ception of big line is missing. The ratherdose, thick sound helps bring out the bass(particularly in stereo) but is otherwiseneither clear nor pleasant. It is, of course,perfectly simple these days to put together avery competent pick-up group and scrapethrough eighteenth -century music this well.But this is not enough any more; it is noservice to Haydn, to music, or to anythingelse to turn his remarkable scores intorococo routine. E. S.

RECORDING OF SPECIAL MERIT0 ® HINDEMITH: Die Serenaden ("Lit-tle Cantata on Romantic Texts") for So-prano, Oboe, Viola, and Cello, Op. 35;Martinslied, for Solo Voice and Instru-ments; Sonata for Violin, Op. 31, No. 1;Duet for Viola and Cello. Adele Addison(soprano) ; Charles Bressler (tenor) ; NewYork Chamber Soloists: Albert Fuller (harp-sichord), Melvin Kaplan (oboe), Alex-ander Kougell (cello), Ynez Lynch (viola),Gerald Tarack (violin). NONESUCH H71149 $2.50, H 1149 $2.50.

Performance: SuperbRecording: ExcellentStereo Quality: Excellent

Although I almost hate myself for even

thinking it, much less publishing it, I comeaway from this new Nonesuch release de-voted exclusively to Paul Hindemith's Ge-brauchsmusik more aware of the astonishingvitality that the musicians bring to the taskat hand than of the music they have per-formed. And this is unfair, because the piecesthemseiv es-almost without exception-arebrimful of the creative energy that char-acterized Hindemith's work during theTwenties and early Thirties, an energy thatwas, with all too few exceptions, to leave itduring the years that remained before hisdeath in 1963.

For all of its textural simplicity, DieSerenaden, a miniature cantata based on sixGerman Romantic poems, holds the atten-tion from first note to last. And its bone-dry expressive tone runs in sharp, witty con-tradiction to the occasionally sentimentaltexts. Martinslied, a far shorter vocal work,is set to a vaguely loony seventeenth -centurytext about the tragic fate of geese-to findtheir destinies in kitchen pots. The score,like the poem, is full of clucking and quack-ing, and it is difficult to imagine how any-one could find it less than entertaining.

I am substantially less taken with eitherthe Sonata for Violin Solo or the Duetfor Viola and Cello. Both works are cleanlywritten and attractive enough, I suppose, butwith such limited instrumental resources ittakes a little more musical complexity thanwas consistent with the composer's aestheticpurpose here to hold a surly listener's at-tention. Again, however, the performers doJO beautifully by the material that one isalmost persuaded to believe that the musicalinterest is actually there.

There is really no adequate praise for themusicianship that Adele Addison and CharlesBressler bring to their vocal work in DieSerenade', and Martinslied, respectively. Andthe recorded sound and stereo treatment thatNonesuch has provided for all the superbmusicians on this disc is brilliantly effective.

117. F.

RECORDING OF SPECIAL MERITC.) HONEGGER: Symphony No. 5;Pastoral d'Ete; Chant de la Joie; Pacific231. Czech Philharmonic Orchestra, SergeBaudo cond. CROSSROADS S 22 16 0078$2.49, 22 16 0077 $2.49.

Performance: VigorousRecording: GoodStereo Quality: Good

While it is perfectly obvious to me that thereare better available recorded performances ofcertain of the works on this all -Honeggerdisc, the new Crossroads release gives us suchan interesting overall view of the man's mu-sic that, at the bargain price of $2.49, I can-not recommend it highly enough.

Ranging from the celebrated Pacific 231,through the lovely impressionistic Pastoraled'Ete, to the similarly "French" Chant de laJoie and the more ponderous later manner-represented here by the Fifth Symphony(1952)-a composite picture emerges, oneof an extremely curious and ambivalent con-temporary musical figure. I say curious andambivalent because, although Honegger isperpetually associated with the post -WorldWar I School of Paris, there was a strongtendency towards Central European grandeurin his work. And certainly, during the finalyears of his life, he was beginning to give


full vent to it. The Fifth Symphony is a clearcase in point: the musical techniques are, forthe most part, French in origin, but therather grim heaviness of the work, its big -

gestured assertiveness and melancholia, arenot in the least related to the French tradi-tion with which he is historically associated.

Be that as it may, Crossroads has given usa provocative picture of Honegger's career,and the performances are all solid and mu-sicianly. One might wish for a more sophisti-cated performance of Pacific 231, and amore sensitive and delicate one of Pastoraled'Ete. On the other hand, Baudo and theCzech musicians have an understandablygood feeling for the more gloomy rhetoricof the symphony.

The recorded sound is clean and luminous,and I have no complaint about the stereotreatment. W. F.

RECORDING OF SPECIAL MERITC) C) JOLIVET: Concerto No. 2 forTrumpet, Brass, Piano, and Percussion;Concertino for Trumpet, Piano, and StringOrchestra; Concerto for Cello and Orches-tra. Maurice Andre (trumpet) ; Andre Na-varra (cello) ; Annie d'Arco (piano) ; Lam-oureux Orchestra, Andre Jolivet cond.

WESTMINSTER WST 17118 $4.79, XWN19118 $4.79.

Performance: The composer's ownRecording: ExcellentStereo Quality: Excellent

Andre Jolivet (b. 1905) is a French com-poser little known in this country. This isunfortunate and wasteful because I thinkthat Americans would take to much of whathe has done, given half the chance. It goeswithout saying, then, that I particularly wel-come this excellent all-Jolivet disc-authori-tatively conducted by the composer himself-from Westminster.

The first side of the release is given overto the two trumpet pieces-Concerto andConcertino-and they are both just short ofbeing belligerently French. They are bothwildly entertaining pieces, and they have away of blasting from the speakers with therhythmic force of machine-gun fire.

If Westminster's sleeve annotator has hisdates right, it is somewhat strange to observethat the more recent of the two, the Concerto(1954), has patently overheard the voices ofother composers to a degree that I find farless (if at all) evident in the Concertino(1948). For in the jazzy configurations ofthe Concerto, Stravinsky's L'Histoire willcross your mind, and Milhaud's Creation dumonde. Listening to the hauntingly sensitiveslow movement, I cannot believe (with ref-erence to its deeply expressive trumpet sololine) that its composer has not heard Cop -land's Quiet City.

It may be that I am undisturbed by in-fluences so specific because they happen tohe ones I like. But I am rather more inclinedto temper this confession with the sugges-tion that Jolivet, in both pieces, comesthrough as an independent personality ofsuch assertive vigor that the music simplytakes one by the force of its own appeal.

The Concerto for Cello and Orchestra(1962, or thereabouts) is a much more am-bitious, complex affair which requires anddeserves far more concentrated attention. Itsmusical language is more chromatically de-veloped, its lines more expansively (rather

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than tunefully) profiled, its textures and or-chestrational methods more complicated andmettlesome. Its expressive tenor is, more-over, almost relentlessly solemn. It is an ex-tremely impressive and moving work. It mayeven be an important one.

Since they are under the composer's super-vision, the performances will not be ques-tioned here. Westminster's recorded soundand stereo treatment are of the first order.

W. F.

C) ® KODALY: Sonata for Cello and Pi-ano, Op. 4. SCHUMANN: Adagio andAllegro in A -fiat Major, Op. 70. CHOPIN:Sonata for Cello and Piano in G Minor,Op. 65. Miklos Perenyi (cello), Tibor Weh-ner (piano). QUALITON SLPX 1212 $5.98,LPX $5.98.

Performance: MusicianlyRecording: Good enoughStereo Quality: Good

Miklos Perenyi (b. 1948) is a Budapest -born cellist who, judging by this recordedrecital, is talented, even precocious, but some-thing less than ready for a program ofthis sort. Among other perfectly excusablethings in a musician so young, he has notyet learned even the beginnings of what hemay know five years from now about stylein the most basic sense-that Kodaly is notSchumann, and, perhaps somewhat moresubtly, that Schumann is not Chopin.

The Chopin Sonata, in particular, is nosimple piece to bring off. Its movementshapes are highly personal and require spe-cial attention to articulating careful long -

spanned phrases; they furthermore are con-structed so intuitively, so searchingly, thatrealizing them is rather like playing the laterpiano pieces of Debussy-miss by an inchand you've spoiled the show.

To suggest that either Perenyi or, for thatmatter, his accompanist, Tibor Wehner, haveovercome these problems is absurd. Theyhave merely tackled them b -aver, and I

sense that each does not always have theclearest idea as to precisely what the otherhas in mind.

Both musicians fare better with the Schu-mann for the simple reason that it poses nosuch wicked problems, and it tends to comeoff better if played merely with some flairand virtuosity. There is an adequate supplyof both here. The performance of the KodalySonata-a work with which I've made myfirst contact in this recording and have notconsulted in score-seems full of gapingholes and slow -motioned to the point where,on more than one occasion, its harmonicrhythm sounds tenuous and rather badlycalculated.

The recorded sound is perfectly satisfac-tory, although the balance seems a littleheavily weighted toward the piano. Thestereo effect is good enough too, althoughthere is a little too much separation for myown taste. W. F.

Qs ® LISZT: Armies de Pelerinage: Pre-mière Annie-Suisse. Sergio Fiorentino(piano). DOVER HCR ST 7009 $2.00, HCR5257 $2.00.

LISZT: Late Piano Music. Nuagesgris; La lugubre gondola, No. 1; R. W.-Venezia; Vier kleine Klavierstikke; ElegyNo. 2; Schlaf los, Frage and Antu'ort; DemAndenken Petofis; Unstern. Sergio Fioren-

C

tino (piano). DOVER HCR ST 7010 $2.00,HCR 5258 $2.00.

Performance: Generally goodRecording: A little on the dull sideStereo Quality: Cramped

Nearly fifty years separate the earliest andlatest music on these Liszt discs, and overthat distance we are taken from the spring-time of Romanticism up through uneasypremonitions of the twentieth century. Someof these latter pieces-Nuages gris, Lalugubre ,gondola, the Wagner epitaph, andUnstern ("Disaster") inspire unbelief. Ifthere were only one or two of them, wemight think there had been some error, or ahoax. But they were published early, and asa group they form a distinct, dissonant, in-troverted, atonal, bare, late Liszt style. Thebasic compositional unit is the ambiguousaugmented triad and its related whole-tone

SERGE PRO KOF I EVThree front a major opera composer

scales; but there are also free chromaticismand other dissonant structures. Most of thismusic is enigmatic and other-worldly-theaged great man meditating on death. De-bussy, Scriabin, Bartok, even Schoenberg areforeshadowed, no doubt. But these piecesreally have few antecedents and no realdescendents; they are unique in musical lit-erature and stand quite alone. The other lateworks are closer to Liszt's older ideas ofthematic transformation and harmonic -tonalresolution.

The early Romantic period was a greatage of travel books and diaries, and Lisztproduced the accounts of his own sentimen-tal journeys in tone. Curiously enough, thesefresh and lyrical pieces-poised just betweenthe simple lyricism of the Schubert lied andthe full-blown richness of Chopin and Schu-mann-are not, with one or two exceptions,very well known any more. The obscurity ofthe late works is easy to understand; it ismore surprising to discover that, with allthe assorted Liszt in the catalog, the Anneesde Pelerinage have been represented only byan old mono recording of the "second year"and assorted pieces in various collections.A complete version (three records) is dueshortly, however.

Fiorentino has specialized in Liszt, and

there are many things to recommend hisplaying. I must say that certain interpretivequirks put me off-he never gets grace notesquite right, and his sense of phrasing insuch important matters as Lisztian rubatoupbeats seems ineffective; also, he does notsucceed in hitting the top intensities with allthe force and skill required. In other re-spects, particularly in lyric or quietly glit-tering piano textures, he does very well.

Neither recording is very brilliant, andthe Annees review disc had noisy surfaces.The other record was much quieter and morebleasant. E. S.

RECORDING OF SPECIAL MERITC) ® MONTEVERDI : Mass in Four Parts(1640); Mass in Four Parts (1651): Lau -date Pueri; Ut Queant Laxis. MichaelTurner and Benjamin Odom (sopranos) ;

Peter Birts and Robert Bishop (tenors) ;Gareth Keene (bass) ; Christopher Hog -wood (harpsichord) ; Jonathan Bielby (or-gan) ; Strings of the Academy of St. Martin -

in -the -Fields; The Choir of St. John's Col-lege, Cambridge, George Guest cond. ARGOZRG 5494 $5.79, RG 494* $5.79.

Performance: First-rateRecording: ExcellentStereo Quality: Superior

Of the two of Monteverdi's three extantMasses presented here, the earlier one, pub-lished in 1640 but perhaps written as earlyas 1618, is Palestrina-like, abstract, and un-dramatic; the later and longer setting, pub-lished in 1651, is one of Monteverdi's mostemotional creations, and a stupendous work.The two brief fillers-Laudate Pueri, a set-ting of Psalm 113, and lit Queunt Laxis, thehymn for Vespers on the Feast of the Birth-day of St. John the Baptist-are relativelysmall-scale, with solo voices and instru-ments. All four pieces are beautifully per-formed here. The St. John's Choir underGeorge Guest adopts a Continental toneproduction that is closer to the warmth ofItalian voices than is their accustomed Brit-ish tone. In a competing version of the secondMass, George Malcolm, with the Choir ofthe Carmelite Priory (L'Oiseau-Lyre SOL/OL 263), achieves even greater drama andpassion. But the clarity and stylistic under-standing of either of these performanceswould make them indispensable for a Mon-teverdi collection. Argo's recording is excel-lent, and the stereo placement is perfectlyconceived. No texts or translations. 1. K.

MOZART: Duo No. 1, in G Major, forViolin and Viola (see BRAHMS)

C) PROKOFIEV: The Betrothal in a Mon-astery. N. Korshunov (tenor), Don Jerome;J. Krutov (baritone), Ferdinand; V. Kaev-chenko (soprano), Louisa; T. Yanko (con-tralto), Duenna; A. Mistchevsky (tenor),Antonio; N. Isakova (mezzo-soprano),Clara; E. Bulavin (bass), Mendoza; others.Chorus and Orchestra of the Stanislayskyand Nemirovich-Danchenko Musical Thea-ter, Moscow, K. Abdullayev cond. ULTRA -PHONE ULP 153/4/5 three discs $14.37.

C) ® PROKOFIEV: War and Peace. R.Vasovic-Bokacevic (soprano), Natasha;Dusan Popovic (baritone), Andrei; BiserkaCvejic (mezzo-soprano), Sonya; AlexanderMarinkovic (tenor), Pierre; Drago Stare

74HIFI/ STEREO REVIEW

(tenor), Anatol; Djordje Djurdjevic (bass),Kutuzov; Nikola Cvelic (bass), Napoleon;others. Vienna Kammerchor and ViennaOpera Orchestra, Werner Janssen cond.HF.LIODOR HS 25039 three discs $4.98, H25039 $4.98.

C) PROKOFIEV: The Story of a Real Man.E. Kibkalo (baritone), Alexei; G. Deomi-dova (soprano), Olga; G. Shulpin (tenor),Mikhailo; G. Pankov (bass), Andrei; M.Reshetin (bass), Vasilii Vasilyevich; A.Eizen (bass), Commissar; A. Maslennikov(tenor), Kukushkin; K. Leonova (mezzo-soprano), Klavdiya; others. Chorus and Or-chestra of the USSR Bolshoi Theatre, M. F.Ermler cond. ULTRAPHONE ULP 147/8/9three discs $14.37.

Performance: VariedRecording: AcceptableStereo Quality. Good (in War and Peace)

Serge Prokofiev's stature as a major operacomposer, still somewhat beclouded at thetime of his death in 1953, seems assured to-day, and by an odd coincidence, the lastthree Prokofiev operas are now featured incurrent record releases. All three are productsof the final phase of the composer's career.

In The Betrothal in a Monastery (1940),the first of the three, Prokofiev cast asidethe political subject matter of some of hisprevious operas and derived his inspirationfrom a genuine literary source, Sheridan'sThe Duenna. What resulted was a comicopera with an eighteenth -century Spanishsubject, but an unmistakably Russian musicalexpression. Its libretto, by the composer'swife, is somewhat wordy and diffuse andnot as witty as it perhaps could have been.Nevertheless, it gathers momentum, after acreaky beginning, and the last two acts areparticularly enjoyable.

The cast is large, and the roles offer excel-lent opportunities for colorful characteriza-tions. Most of these are well realized bythe capable Russian ensemble, in which there

- is the usual prevalence of nondescript butgenerally non -offensive vocalists. The or-chestral performance is spirited, the engi-neering acceptable-in all, this is an interest-ing, worthwhile release.

In tackling War and Peace (1946), Pro-kofiev was overmatched by the epic propor-tions of the Tolstoy novel. The opera's elevenepisodes here (reduced from Prokofiev'soriginal thirteen) provide, at best, an ineffec-tive condensation of the novel's panoramicdesign, and the early portions-a view ofpeacetime Russian society-do not relatemeaningfully to the later sections depictingRussia's war for survival, but the workreveals moments of lyric inspiration, someatmospheric waltz melodies, and an impres-sive scene involving the heroic Marshal Ku-tuzov. Unfortunately, it also abounds in un-inspired pages, including a battle episode(Scene 7) of monumental emptiness. TheHeliodor recording-a reissue of a previous-ly available MGM set-is very attractivelypriced, but otherwise not particularly praise-worthy. Here, too, the orchestra performswell, but the chorus is uneven, and thesingers rate from the acceptable to the bare-ly listenable. I noticed some processingflaws on the first side of my stereo reviewcopy; otherwise, the stereo version is farsuperior to the unusually dull -soundingmono.

The Story of a Real Man, Prokofiev's last

opera, returns to a patriotic subject. It isbased on a true story: the efforts of a Sovietflier to overcome the physical and mentalscars of an amputation and to regain hispride and sense of usefulness in society. Astrong and often compelling idea, it is com-promised by predictable soap -opera situa-tions and excessive flag-waving, which makeit hopelessly unpalatable to Western audi-ences. The music is robust, colorful, andmelodious without being memorable.

The recording offers a moving charac-terization by baritone Kibkalo in the titlerole, and excellent contributions by tenorMaslennikov and bass Eizen in smallerparts. Otherwise, the singing is rather av-erage. The sound. apparently of quite recentorigin, is satisfactory. The opera occupiesfive disc sides; the sixth is devoted to stirring

excerpts, indifferently recorded, from Rimsky-Korsakov's incomplete ballet -opera Mlada.

Librettos are provided with all sets. G. J.

®Q PURCELL: The Fairy Queen: Pre-lude; Rondeau; Hornpipe; Come all yesongsters; Echo; Chaconne; Night; Mys-tery; Secrecy; The Plaint. Don Quixote(Part II): Lads and lasses. The MockMarriage: 'Twas within a furlong; Man isfor the woman made. Timon of Athens:Love quickly is pall'd. The Indian Queen:I attempt from lore's sickness to fly. Dio-clesian: Sound fame; What shall I do toshow? Ode on St. Cecilia's Day: 'Tis na-ture's voice. Abdelazer: Hornpipe; Air;Rondo Air. King Arthur: Fairest Isle. TheTempest: Aeolus' Song. Maureen Forrester(contralto) ; Alexander Young (tenor) ;

"... Buffy Sainte -Marie is clearly destined to be not only a national,but an international phenomenon." -Irving Kolodin

a new and staqFagly original album

BLFFY SAINTE-MARIE

FIRE & FLEET & CANDLELIGHTM:-9250 (Mono) & VSD-79250 (Stereo)

An artist of vastly impressivehieve*ients."

-Robert Sherman,The New York Times

"She is a poet singer in the stampof ancient trouveres..."-0. B. Brummell, High Fidelity

dAS eerie tremble that crawls upl_stener's spine."

-Time magazine

EXCLUSIVE ON

rjr VANGUARDRECORDS

,* 4 ,711able of all fine record shops

CIRCLE NO. S OP. READER SERVICE CARDJUNE 1967 75

Martin Isepp (harpsichord) ; Vienna RadioOrchestra, Brian Priestman cond. WEST-MINSTER WST 17113 $4.79, XWN 19113$4.79.

Performance: DisappointingRecording: Very good except for balancesStereo Quality Fine

In some ways, this collection is similar toYehudi Menuhin's recent Purcell compila-tion for Angel, called "Music for the Thea-ter." Menuhin's selections were primarily or-chestral, however; this disc leans toward thesolo song. In principle, this is an admirableidea, but unfortunately there are quite a fewdrawbacks here. Knowing that such a collec-tion of excerpts runs the risk of being ahodgepodge, Menuhin partially offset thedanger by grouping selections from the samesource together as suites. In this Westmin-ster assemblage, selections from the samework are scattered helter-skelter over the twosides. Perhaps this was done for the sake ofvariety of mood, voice, or key relationships;and yet the texts on the back of the jacketare printed in groups according to their dra-matic source!

With the exception of nine brief orches-tral sections, the material is vocal (most ofthe accompaniments consist only of harpsi-chord -and -cello continuo), and the deci-sions about who is to sing what seem asarbitrary as the arrangement of selections:Maureen Forrester, a contralto, has beengiven a number of songs that were originallyfor soprano voice, but so has tenor AlexanderYoung; and Young sings some that were in-tended for countertenor and might morelogically have been sung by Miss Forrester.

variable: Mr. Young,an Englishman, at least sounds on homeground, but his voice becomes a bit con-stricted at times in Purcell's demanding floridwriting. Miss Forrester veers from a full -voiced operatic approach to a quaint folk -song style. Neither is convincing, especiallysince her covered vocal production is somonotonous in color. Perhaps most distress-ing is the lack of true affect-the songs in-variably sound like recital numbers, not likestage music.

The orchestral playing is in general ade-quate, but not ideally light, transparent, pre-cise, and polished. The harpsichord continuois elaborately and for the most part imagi-natively realized by Martin Isepp, but theharpsichord is recorded rather too promi-nently (as indeed are the singers). And muchas Mr. Isepp's realization represents an im-provement over the block -chord kind ofcontinuo, what one hears here is in factsometimes mannered and distracting. A harp-sichord continuo is very much like a fine sea-soning; one must be aware of its presence,but it must not dominate the dish. Westmin-ster's sonic reproduction is otherwise veryfine. I. K.

C) C) REGER: Sonatas for UnaccompaniedViolin, Op. 91: No. 1, in A Minor; No. 3,in B -/fat; No. 7, in A Minor. Hyman Press(violin). DOVER HCR ST 7016 $2.00, HCR5267* $2.00.

Performance: ImpressiveRecording: GoodStereo Quality: Hard to detect

The sleeve notes for this unusual recordquote early views about Reger to the follow.ing effect: "complete lunacy, incurable mor-

bidity, and nerve-wracking perversity," "adangerous and ruthless revolutionary,""wild," "experimentation with unusual har-monic combinations . . . that resulted inmusic that his contemporaries found arbi-trary, irrational and ugly." All this, of course,is brought forth now in an attempt to becomplementary and to raise Reger's con-temporary reputation. With friends like thiswho needs enemies?

After reading these lines, one turns withtrembling hand and pounding heart to therecord player only to find the same slightlystuffy, overelaborate, intense, late Romantic,chromatic, contrapuntal neo-Baroque thatone always finds chez Reger.

This is not to say that there is not somelikable music in these sonatas. Reger is, asone would expect, always extremely skillfuland sometimes imaginative and even bril-liant as well. My own favorite music is in

MAX RLGER

Caricature (about 1910) from the Germanmusic periodical Die Musik

the B -fiat sonata, the least Baroque -y andthe least "learned" of the three. The inevi-table chaconne-it comes at the end of No.7, the last sonata of the original Op. 91 set-is rather a bore, but even at its mostdogged, it never completely succumbs to thefatal going -through -the -motions academicismthat always seems to be impending. Whichis to say that, at the very least, this musichas its own necessity-if not always a verysignificant meaning.

Mr. Bress, who has something of a repu-tation as a modern -music performer, con-tributes three intense, brilliant, high-strungperformances of unfamiliar and difficult-although certainly idiomatic-violin music.Lovers of the violin and of good meatyCentral European repertoire will be gratefulto Mr. Bress for reviving these works; cer-tainly these excellent performances (and agood, inexpensive recording of them) go along way toward putting Herr Doktor Pro-fessor Reger back on his feet. E. S.

C) RIETI: Concertino for Five Instru-ments. Chamber Players of Heilbronn. Con-certo for Cello (and 12 instruments).Massimo Amfitheatrof (cello) ; l'OrchestraSinfonica di Roma, Nicolas Flagello cond.Six Short Pieces; Medieval Variations. Rob-

ert Guralnik (piano). SERENUS SRS 12013$5.98, SRE 1013* $4.98.

Performance Sounds goodRecording: GoodStereo Quality Good

Things are picking up at Serenus, and I amhappy to report it. Just as I had begun tothink that the very word Serenus was somesort of anagram of Flagello (rendered in astrange language, of course), the companyhas given us this album, "The Music ofVittorio Rieti: I."

Now, Rieti, who was born of Italian par-ents in Egypt in 1898, who achieved recog-nition in Paris during the Twenties andThirties, and who came to live in the UnitedStates in 1940, is not the world's greatestliving composer. But he is a neatly and au-thentically gifted musician with a winning,flawlessly crafted, and sophisticated man-neristic style. Its orientation is neoclassic,although of no pronounced derivative syn-tax-Stravinskian or otherwise. He alsocan handle odd instrumental combinationswith absolutely delightful authority andoriginality.

To take the pieces recorded here in theorder of the pleasure they give me, at least,we can start from the top. The Concertino forFive Instruments is a fancifully scored, beau-tifully made, smoothly sophisticated piecethat is full of amiable tunes and neat figu-rational detail. The Concerto for Cello (andtwelve instruments) is pleasantly more ofthe same, although its expressive aura israther more somber and its neoclassical con-figurations rather less originally turned and,I suspect, more deliberately evocative ofsome composer or other. Six Short Piecesare contrasting piano solos, a little too tidilystructured, but pleasantly frivolous in al-most every case. Another piano solo, Medi-eval Variations, is perhaps the piece in whichthe word manneristic might be replaced bythe word mannered. Its uncharacteristicrhythmic lumpiness, in this composer's mu-sic, just has to be calculated, and it playswith classical attitudes in rather the wayProkofiev does in his Classical Symphony,but much less convincingly. (Here I have ahunch that pianist Guralnik's heaviness withthe piece makes an issue of what mightotherwise be but slightly noted.)

The performances, in general, seem to bepretty good, the recorded sound is fine, andthe stereo effect is good, although the en-gineers seem to get a little too cute with itin the Concertino. IV. F.

SCHUMANN: Adagio and Allegro inA -fiat (see KODALY)

SCHUMANN: Franenliebe and Leben(see WOLF)

RECORDING OF SPECIAL MERITC) C) SIBELIUS: String Quartet, in DMinor, Op. 56 ("Voces intimae"). BER-WALD: String Quartet No. 3, in A Minor(1849). Copenhagen String Quartet. TURN-ABOUT TV 34091S $2.50, TV 4091* $2.50.

Performance: InspiredRecording: GoodStereo Quality: Good

This is a fascinating disc, combining as itdoes the elusive "Voces intimae," the onlymature chamber work to come from the pen


of Jean Sibelius, and the powerful ThirdQuartet by the heretofore little-known nine-teenth-century Swedish symphonist FranzBerwa Id ( 1796-1868 ) .

Though the normally reticent Sibelius in-dicated in his subtitle that his D MinorQuartet contained elements of highly per-sonal and subjective expression, the use hemakes of his thematic materials exhibits aremarkable blend of disciplined craft andseemingly rhapsodic rumination. An inter-locking rhythmic motive binds the first andsecond movements together; there are alsosubtle motivic cross references between thethree middle movements, and between thetwo last ones. But the purpose of these linksis constructional rather than dramatic, asin the motto theme of his First Symphony.The Adagio movement, heart of the Quar-tet, is as eloquently lyrical as any one willfind in late Sibelius. The performance of"Votes intimae" by the Copenhagen Quar-tet is altogether masterly, combining pas-sionate lyricism, immense rhythmic drive,and the element of capricious fantasy thatSibelius also wrote into the music.

Although designated as Quartet No. 2 onthe record jacket, Franz Berwald's A MinorQuartet is actually his third and last, datingfrom 1849, the end of the period in whichhe also produced his two finest symphonies,the Singuliere and the Seriease (recorded onNonesuch 71087, 7187). The music of the AMinor Quartet is cut out of the same pieceof cloth, and it could perhaps be describedas Northern Mendelssohn minus the paddingand contrapuntal clichés. Like the sympho-nies, it is full of rhythmic kick.

The Copenhageners play here with im-mense verve and a wide range of dynamicsto match the passionate line of Berwald'sphrases. The recorded sound is absolutelyfirst-rate. Put this disc down as a "sleeper."

D. H.

C) Q SMETANA: Ma Vlast (My Father-land), Symphonic Cycle: V yiehrad; TheMoldan; Seka; From Bohemia's Meadowsand Forests; Tabor; Blanik. DVORAK:Symphonic Variations, Op. 78. Philhar-monia Orchestra, Sir Malcolm Sargent cond.SERAPHIM SIB 600i two discs $4.98, lB6003 $4.98.

Performance: StraightforwardRecording: GoodStereo Quality: Good

When it comes to conjuring up the national-ism and the legendary poetic atmosphere ofthe Smetana tone poems, Sir Malcolm Sar-gent is no match for the likes of such con-ducting colleagues as Talich, Kubelik, orAnCerl. The EMI engineers, however, haveproduced the best recorded sound yet ac-corded these exceedingly difficult -to -recordpieces. The scoring is such that, in the twofinal sections, it is all but impossible toachieve a solid bass line under reverberantauditorium conditions, so EMI chose, forthis 1965 recording, to use a fairly intimatebut warm -toned studio, and to excellentsonic effect. Would that Sargent's perfor-mances had had the poetic intensity to takefull advantage of the opportunity.

The Dvoiik Variations were composedtwo years before the D Major Symphony(new No. 6), and display brilliantlythe thirty -six -year -old composer's orchestralskill, even if stylistically they fluctuate be-tween the Brahmsian academy and the Bo-

hemian countryside. The Sargent perfor-mance is again impressive in its skill andprecision, but it takes a bit of Beecham -likeflamboyance, such as is to be heard in thatconductor's mono recording of some yearsago, to bring the music off to best effect.At $4.98, however, this pair of records repre-sents excellent value. D. H.

C) ll TCHAIKOVSKY: Piano ConcertoNo. 2, in G Major, Op. 44. Nikita Magaloff(piano) ; London Symphony Orchestra,Colin Davis cond. WORLD SERIES PHC 9007(compatible stereo) $2.50.

Performance Somewhat slackRecording: A bit low-levelStereo Quality: Will do

0Q TCHAIKOVSKY: Piano

No. 2, in G Major, Op. 44. Emil Gilds(piano) ; Leningrad Philharmonic Orches-tra, Kyril Kondrashin cond. BAROQUE 2865$5.79, 1865 $4.79.

Performance Hell -for -leatherRecording: "Live" performanceStereo Quality: So-so

Don't let a seven -minute difference in thetiming of the slow movement between Gilelsand Magaloff throw you. Magaloff andDavis give us here the first up-to-date record-ing of the Tchaikovsky G Major Concertoas originally written, without the drastic cutsin the slaw movement imposed by Siloti andso published in his edition. Tchaikovsky'sslow movement as he composed it emergesas a virtual triple concerto for piano, cello,

Concerto and violin; while the Siloti edition lets the

recordofthemonth

JOHANN CHRISTIAN BACHperformed by LESLIE JONES and

THE LITTLE ORCHESTRA OF LONDONLeslie Jones and The Little Orchestra of I.ondon, dis-tinguished for their Haydn interpretations, are heardfor the first time, on NONESUCH, in works of JohannChristian Bach-known as "the London Bach."Two SINFONIAS for Double Orchestra, Op. 18, Nos. 3and 5, and the SINFONIA CONCERTANTE in C, forFlute, Oboe, Violin, Cello, and Orchestra, are heard instylish performances by Jones and his London forces.

H-1 165 Mono. H -711E5 Stereo$2 50 each - either mono or stereo

NONESUCH

nonesuch

D.) RECORDS1855 Broadway, New 'fork 10023

CIRCLE NO. IS ON READER SERVICE CARDJUNE 1967 77

piano have most of the say. (Gary Graffmanin his Columbia recording uses the Silotislow movement, but Tchaikovsky's originalend movements.)

In the light of this I wish I could saythat Nikita Magaloff and Colin Davis hadcome up with a definitive recorded versionof Tchaikovsky's "other" piano concerto, butsomehow they never seem to be able to makethe music catch fire. The "imperial gran-deurs" of the lengthy first movement fall flat,and the finale simply lacks the "zing" to giveit the wings and the fuoco quality that itmust have. The rather low-level and some-what diffuse recorded sound is no helpeither.

The Gilels disc is in a class by itself-a documentation of a live performance givenin Leningrad, the date and source of the mas-ter tape unspecified on label or record jacket.Wrong notes and all, this reading has all theexcitement that the Magaloff-Davis record-ing lacks. Both discs are worth acquiring ascuriosities; but as a choice for permanentlibrary possession, I'd still stay with theGraffman-Ormandy Columbia disc. D. H.

C) C) VERDI: Un Ballo in Maschera.Leontyne Price (soprano), Amelia; CarloBergonzi (tenor), Riccardo; Robert Merrill(baritone), Renato; Shirley Verrett (mezzo-soprano), Ulrica; Reri Grist (soprano), Os-car; Ezio Flagello (bass), Samuel; Ferruc-cio Mazzoli (bass), Tom; Piero de Palma(tenor), a Judge; Mario Basiola Jr. (bari-tone), Silvano. RCA Italiana Opera Chorusand Orchestra, Erich Leinsdorf cond. RCAVICTOR LSC 6179 three discs $17.37, LM6179* $14.37.

Performance Sound but unexcitingRecording: Not RCA's bestStereo Quality: Good

All things considered, RCA Victor's new UnBallo in Maschera is superior to its two ste-reo competitors. Good, musicianly singingranks high among its virtues, and I ought tomake it clear from the outset that damnationis far from my mind as I begin to distributea bouquet of faint praises.

The faintest of these go to conductor ErichLeinsdorf for turning a tale of passion, darkconspiracy, and murder into an orderly andwell-mannered coup d'etat. Ballo can ill af-ford such a bloodless treatment. Leinsdorf'smusicianship and control cannot be faulted;the problem lies in his failure to come togrips with the drama in Verdi's music andto exact optimum achievements from his ex-cellent cast. Also, the RCA Italiana orchestrais not up to its best level here-the wood-wind playing, in particular, is quite undistin-guished. And the engineering keeps thevoices in a remote perspective, thereby de-priving the performance of badly needed im-mediacy and vitality.

There is no lack of involvement in Leon-tyne Price's passionate and believable Ame-lia, and the languid pacing of the aria "Mor-ro ma prima in grazid' must not be heldagainst her. Vocally she is radiant most of thetime, the exception being her occasional de-scents below the staff, where her tone produc-tion is inconsistent and at times disturbinglyunbeautiful. Carlo Bergonzi's singing is dis-tinguished by his customary elegance andsensitivity, with an occasional suggestion oftightness in the upper register. RobertMerrill goes through his part with the assur-ance resulting from many years of well prac-

78

ticed routine, but without much nuance,inspiration, or, for that matter, indignation.

Shirley Verrett is a sedate Ulrica with anice vocal quality, but her habit of slidinginto almost every note becomes irritating af-ter a while. Reri Grist offers a smallish butprettily sung Oscar, and the Messrs. Flagelloand Mazzoli are two dandy conspirators, butBasiola is a thick -sounding Silvano.

The reservations notwithstanding, I pre-fer this Ballo to the London set directed bySolti, where singing of comparable quality isruined by misguided engineering, and tothe vocally less distinguished La Scala pro-duction on DGG. For the best available ver-sions we must return to the monophonic era:Toscanini's unparalleled leadership coupledwith unspectacular but acceptable singing onRCA Victor LM 6112, or the outstandingvocal -dramatic achievements of Maria Callasand Tito Gobbi (and, to a lesser extent,

Inza

HELEN WATTSWarm, subtle singing of Wolf and Schumann

Giuseppe di Stefano) on Angel 3557. Benia-mino Gigli's unsurpassed Riccardo can stillbe heard in a 1946 recording (Italian OdeonQSO 45/46. G. J.

WAGNER: Die Walkiire (see Best of theMonth, page 59)

RECORDINGS OF SPECIAL MERIT

C) 8 WOLF: Songs from the RomanticPoets. Sechs Lieder f fir eine Frauenstimme;Alte 1Veisen (Gottfried Keller); Sonne derSchlummerlosen (after Byron); Three Songsfrom "Suleikd' (Goethe); Der Schafer(Goethe). Elisabeth Schwarzkopf (so-prano), Gerald Moore (piano). ANGEL S36308 $5.79, 36308 $4.79.

f1 WOLF: Heiss mich nicht reden; Nurwer die Sebnsucbt kennt; So lasst michscheinen; Kennst du das Land?; Auchkleine Dinge; Mausfallen-Spriichlein; Epi-phanies. SCHUMANN: Frauenliebe andLeben. Helen Watts (contralto), GeoffreyParsons (piano). L'OISEAU LYRE SOL 293$5.79, OL 293° $5.79.

Performance Both very goodRecording. Both goodStereo Quality Natural balances

These two programs of Hugo Wolf songs-with an assist from Robert Schumann-neatly complement one another. Helen Watts'selections are drawn from the better-knownarea of the composer's output ("popular" ishardly the word to use in connection withHugo Wolf ), while Elisabeth Schwarzkopf,who has already covered the familiar ground,strikes out for more esoteric pieces.

The Schwarzkopf disc embraces almostthe full range of Wolf's song -writing ac-tivity. The Serbs Lieder set constituted hisfirst published work (1887) and contains thealmost Schubertian Morgentau, written tenyears earlier, when Wolf was only seventeen.His individuality was already manifest in thisdelightful first collection. The Goethe songsrepresent the mature and sophisticated art ofWolf, rewarding the listener with the un-failing forging of music and words into aninseparable unity. I find the six songs writtento Gottfried Keller's poems considerably lessattractive, except for the strikingly tempes-tuous Das KOhlerweib ist trunken.

Displaying her familiar interpretive mas-tery, Elisabeth Schwarzkopf calls into playan astonishing range of tonal shadings andevocative effects here. Vocally she is in farfrom her best form, straining at both ex-tremes of her range and sometimes unable tosummon the necessary breath support forthese unquestionably taxing pieces. But herart is always impressive. Gerald Moore's vir-tuosic support provides not only a rock -likefoundation for Miss Schwarzkopf but alsoan excitement that is occasionally missing inthe vocal portions.

The MOrike song Mausfallen-Sprfichlein,which is heard in both recitals under review,illustrates the difference between the twosingers. Miss Watts' approach to songs isconsiderably more restrained than MissSchwarzkopf's. She favors a smoother vocalline, and uses subtle alterations of colorbut not the coy undertones, teasing inflec-tions, gasps, and other extramusical inter-jections that are the familiar-and for meadmirable-weapons of the Schwarzkopfarsenal. We are conscious of her interpretiveinflections here, but even more so of expertand polished singing, with a true understand-ing and clear projection of the texts. MissWatts' voice is a warm and noble instru-ment; it cannot fail to please, unless the lis-tener is unregenerately committed to a moretheatrical kind of interpretation-MissSchwarzkopf's kind.

Contraltos are continually drawn to Frau-enliebe and Leben, apparently blithely un-awar of the many critics who prefer the so-prano sound for the very feminine songs ofthe Schumann cycle. I find Helen Watts avery engaging interpreter here. She is moreeffective in the tragic utterances-the con-cluding song Nun hast du mir den erstenSchmerz getan, in particular-than in thesongs calling for a lighter, more intimatecommunication. But her dusky tones neveroverpower the texts, and her singing remainseloquent and sensitive at all times. She, too,is blessed with an excellent accompanist,Geoffrey Parsons. G. J.

COLLECTIONS


C) ALI AKBAR KHAN: Morning andEvening Ragas. Ustad Ali Akbar Khan(sarod), Mahapurush Misra (tabla), Anila

HIFI/STEREO REVIEW

Sinha (tamboura). CONNOISSEUR SociETYCS 1766 $5.79, CM 1766 $4.79.

Performance: ImpressiveRecording: Has presenceStereo Quality Widely separates sarod

and tabla

As Nat Hentoff points out in his notes forthis admirable release, now that Indian mu-sic is coming into vogue it is important toremember that it is not folk music, and thatplaying an Indian instrument in a Westernpop group does not put raga in the rock.It seems also necessary to add, for the bene-fit of the psychodeleriasts and other fans,that if you just love Indian music becauseit is so monotonous and hypnotic, you'remissing the music altogether and hearing,with purely Western ears, those elementsthat the really tuned -in merely take forgranted: the tonal and metrical frame withinand out of which the music itself grows. Infact, in its own realms of rhythmic and me-lodic inflection, Indian music is subtle andcomplex, a series of never-ending changesrung upon basic musical and expressivematerial.

The raga, by the way, is not a scale or atheme in our sense but, like the ancient ormedieval modes in the West, a kind ofrepertoire of melodic events-turns ofphrase with a certain recognizable musicaland expressive character upon which a reali-zation is built. The tala is the rhythmic modeor cycle, generally arranged in irregulargroups of fascinating richness. Ali AkbarKhan's notes carefully explain the rhythmic -metrical arrangements used but, since theaccents do not correspond with already irreg-ular groupings into beats and bars and sincethe sarod and tabla sometimes try to outdoeach other in cross -rhythmic sub -divisions,these metrical schemes on paper seem (to aWestern ear) theoretical rather than palpa-ble. At any rate, the actual results are ex-traordinary, not for their monotonous regu-larity but for their complex variety.

Each side here has a single raga. Prob-ably the easier to understand is the eveningraga, partly because the basic pitch materialis closer to familiar Western arrangements,and partly because the rhythmic arrange-ment, first in eight, then in sixteen, is easier.The morning raga on side one-considered-heroic" and unromantic-has a much morelimited pitch material but is correspondinglyricher in melodic decoration and inflectionand in rhythm -metric intensity.

In contrast even to other Indian musicians,Ali Akbar Khan's approach seems inward,catching very slowly the more outward in-tensity and excitement generated initially bythe tabla. Only at the moments of cumula-tive climax is there a real sense of physicaland kinetic excitement and these developonly gradually and with great effort andcare over a long span of rhythmic and mel-odic growth and development; even as theyreach their peak, there is usually an abruptchange in meter (thus initiating a new sec-tion) or the music subsides altogether. Butthese climaxes are all the more meaningfulbecause they are so hard won; they give finalshape and final meaning to the stages in apair of remarkable musical journeys. Therecord is well recorded and extremely worthwhile. E. S.

® C) REGINE CRESPIN: Recital. Schu-mann: Liederkreis, Opus 39. Faure: Soir; Le

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Secret; Au bord de l'eau; Apses un rive;Clair de lune. Canteloube (Arr.): Lo P-lait:1'; Lou coucut (from Chants d'Auver-gne). Roussel: Coeur en peril; Sauguet:Berceuse creole. Regine Crespin (soprano),John Wustman (piano). ANGEL S 36405$5.79, 36405 $4.79.

Performance: ElegantRecording: GoodStereo Quality: Restrained

Regine Crespin's mastery of the Germanrepertoire, already well documented in opera,is herewith proved in song. This fact not-withstanding, it is the French side of thepresent recital that is likely to be more ap-pealing. The velvety tone and caressing col-oration with which she invests the delicateFaure songs are rare indeed-the effect inApses urt rive and Clair de lune is close tomagical. The lesser known Roussel andSauguet songs are rendered with similarcharm. Both are attractive and admirablysuited to Crespin's style. In the two Au-vergne songs, although she displays the req-uisite temperament, she is a shade less con-vincing. In particular, the intricate traceryof Lo fiolaire seems to elude her.

The Liederkreis is sung with sensitive pro-jection and intelligent dramatization whenneeded-an unexceptionable but not partic-ularly memorable performance. The sopranois in good vocal form throughout. Her scaleis admirably equalized at the low end, allow-ing for firmly supported and unusually reso-nant tones in the low register. The upperrange is more uneven, and there are a fewphrases in Au bord de l'eau, passing acrossthe "break" into the head register, which arenot done very smoothly. But this seems likequibbling over an otherwise impressive re-cital. The piano accompaniments by JohnWustman are excellent. G. J.

0 ® GREGORIAN CHANT: Easter Mu-sic: Excerpts from the Proper of the Mass;Antiphons and Hymns from "Antiphonalemonasticum." Benedictine Monks of theAbbey of St. Maurice and St. Maur, Cler-vaux, Luxemburg. WORLD SERIES PHC 9004(compatible stereo) $2.50.

Performance: SentimentalRecording: ExcellentStereo Quality First-rate

RECORDING OF SPECIAL MERITC) GREGORIAN CHANT: Graduals.Qui sedes; Omnes de Saba; Haec dies;Dirigatur. Hymns: Christe Redemptor(Christmas and All Saints' Day); Ad Coe-nam Agni providi. Communions: Vidimus;Videns Dominus. Offertory: Jubilate. In-troits: Exsurge; Quasimodo; SpiritusDomini. Collegerunt (Palm Sunday). Al-leluia (Pentecost Sunday). Requiem Mass:Subvenite. Sanctus IX. Chorus of Monksfrom the Abbey of Encalcat, France. MusicGUILD MS 137 $2.39, MG 137 $2.39.

Performance: SuperbRecording: Very goodStereo Quality: Fine

The excerpts from the Easter liturgy dealonly with the Proper of the Mass and withhymns and antiphons from the monastic Of-fice book. The style of singing, although ob-viously devout and sincere, suffers from arather sentimental approach, not improvedby the inclusion of organ harmonizations.

Some sections, such as hymns, are done ina more straightforward manner, but thischoir's tendency to slow the tempo for cer-tain key words results all too often in a sac-charine effect. This does not negate the sing-ing itself, or the quality of the voices, whichare excellent, but this description shouldserve as a warning to those who prefer theirchant in the more traditional manner. Therecording is marvelously atmospheric, andthe sound of the choir is beautifully repro-duced. The jacket notes include a descriptionof the selections but no texts or translations.

Music Guild's collection is a general one,devoted to highlights selected from through.out the liturgical year. The BenedictineMonks of Encalcat, whose abbey is locatednear Carcassonne in the southern part ofFrance, adhere to the style of chant singingpropagated by Solesmes, but to this they adda youthful manner and a vigorous, declama-tory approach that presents the chant in atotally fresh, meaningful way. As a samplingof Gregorian chant, this disc is outstanding.Reproduction is very good in both mono andstereo versions, although the antiphons ob-viously are more impressive in stereo. Thejacket gives texts and translations (withsome sections unfortunately missing), butthe listing of sources for the chants is notcomplete. There are also a few bad proof-reading errors (such as "Communication"for "Communion"). 1. K.

RECORDING OF SPECIAL MERIT0 ® PILAR LORENGAR: Operatic Re-cital. Puccini: La Boheme: Si, mi chiamanoMimi. La Rondine: Chi it bel sogno diDoretta. Madama Butterfly: Un bel di,vedremo. Turandot: Tu the di gel sei tiara.Gianni Schicchi: 0 mio babbino cal o.Dvofalc: Rusalka: 0 silver moon. Charpen-tier: Louise: Depuis le jour. Bizet: Carnal:Je dis, que rien ne m'epourame. 1.,sPecheurs de Perles: Comme autrefois. Mas-senet: Manon: Gavotte. Pilar Lorengar (so-prano) ; Orchestra of L'Accademia di SantaCecilia, Rome, Giuseppe Patane cond. LON-DON OS 25995 $5.79, 5995* $4.79.

Performance: AffectingRecording: Very goodStereo Quality: Very good

This is Pilar Lorengar's most impressive re-corded achievement to date. The selectionshave been well chosen to illustrate her versa-tility as well as her uncommon interpretivegifts. The voice itself-a lyric spinto withingrained dramatic qualities-has a charac-teristic fast vibrato which is easy to get usedto and, in this recital at least, does not inter-fere with true intonation. In fact, it impartswarmth to her expression in an intenselypersonal way reminiscent of Licia Albanese.("0 mio babbino taro" illustrates the simi-larities between the two sopranos quite strik-ingly.) Miss Lorengar's range is wide andeven, and her tones in the high region areradiant and effortless, including the (un-written) high D in the final cadenza of theGavotte.

The five Puccini arias are above criticism.Stimulated, perhaps, by Patane's ebullientleadership, the Charpentier-Bizet-Massenetsequence comes off in a somewhat Italianatestyle, but it is nonetheless ravishingly sung.In fact, the present catalog offers no superiorversion of "Comme autrefois" or the equallyenchanting Rusalka air. The latter is sung in

CIRCLE NO. 16 ON READER SERVICE CARDHIFI/ STEREO REVIEW

Czech (the reference in the liner notes tothe "original Czechoslovakian" is a linguis-tic and ethnographical inaccuracy).

Except for some stylistic points in theFrench repertoire and some uneasinessamong the French horns, the orchestra pro-vides an effective backdrop for the so-prano's outstanding work. G. J.

RECORDING OF SPECIAL MERITC) ® LUTE MUSIC FROM THE ROYALCOURTS OF EUROPE. Landgrave ofHesse: Pavan. Molinaro: Saltarello; Ballodeli° "II Conte Orlando"; Saltarello; Fan-tasia. Philips: Chromatic Pavan and Gai-llard. Dowland: Fantasia (Fancye); QueenElizabeth's Gaillard. Howett: Fantasia.Mudarra: Fantasia. Dlugoraj: Fantasia;Villanellas Nor. 1 and 2; Finale. Ferrabos-co: Pavan. Newsidler: Mein Herz hat rich

PILAR LORENGARVersatility and uncommon interpretive gifts

mit Lieb' verpflicht; Hie folget ein welscherTanz; lch klag* den Tag; Der Juden Tanz.Bakfark: Fantasia. Besard: Air de Cour;Branle; Guillemette; Voile. Julian Bream(lute). RCA VrroR LSC 2924 $5.79, LM2924* $4.79.

Performance: SuperiorRecording: ExcellentStereo Quality Natural

The names of a good many of the composersrepresented in this collection are unfamiliarones, For instance, there are such sixteenth -century figures as Simone Molinaro, a maes-tro di cappella at Genoa Cathedral; GregoryHowett, a Dutch lutenist; the Transylvanian -born Valentin Bakfark, who was connectedwith the Polish court; and another court lu-tenist in Poland, Albert Dlugoraj. The addi-tion of pieces by the better known Dowland,Mudarra, Philips, and Ferrabosco helps tomake this disc a continually fascinating andwell -varied survey of the kind of repertoireto be heard in European court circles duringthe late Renaissance. There is even a Pavanby one actual regent, Landgrave Moritz ofHesse, who resided in Kassel.

Julian Bream's playing here is quite ex-traordinary; his technical skills are well re-vealed, as we have come to expect, but inaddition to the usual brilliance there is also

a sense of ease and relaxation that have notalways been apparent in some of his previousdiscs. His tempos are almost all extremelywell chosen (a minor exception is the rathertoo slow Ballo delta "II Conte Orlando"),and I particularly enjoyed the depth and pro-fundity he brings to his performances of thevarious fantasias, which are perhaps thehighlights of the collection. All in all, theplaying is as fine as any Julian Bream hasgiven us on record. The reproduction isequally successful. I. K.


C) MUSIC OF SHAKESPEARE'STIME. Holborne: Pavan. Paradizo; Gai-llard. The Sigh; ; Almain ; Pavan, The Marie-golde. Brade: Coranto. Campion: Neverweather-beaten sail. Ferrabosco the Youn-ger: 0 eyes, 0 mortal stars. Morley: TheFrog galliard; 0 grief! even on the bud.Jones: Sweet Kate. Bartlet: Whither run -nab my sweetheart? And others. EileenPoulter, Patricia Clark, and Mary Thomas(sopranos) ; Darien Angadi (boy soprano);Rosemary Phillips (contralto); Gerald En-glish and Wilfred Brown (tenors); Christo-pher Keyte (bass) ; David Channon andDiana Poulton (lutes) ; Michael Walton,Layton Ring, and the Dolmetsch Consort(recorders) ; Margaret Hodson (virginals) ;Dietrich Kessler (bass viol); viols of theSchola Cantorum Basiliensis (August Wen -zinger, dir.); madrigal group, RaymondLeppard dir. NONESUCH HB 73010 twodiscs $5.00, HB 3010 $5.00.

Performance Imaginatively conceivedRecording: ExcellentStereo Quality: Very satisfactory

As the program notes to this quite delightfulcollection point out, all the works on thesetwo discs with but one exception (WilliamComyshe's Ah Robin) were written duringShakespeare's lifetime. Even the earlierComyshe song, however, does have its asso-ciations with the bard, specifically withTwelfth Night, in which it is quoted. Noteverything here can be connected withShakespearean performance, although thereare many such connections: Robert Johnson'sFull fathom five and Where the Bee sucksfor The Tempest, the anonymous WillowSong for Othello, and Dowland's Come,heavy sleep, which might have been used inIulius Caesar.

There is an immense variety of repertoirehere, works for viol consort, recorder con-sort, solo virginals (Byrd's 0 mistress mineand Sellinger's round), songs for from one tofive voices (including some solos by a boysoprano), and even a few duets for two lutes.The lutenist, Diana Poulton (who is cred-ited with having arranged this program onthe original Odeon pressings of 1963 but isnot credited in the domestic Nonesuch re-lease), has done an excellent job in organiz-ing this material. The performances are fullof verve and enthusiasm, although not all ofthe voices are on the same high level. Theinstrumental contributions, especially that ofthe viol consort, are splendid. This two -disc set should provide plenty of entertain-ment. The reproduction is highly satisfactoryin both mono and stereo versions, and a well -planned and informative text leaflet has beenincluded. 1. K.


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Qs ® JEANETTE SCOVOTTI: ColoraturaArias. Rossini: /I Turco in Italia: Viva!'amore, riva it placer. Mozart: Die Zauber-Iliite: Zum Leiden bin ich auserkoren; DerHale Rache. Verdi: Rigoletto: Caro nome.Delibes: Lakme: Bell Song. Donizetti: Lu-cia di Lammermoor: Regnava net silenzioQuando rapito in estasi: II dolce mono . . .

Spargi d'amaro pianto (Mad Scene). JeanetteScovotti (soprano) ; Orchestra Sinfonica diRoma, Nicolas Flagello cond. SCOPE V-002S 35.79, V-002* $4.79.

Performance: Expert and enjoyableRecording: Very goodStereo Quality: Effective

Though this is a largely familiar program(the Rossini aria excepted), it is nonethelessvery demanding, particularly for an artist'sfirst solo recital. Jeanette Scovotti, who hasdeveloped into an internationally sought-after performer since her Metropolitan Op-era debut of four years ago, acquits herselfwith great distinction. She uses her gleamingand well -focused tone with great skill andlittle apparent effort, her intonation is de-pendable, the heights (up to E natural) holdno terrors for her, and she handles rapidscales with clear articulation. A respectabletrill and a secure, scoop -free manipulationof wide intervals are also part of her impres-sive technical equipment.

Miss Scovotti's rendering of Lucia's mu-sic or the Bell Song is very much on a parwith today's top efforts. The hazardous pas-sages of the Mozart arias come off a littleless successfully, and her "Caro none" israther uninvolved dramatically, though tech-nically accomplished. Altogether, this is amost impressive showing of a major Ameri-can talent. Nicolas Flagello secures sensitiveand well -played accompaniments from theRoman orchestra-the tempos are a shadetoo comfortable at times, but details emergewith unusual clarity. The sound is rich andeffectively deployed, if at times somewhatover -reverberant. G. J.

0 l GERARD SOUZAY: A Century ofFrench Song. Gounod: L'absent; Serenade.Chabrier: Les cigaler; Chanson pour Jeanne.Bizet: Chanson d'avril. Franck: Nocturne.Roussel: Le jardin mouille: Le bachelier deSalamanque. Poulenc: Airs chances: Air rif ;La grenouilliere; Metamorphoses: Reine desmouenes; Priez pour la paix. Faure:Arpege; Prison. Ravel: Les grands vents:virus d'outremer; Sainte; Sur therbe. Le-guerney: Ma douce jouvence est passee; Ason page. Hahn: L'heure exquise. GerardSouzay (baritone) ; Dalton Baldwin (pi-ano). PHILIPS PHS 900132 $5.79, PHM500132* $4.79.

Performance: Expert and elegantRecording: AdequateStereo Quality: Appropriate

The artist's brief accompanying notes dis-claim any serious musicological approach tothe present collection. His intention is sim-ply "to remind the listener familiar withFrench song tradition of its quality, richness,and range." The recital succeeds admirablyin its modest aim, though I cannot say that,based on this evidence, the "range" ofFrench song literature is awe-inspiring.

In any case, many of the songs are unfa-miliar to all but specialized scholars, and theexposure to this seldom -illuminated side ofChabrier and Roussel is particularly wel-

come. The former impresses with his strik-ing individuality of expression, and thelatter's Le bachelier de Salamanque skill-fully combines lusty narrative with Impres-sionist imagery. The other songs offer theexpected: melodious salon lyricism forGounod, classic elegance for Faure, occa-sional sparkling wit for Poulenc, and elusivesubstance for Ravel. The musical contentsare at times fragile to the point of invisibil-ity, but this may be a personal reaction. Inany case, partisans of French song literaturecould hardly ask for a more sympathetic in-terpreter than Gerard Souzay, who performsthese songs lovingly, convincingly, and withunerring taste and considerable dramatic ex-pressiveness. Dalton Baldwin is, as always,an ideal collaborator. The recorded sound,however, is far from ideal; the piano tone isgood, but the singer appears to be too closelymicrophoned, and the surface noise on thedisc sent for review was simply above thelevel of tolerance. G. I.

RECORDING OF SPECIAL MERIT0 ® FRITZ WUNDERLICH: 11 under-lich in Vienna. Sieczynski: Wien, Wien.czar du allele. Benatzky: Ich weirs au/ derWieden ein kleines Hotel; Ich muss wiedereinmal in Grinzing sein. Stolz: In Wiengill's munch winziges Gassed; Im Praterbliih'n u'ieder die Baume; Wien u'ird beiNacht erst schein. Haller: Herr Ho/rat, erin-nern Sie sicb noch? J. Strauss-Weninger:Draussen in Sievering. Four other Viennesesongs. Fritz Wunderlich (tenor) ; ViennaVolksoper Orchestra; Chorus of the ViennaState Opera; The Spilar-Schrammeln Group,Robert Stolz cond. HELIODOR HS 25051$2.49, H 25051* $2.49.

Performance: IdealRecording: Good sound, fair surfacesStereo Quality, Widespread

Here are a dozen ingratiating songs aboutgood wine, good times, pretty girls, and somecozy hideouts in and around Vienna-inshort, the most important issues of the worldso far as the Viennese are concerned. Themusic is light and unpretentious, and thewords revoke around the premise that, whilethe rest of the world may be a hit or missaffair, the Good Lord (Herrgott) was surelyat His most inspired when He created Vi-enna and its environs.

Though a German, not an Austrian, thelate Fritz Wunderlich understood the specialcharm of these songs, and he knew how toput them over gracefully, with a smile in thevoice, and with just the right amount of sen-timentality. His singing is perfection, and hehas the support of the indestructible RobertStolz (b. 1882), a true master of the old Vi-ennese style. Here and there I detect an at-tempt in the choral -orchestral backgroundsto "modernize" these charming tunes, but,fortunately, they survive the treatment. Theend result is irresistible, particularly recom-mended to partisans of Wunderlich, Vienna,good singing, operetta, and to nostalgists ingeneral who number impressively among thismagazine's readers, to judge by some of ourrecent mail. G. J.

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84CIRCLE NO. 26 ON READER SERVICE CARD

HIFI/ STEREO REVIEW


ENTERTAINMENTPOPS JAZZ FILMS TH EATER FOLK SPOKEN WORD

,v MANNY ALBAM: The Soul of theCity. Orchestra, Manny Albam cond. TheChildren's Corner; Museum Piece; A Viewfrom the Inside; Riverview; and six others.SOLID STATE SS 18009 $5.79, SM 17009*$4.79.

Performance Better than the materialRecording: ExcellentStereo Quality First-rate

Described as "a matched set of ten sketches,""The Soul of the City" is in the worn tradi-tion of atmospheric program music. Veteranarranger Manny Albam is technically skill-ful; but the conception he reveals here as acomposer is undistinguished. The writing isa pastiche of predictable impressions, occa-sionally augmented by literal sound effects.The playing, however, is expert, both thesection work and the solos of the jazz -sea-soned studio musicians Hank Jones, JeromeRichardson, Joe Newman, Burt Collins, andespecially Phil Woods. Also impressive assoloists are trombonist J. J. Johnson and, onone track, trumpeter Freddie Hubbard. Basi-cally, this is a waste of superior musicians onmaterial that is honestly crafted but withoutstrength of style, idea, or emotion. N. H.

C) lit) THE BACHELORS: Bachelors'Girls. The Bachelors (vocals, accompani-ment). Rosalie; Margie; Hello, Dolly!;Marie; Sweet Sue; Linda; Ida; Cecilia; andfour others. LONDON PS 491 $4.79, LL

3491* $3.79.Performance EasyRecording: GoodStereo Quality Good

The Bachelors are no better than most of thegroups coming out of London these days, but,thank goodness, they are no worse, either,and at least they seem interested in broaden-ing their horizons. I may be wrong but I

think they also sing more in tune than theirmod contemporaries. In this, their fourthrecording for the London catalog, they con-centrate on tried-and-true songs about wom-en and come up with some delightful sur-prises. Their guitar twang makes Once inLove with Amy sound so unusual I wouldn'tbe surprised to find Ray Bolger borrowingtheir style for his next TV appearance. AndI think Cole Porter would be pleased withthe Jazz -Age flavor they bring to Rosalie.

Explanation of symbols:C) = stereophonic recordingC) = monophonic recording* = mono or stereo version

not received for review

Reviewed by NAT HENTOFF PAUL KRESH REX REED PETER REILLY

The Bachelors still don't really sing orplay well, but on this album they give someinoffensive songs that old college try. It'sworth a listen. The kids probably won't digit-there's not a single mention of LSD onthe whole record. R. R.

C) C) CLYDE BORLY: Music in Five Di-mensions. Clyde Borly Orchestra. Afro -mania; S.O.S.; Force de Frappe; Carioca;Fever; and eight others. ATLANTIC SD33195 $4.79, 33195* $3.79.

Performarce Skillful, spiritedRecording ExcellentStereo Quality Superior

THE BIRDS THAT WAS: left to right.Chris Hillman. Mike Clarke (now flown),

David Crosby. and Jim McGuinn

Recorded in Paris, this program veers fromsonic exotica to straightforward romanti-cism. On the former tracks, the focus is on avariety of percussion instruments, sound ef-fects (including bird and animal cries),Ondes Martenot waves, and the human voice.While the trickery is self-conscious, the re-sults have more verve, wit, and imaginationthan most albums that specialize in soundplay as an end in itself. The more conven-tional ballad arrangements are appropriate-ly lyrical and lilting. According to the notes,there was no overdubbing; and in view ofthe rapid-fire color changes on the moreexotic tracks, I express due respect for thedexterity and discipline of the unidentifiedmusicians and engineers. However, thoughthe revels are beguiling, 1 doubt this recordwill wear well. It's like watching a troupe ofbrilliant acrobats. How many times can yousee the act before it turns stale? N. H.

C) DON BOWMAN: Almost Live. DonBowman (vocals and guitar). Jimmie Crick-et; I Wouldn't Do It; Surely Not; John'sBack in Town; and eight others. RCA VIC-TOR ISP 3646* $4.79, LPM 3646 $3.79.

Performance: RepetitiousRecording: Good

Record companies are always imitative. I

hope the success of the Geezinslaw Brotherson Capitol doesn't mean we are in for a floodof hillbilly comics making up for a total lackof talent by leaning on their drawls and tell-ing jokes about the world of other hillbilliesto the accompaniment of guitar twangs. Thatis all Don Bowman has going for him. A for-mer disc jockey from Lubbock, Texas, he usedto break up the city with his weather fore-casts ("Fair and warmer and his orchestra")and somebody obviously thought it would bea good idea to take him to RCA's studios inNashville, put him in front of a microphoneand turn him loose. The result is pretty stag-nant stuff. Bowman sings like Froggy theGremlin on the old Big Jon and Sparky kid-die shows, and his material is painfully lack-ing in polish. This is the big time, Don, andwe've heard it all before.

Somebody named Willie Nelson has pro-vided liner notes which insist, "Don Bow-man is a funny, funny man-and in this al-bum you will find many opportunities tobreak up, double over, or split your sides."Speaking as one who is still standing upright,in one piece, I can only advise you to proceedat your own risk. R. R.

RECORDING OF SPECIAL MERIT®C THE BYRDS: Younger Than Yes-terday. The Byrds (vocals) ; orchestra.Thoughts and Words; Time Between; Why;My Back Pages; Have You Seen Her Face;So You Want to Be a Rock 'n' Roll Star?;Everybody's Been Burned; Renaissance Fair;and three others. COLUMBIA CS 9442 $4.79,CL 2642 $3.79.

Performance: ExcellentRecording. SuperbStereo Quality: Excellent

Perhaps the best advice to all the sad youngmen of today would be, "Go West, youngWerther, go West." Preferably to California,and most particularly to San Francisco andLos Ange!es. For it is in those two citiesthat the American Romantic movement ofthe twentieth century is to be found in itspurest form. (The American Romantics areto be distinguished from their English coun-terparts by their roots, which are essentiallymiddle-class, and not like the British work-ing-class phenomenon which started the

JUNE 1967 85

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whole thing.) In California, under the sun-shine, the smog, and the eyes of suspiciouscops, amid the coffee houses, the psychede-lic shops, and the flying banners of L -O -V -E,there has come to flower a community ofyoung people in whose benign eccentricity,gothic introspection, and melancholy joy inbeing mysteriously indifferent to the Ameri-can work -succeed -win psychology there liesthe seed of a Romantic spirit more intensethan anything spawned in Europe for overone hundred years. The European Romanticsof the last century had their poets, painters,and composers, but they also had their popu-larizers. Dumas was one, Sardou was an-other, Puccini still another. It is difficult to-day not to smile at some of the excesses ofthese men in their attempts to portray theRomantic personality for the general public.I am sure they provided much unintendedamusement in their own day among the verypeople whose lives they purported to depict.Today the situation is radically different; in-deed, to become one of the poets, the paint-ers, etc., one must first be a proselytizer and apopularizer.

As popularizers the Byrds are indeedsplendid. Although one of the original four,Mike Clarke, has flown the coop (a factwhich the cover photograph nicely obscureswith a montage of the remaining members ofthe group sitting -standing -falling), the threecarry on in fine style. And as befits populariz-ers -proselytizers, their songs are, aside frombeing quite good, often highly revealingglimpses into their own lives as well as thoseof their contemporaries. So You Want to Bea Rock 'n' Roll Star is a humorously penetrat-ing description of their own condition. Boththis song and C.T.A. 102 benefit from imagi-native recording techniques, the former withdubbed -in teenybopper shrieks, and C.T.A.102 with a garbled dialogue between twospacemen heard on one speaker and theByrds heard in greatly diminished volume onthe other. The entire album shows signs ofthis kind of imaginative approach, in bothrecording and performance.

As proselytizers the Byrds are moderatelyeffective. Take for example Mind Gardens,an excellent song which is also an attempt todescribe the sort of trip you could never takeby Greyhound. It is an eerie enough listeningexperience, but I remain more curious thanconvinced about the real value of the psy-chedelic plateau. It is difficult to describe theprevalent "sound" of the Byrds, and theclosest I can come is to say that the beat isnot overwhelming, but the use of electricguitar (sometimes in tandem with a sitar) tocreate a pulsing tension often is overwhelm-ing. Although the Byrds are eclectic in theirmusical styles, I found the main influence onthem to be Dylan, who of course is the guruof a whole musical generation. They differfrom Dylan, however, in their ability to kidthemselves occasionally, and that I find veryrefreshing.

"Younger Than Yesterday" is an enjoy-able and well -made album which, if listenedto closely enough, explains a good dealabout what is going on around us. I recom-mend it heartily. P. R.

(g, BING CROSBY/LOUIS ARM-STRONG: Bing and Louis. Bing Crosbyand Louis Armstrong (vocals) ; Billy May,cond. and arr. Muskrat Ramble; Sugar;Dardanella; Brother Bill; Let's Sing Like aDixieland Band; Tray Down Yonder in New

Orleans; Preacher; and three others. METROMS 591 $1.98, M 591 $1.98.

Performance: Old hatRecording: GoodStereo Quality: Fair

The voices are as familiar as a pair of oldsocks. I've never had any particular fondnessfor old socks. Of course you can't really sayanything nasty about the Old Groaner, whojust may end up embroidered into the de-sign of the American flag when he dies.And how can you dismiss "Satchmo"? Thatwould be like suggesting Kate Smith takeup residence in Siberia. Still, I don't thinkit's exaggerating to say that Bing sounds abit like an economy -sized Sinatra on this re-cording: all lungs and no heart. And Satchmois simply all heart. There is no voice leftwhatsoever.

When the boys gave out with All thatJazz in the MGM musical High Society afew years ago, their single hit from thesound track became such a best-seller thatthey put together an entire album of the samestuff, even threw in Billy May's Dixielandbeat, and added a couple of old boneheadsongs like Dardanella just to keep Granny'sfeet a-tappin'. Well, the result has been re-released on MGM's budget label, souped upfor stereo and packaged for people who digtheir schmaltz with a pinch of corn. And arinky-dink to you, too. R. R.

0 ® SKEETER DAVIS: My Heart's in theCountry. Skeeter Davis (vocals), unidenti-fied orchestra. My Heart's in the Country;Ain't Had No Lorin'; Think of Me; FoggyMountain Top; and eight others. RCA Vic-

TOR LSP 3667 $4.79, LPM 3667 $3.79.

Performance HeartfeltRecording: OkayStereo Quality: Okay

Skeeter Davis' heart may be in the country,but she obviously spends some of her after-noons at Cartier's. Posed winsomely on thealbum's front cover in a gingham dress andholding a piglet (that's right, a piglet), andon the back nuzzling a horse (or is it amule?), she also sports a jeweled watch anda ring with a rock in it that takes up a goodportion of the space between knuckle andhand. Of course, jewels do not a happycountry-and-western star make. As Skeeterconfesses in the title song, ". . . Hundredsof people wait to see me every night, theybeg me for my autograph, they all think I'mhappy, Oh-What a laugh." What Skeeterreally wants to do is to go back to that farmin Ohio, sit by the fire, and forget the mis-eries of stardom. Back in Ohio she has "astrange, different yearning for a farm boynamed Jack." This is the only reference toJack in the song; it set me to speculatingwhat was so wrong with Jack that her yearn-ing for him should be "strange" and "dif-ferent." Has he run off and joined theBureau of Internal Revenue? Is he one ofSiamese twins? I think a super -star likeSkeeter owes it to her public to tell us justwhat the hell is wrong with Jack.

Once you get past Skeeter's liner notes("And one day I'll trade my name on a big -

city marquee for my name on a rural mail-box. .. .") and her initial musical saga ofthe horror of being rich, famous, and courted,Skeeter turns out to be a better -than -averagec -&-w singer. Ain't Had No Lorin' andFoggy Mountain Top are good songs, quite

CIRCLE NO. 35 ON READER SERVICE CARE86 HIFI/STEREO REVIEW

well sung. But Evil on Your Mind is thebest track on the record. Her performance isvery funny here. She portrays a wife whoknows her husband has "evil on (his)mind." He has been bringing her candy andflowers, has suggested that she take a longtrip to visit her sister out West, and knowsthat he dreams of having houris run theirfingers through his curly hair. Skeeter's re-joinder to all this is a growling "dream on,Baby."

I'd like to hear her do more material inthis vein. Also, the next time she goes downto the farm to renew her acquaintance withthe livestock, I think it would be wise tohave her maid hold her jewelry-at leastwhile the pictures are being taken. P. R.

® C) DOODLETOWN PIPERS: HereCome the Doodletown Pipers. DoodletownPipers (vocal group) ; orchestra, GeorgeWilkins cond. A Hard Day's Night; Blowin'

a05r

JANIS 1:\That rare phenomenon, an original

in the Wind; Roger Miller Medley; and sev-en others. EPIC BN 26222 $4.79, LN 24222$3.79.

Performance: MonotonousRecording: BlandStereo Quality: Adequate

Ho -hum. This tedious -sounding group often men and ten women in floppy sweatersand sun -lamp smiles is the poor man's NewChristy Minstrels, and listening to all tenbands of their singing on this release is eas-ily this year's most forgettable oddball ex-perience. They 000-000-000 and doop-doop-doop their way through everything from theBeatles to the Lara theme from Dr. Zhivagowith the same gimmick: the men take thechorus while the girls doodle, then the girlssing while the fellas doodle. The fact that itall sounds more like the wind howling thanmusic doesn't seem to bother anybody. Ontelevision, where they are appearing withalarming regularity these days, you can al-ways turn down the volume. But all those000s coming out of two speakers in stereo-who needs it? R. R.

Qs Q ASTRUD GILBERTO/WALTERWANDERLEY: A Certain Smile, a Cer-tain Sadness. Astrud Gilberto (vocals),Walter Wanderley Trio. A Certain Smile, aCertain Sadness; Call Me; Nega; and seven

JUNE 1967

others. VERVE V6 8673 $4.79, V 8673 $3.79.

Performance: OkayRecording: GoodStereo Quality: Okay

The liner notes on this disc read, in part, asfollows: "Listen to the bass rhythm. Does itsound familiar? You've been listening to itall your life . . . it's your own heartbeat."Ever ready to indulge in research, I oblig-ingly put the record on the turntable, turnedthe bass 'way up, and listened to see if itwere true. It is. Hearing this record withthis in mind is also a very spooky experi-ence. Maximum effect is achieved on CallMe-with Astrud Gilberto whining away inthe background like the Mad Doctor's sin-ister anesthetist, it could make a good pas-sage in a musical based on Donovan's Brain.Or it might make a nice sadistic party gamewith hypochondriacs you know. (Tell themto keep their eyes shut and then slowly sneakthe speed up to 45 ... then 78 .. whoopee!)

Aside from its coronary beat, I didn'tfind much of interest here. Astrud Gilbertois not, to my way of thinking, so much asinger as a sound. At times that sound isvery pleasant, particularly when she is sing-ing in Portuguese. But in English her oddaccent and singsong delivery effectively man-gle any lyric's sense. Wanderley is good, Iguess, but organ players in pop music ir-resistibly summon up a recherche du tempsperdu chez roller rink for me. P. R.


C) C) JANIS IAN: Janis Ian. Janis Ian (vo-cals, guitar, organ, harpsichord, siren, tam-bourine) Artie Butler (harpsichord, piano,organ) ; Vinnie Bell, Al Gorgoni, and Salde Troio (guitars); Joe Mack (bass) ; ArtieKaplan (flute); Buddy Saltzman (drums).Hair of Spun Gold; I'll Give You a StoneIf You'll Throw It; Society's Child; andeight others. VERVE/FOLKWAYS FTS 3017$4.79, FT 3017 $3.79.

Performance: Impressively originalRecording: Very goodStereo Qua ity: Excellent

This bristlingly independent fifteen -year -oldgirl first became widely known when hersingle recording of Society's Child, the taleof an interracial love affair ended by parentaland social pressure, was banned by someradio stations. Now, in her first album, shereveals compositional and performing talentsthat should assure her a remarkable career.As a writer, Miss Ian falls into none of theeasy and fashionable protest or psychedelicbags. Her lyrics tell of the generation gap,of her fantasies, of an unloved child, of aprostitute, in imagery and cadences that areher own. Acutely perceptive, often sardonic,and yet still open to tenderness, she makesone look forward to her work at twenty andtwenty-five. Her singing is firm and resilient,although occasionally there is a touch of awhine in her voice. The backgrounds byArtie Kaplan and Miss Ian are sensitivelyand imaginatively varied to suit the widelydifferent contexts of her songs. I am not say-ing that each of these compositions is a per-durable gem, but there is so much real talentat playful work in the album that one grate-fully salutes the arrival of that rare phenom-enon, an original. N. H.

(Continued on next page)

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C) ® THE KINKS: Face To Face. TheKinks (vocals) ; orchestra. Raymond Daviesand David Davies arr. Party Line; SunnyAfternoon; Too Much on My Mind; RainyDay in June; and ten others. REPRISE RS6228 $4.79, R 6228 $3.79.

Performance: GoodRecording: ExcellentStereo Quality Good

This is quite a good group, but it is not dis-tinguishable in any important way from mostof the other groups now around. It has a nicecooled -out sound with a harpsichord taste-fully and intelligently integrated into theorchestrations, and the songs have fashion.ably psychedelic lyrics. There is also a gooduse of recording techniques with sound ef-fects that are more than just effects, such asthe thunder claps at the beginning and dur-ing the course of Rainy Day in June.

Sunny Afternoon, the featured song in thealbum, is a hymn to a lay-about that has acertain guileful charm and high spirits. TheKinks seem to me a highly professionalgroup, but unless you happen to take totheir particular brand of self-assured glossi-ness, I see no real reason why you shouldown this album. P. R.


C) ® RUBIN MITCHELL: Presenting Ru-bin Mitchell. Rubin Mitchell (piano) ; RayEllis Orchestra, Ray Ellis cond. and arr. MyLiza Jane; Slaughter on Tenth Avenue;W hat Note, My.Lo ve?; Flamingo ;T hats All;Summer Irind; Somewhere; and five others.CAPITOL ST 2658 $4.79, T 2658* $3.79.

Performance Great versatilityRecording: ExcellentStereo Quality Excellent

In an overcrowded market of piano players,most of whom sound alike, along comesRubin Mitchell, a remarkably talented musi-cian who displays such enormous versatilityand such finely honed originality in his ap-proach that he just might become one of theelectric new successes on the pop -jazz instru-mental scene. Some of the material is down-right sluggish, such as a rippling Cherish,which displays an alarming Liberace-likesound. But for the most part, he's original.You've never heard anything like the frenzyhe stirs up on Liza Jane. It's a tribute to tap -

dancer Bojangles Robinson, and it actuallysounds like feet tapping away on boardfloors. Take note, too, of the poetry on Fla-mingo, the jazz on Fats Waller's JitterbugWaltz, or the percussion effect on Mit- quenada. He even makes the piano sound like-zounds !-a guitar, in Spanish Eyes. Thecharts, by Ray Ellis, breathe a new life intofamiliar tunes, but I wish he had resistedthe cornball chorus, which is definitely clum-sy and uncalled for. Still, there's enough torejoice in on this release. R. R.

C) ® RUBY MURRAY: Endearing YoungCharms. Ruby Murray (vocals) ; orchestraand chorus, Norrie Paramor cond. Coortin'in the Kitchen; A Little Bit of Heaven; AtFinnegan's Ball; Believe Me if All ThoseEndearing Young Charms; and six othersCAPITOL DT 10459 $4.79, T 10459 $3.79.

Performance: Erin -go -bahRecording: FairStereo Quality: Foggy

Listening to this record, I believe I have ar-rived at a new theory as to why Shaw, Wilde,and Joyce chose voluntary exile from Ire-land. Could it be that Shaw had to listento one last dreary alcoholic chorus of ThoseEndearing Young Charms, that Wilde wasexpected to laugh, or at least smile, atsuch supposed rib -ticklers as Coortin' in theKitchen, that Joyce was asked to agree thatA Little Bit of Heaven was as accurate adescription of his country as his own Dub-liners? Perhaps not, but after my own ses-sion with Ruby Murray, who sounds like abelow -average American country -and -West-ern singer to me, I can say that they madethe right move.

Miss Murray has a sweet voice, but shedoesn't communicate much enthusiasm (atleast to me) about her material. Let Him Go,Let Him Tarry, for instance, is a song Ienjoy hearing sung in either of two ways:

TIIL Non a 1111t \ LIGHTS: A e/o 1 ill e

one of the folk -pop versions, such as thedelightful Evelyn Knight performance ofseveral years ago, or sung absolutely straightwith a minimum of accompaniment by atrained singer. Miss Murray often glossesover the true poetry of Irish songs, and it is,after all, the lyrics that make so many Irishsongs part of our musical heritage. P. R.

®® JIM NABORS: Love Me With AllYour Heart. Jim Nabors (vocals) ; orchestra,Alan Copeland cond. Suanee; The Impossi-ble Dream; On a Clear Day: Strangers in theNight; and seven others. COLUMBIA CS 9358$4.79, CL 2558 $3.79.

Performance: NasalRecording: GoodStereo Quality: Good

Remember a few years back when the firstpuzzling, laughable recording came out byJonathan and Darlene Edwards? It fea-tured a quavery, tone-deaf soprano whosang ballads for bridge clubs, and a cock-tail pianist who hit every fourth chordwrong. People laughed, but they weren'tsure they were supposed to. Then later,when the giggles died down, Jo Staffordand Paul Weston, two of the music busi-ness' top pros, confessed they were putting

us all on the whole time. Well, I'm wait-ing. Somebody has got to step up and ad-mit that this new recording by Jim Nabors(TV's hillbilly Gomer Pyle) is a joke.

Maybe Nabors wants to clue us in onthe way he sounds each morning in theshower with his mouth still full of gritsfrom the breakfast table. He succeeds.Suanee is so flat (those last notes soundas though he is choking) that I thoughthe was trying to do a comic imitation ofJudy Garland. Then came the Lara themefrom Dr. Zhivago, and I began to get themessage. Maybe some friends who had itin for him (from a rival network, per-haps?) had arranged the recording sessionas a practical joke. Then halfway throughStrangers in the Night-at about the spotwhere he sings in Italian-I gave up.Jim Nabors thinks he can sing. Instead,he only proves that he is a much better

.sunny Hootenanny style

comedian than I ever suspected from watch-ing Comer Pjle. In this album he turnsin the funniest vocal performance sincethey stopped writing movie musicals forAllan Jones. R. R.

RECORDING OF SPECIAL MERITQs ® THE NORTHERN LIGHTS: Gabri-elle. The Northern Lights (vocals), orches-tra. Gabrielle; Bag rankly rid min Mila; ILunden grona; Vildandens Klagen, Vid enBivag till en Byvag bor den blonda Beatrice;and others. UNITED ARTISTS UNS 15507$4.79, UN 14507 $3.79.

Performance GoodRecording: GoodStereo Quality: Very good

This is the new East Side group-the EastSide of Sweden, that is. In "1963, a

Swedish TV company," say the liner notes,"arranged a competition for amateurs.Thousands of different artists tried theirluck, but only one act succeeded: TheNorthern Lights from Vestervik-a smalltown on the East Side of Sweden." Ac-cording to these same notes the NorthernLights started "the Hootenanny -style inScandinavia, and their favorite groups were


of course the Brothers Four and the King-ston Trio."

To my ears the Northern Lights soundas good or better than their own favoritegroups, musically. As for their ability ininterpreting lyrics, I will have to take some-one else's word for it because my graspof Swedish is limited to reading the sub-titles in Ingmar Bergman films. I do hopethat the "Hootenanny -style" catches on inSweden, since as it is heard here it is asingularly cheerful and sunny sound. Ofcourse, I think anything that mitigates myown (perhaps mistaken) impression that"Swedish" equals "gloomy" is all to thegood. Now all that is needed is a popfemale group (would you believe somethinglike The Wild Strawberries?) and an in-digenous teen dance (The Polar Bare? TheVirgin Spring?), and Swinging Swedenwill be as 1967 as the rest of the world.That should bring some comfort to thelarge number of people who feel that upuntil that moment, Sweden will continueto stay several leagues ahead of us. P. R.

®Q SAM THE. SHAM: The Best of Samthe Sham and the Pharaohs. Sam the Shamand the Pharaohs (vocals), orchestra WoolyBully; Red Hot; The Hair on My ChinnyChin Chin; Ring Dung Doo; and eight oth-ers. MGM SE 4422 $4.79, E 4422 $3.79.

Performance: GoodRecording. GoodStereo Quality: Variable

This album is worth owning if only for thepictures that adorn it. It is a flossy duo -foldjob that features a front -cover full -colorportrait of Sam the Sham, which must havebeen taken at the time he and the Pharaohsrecorded Li'l Red Riding Hood. At leastI hope so, because, unless he is doing a con-scious comic imitation of the Big Bad Wolf,he must get into big trouble crossing statelines. The back of the album features Samstanding under a tree with his arms up-raised while the Pharaohs race madlyaround him and the tree. The inside offersmore pictures of Sam and his cohorts, andthey all have a fine lunatic look. I mightadd that their music also has a fine lunatictouch right from Wooly Bully, a song thatI spent almost one complete Long Islandsummer trying to escape and which I havenow rather come to like, to Li'l Red RidingHood, another of their million sellers.This album is highly recommended to thosewho are convinced that the only way tosucceed in life is to be on the serious side.

P. R.

g JACQUELINE SHARPE: No MoreWar. Jacqueline Sharpe (vocals); WalterRaim arr. Curry WREN CWR 101 $5.00(including postage and tax, from CuttyWren Records, 108 Grand Street, WhitePlains, New York 10601).

Performance: NaggingRecording: Excellent

Miss Sharpe is one of those clear-eyed,clear -voiced girls with boundless energy,a wardrobe of peasant skirts, and a wholerepertory of skills (she runs the weeklyradio program Journey into Folk Song onWNYC in New York, wrote the famousBoston subway song about the MTA, andhas sung "in concerts from Socchi on theBlack Sea to Leningrad"). Her songs have

JUNE 1967 89

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that nagging, aphoristic, left-wing qualitythat harks back to the efforts of the Al-manac Singers in the 1930's-but with noneof the wit or good humor of their agit-prop approach. The young lady sings herbitter ballads in that tone of earnest in-timacy most likely to appeal to our moremilitant doves, while her subjects, predict-ably, are atrocities in Vietnam (only thosecommitted by our side, of course), themartyrs of the civil rights movement, thecoarse behavior of American troops abroad,and other standard preoccupations of theprofessional progressive. Once in a while,betraying the safe monotony of her pseudo-

folk idiom, Miss Sharpe will allow herselfto breathe life into one of her sermons insong, as in her setting of the plea for "nomore war," from the United Nations ad-dress of Pope Paul VI, and in a rathertouching ballad called Cardboard Apples.The rest, to my taste, is sour apples, and purepropaganda. P. K.

0 QQ NINA SIMONE: High Priestess ofSoul. Nina Simone (vocals, piano), unident-ified instrumental accompaniment. I'm Gon-na Leave You; Take Me to the Water: IHold No Grudge: Come Ye: and eightothers. PHILIPS PHS 600219 $4.79, PHM200219* $3.79.

Performance: ArrestingRecording: GoodStereo Quality: Good

There is no one like Nina Simone. She com-mands attention immediately-and usuallyholds it-by virtue of her sensuous, cello -

like voice and her imperious inner pulsation.This collection is quite heterogeneous-com-positions by Chuck Berry, Duke Ellington,Oscar Brown, and herself, and subject matterranging from religion to the transience ofsecular love. What keeps this from being oneof Miss Simone's more incandescent albumsis that the material is uneven and the ar-rangements insufficiently fitted to her uniquecharacteristics. Miss Simone smoulders in avariety of ways before suddenly rising againfrom the ashes, and her songs should providesimilarly provocative backgrounds for thisphenomenon. Most of these do not. N. H.

C) RED SIMPSON: Truck Drivin' Fool.Red Simpson (vocals), unidentified instru-mental accompaniment. Diesel Smoke; Dan-gerous Curses; Sleeper; Fire -by -Two;Truck Daddy; and eight others. CAPITOL ST2691 $4.79, T 2691* $3.79.

Performance: LumberingRecording: GoodStereo Quality: Exaggerated

Mr. Simpson is an ex -truck driver whosesongs about his former occupation havebeen so successful (in the colorful languageof the liner notes they "took off like aloaded rig goin' downhill with no brakes")that he can now devote himself full-timeto the high calling of creating more suchcompositions. These have to be heard to bebelieved, although the high-strung shouldbe warned against making the experiment.The beat is loud enough to jolt your headright off your neck, the tone is invariablyplaintive, and the sentimentality would haveturned the stomach of Robert W. Service.Most of the ballads add up to a long listof complaints-the driver's longing for homeand sleep, the dangers of the road, and a

virtually obsessive lust for a mug of thatmouth -searing brew they call coffee inroadside diners. To top it off there is aheart-rending ballad dealing with "OldSam," a decrepit geezer still un-cynical abouthuman nature (even after being rolled byseven successive hitch -hikers), who "jack-knifes a rig" to save a child looking forhis lost dog (am I breaking your heart?)and is extolled in the song as the very"blueprint the Lord used to make a truck-drivin' man." I see I'm boring you. P. K.

C) C) ANDY STEWART: I'm Off to Bon-nie Scotland. Andy Stewart (vocals). Scot-land Yet; I'm a Rorer; Slainte McGrath:Two Drumr: and six others. EPIC BF 19048$4.79, LF 18048 $3.79.

Performance: ExhaustingRecording: VigorousStereo Quality: Obvious

Hoot mon, you'd swear -r -r -r it was the

NINA SIMONE

A sensuous and arresting individuality

ghost of Sir Harry Lauder himself a -roaringat you over the right speaker as Glasgow -born Andy Stewart sings It's Nice to Get Upin the Morning and a mammoth -soundingorchestra brays out an enriched accompani-ment on the left. But he goes on from there,and only the hardiest ears are certain to sur-vive the whole of this hard -driving musicaltour of Scotland. Those braced for the bon-nie sojourn will hear the spirited Highland.man's Umbrella, the sentimental patrioticSoldier Boy, and a swaggering tribute toThe Girl from Glasgow Toon, to be reward.ed at the end with a rousing item about aforced marriage to a lass named Mary Mack.Ach, to be sure, Mr. Stewart is a bluff, lustyfellow with a hearty voice and unrelentingenergy! Listeners with an effete streak, how-ever, are likely to end up wishing for a res-pite in some remote, preferably sound -proofinn along the route, in order to recover theirhearing and a wee dram of equilibrium.

P. K.

® g JERRY VALE: The ImpossibleDream. Jerry Vale (vocals) ; orchestra,Glenn Osser cond. Smile; W'hat Now MyLore; Strangers in the Night; Gigi: ThreeCoins in the Fountain: More; My Foolish

Heart: and four others. COLUMBIA CS 9383*$4.79, CL 2583 $3.79.

Performance: BoringRecording: Good

When I first heard Jerry Vale warbling ro-mantic persuasions to Peggy King on an oldColumbia promotion disc called "Girl MeetsBoy," he really sounded like the boy nextdoor (provided, of course, you live in an Ital-ian neighborhood). Through the years, hisvoice has matured, but the mellowing processhas been less like ripening Chateau Lafitethan fermenting Manischewitz.

Vale sings every song with unfailinglycolorless similarity, so that Chaplin's Smilesounds disturbingly like More; What NowMr Lore sounds exactly like ImpossibleDream; and Lards Theme from Dr. Zhiragosounds remarkably like Three Coins in theFountain. Strangers in the Night, unfortu-nately, sounds exactly like Strangers in theNight, and it is a dubious credit to Vale'staste that it is included at all. In every selec-tion he phrases so slowly that the rhythm ofthe song and the intention behind the lyricpassages are all but stripped of significance.He seems to have little knowledge of modernmusic or what is happening among the newsong writers. Everything about this album isan example of playing it safe. The result issmooth, boring, and lethargic, and promisesto be Instant Hitsville at the old folks'homes. R. R.

C) C) IVA ZANICCHI: Caro Mio. IvaZanicchi (vocals) ; orchestra, Augusto Mar-telli cond. Come ti rorrei; Caro mio; Credi:Se; Mi cercherai: Accarezzami amore; andsix others. UNITED ARTISTS UNS 15502$4.79, UN 14502* $3.79.

Performance: WearingRecording: GoodStereo Quality: Good

In this package, marking the American debutof Italian singing star Iva Zanicchi, the cov-er promises more than the contents deliver.Miss Zanicchi is indeed quite lovely to lookat. According to the jacket copy, she is notcontent merely to interpret a lyric vocally,"she lives it in her gestures, her body and hersoul. Every part of her sings." Now there'sa vision that wouldn't be hard to take. I

wouldn't mind at all watching every part ofIva Zanicchi sing, if all the parts come to-gether as well in person as they do in thesephotos. But, left with only the one-dimen-sional, earthbound aural merits of her styleas presented on this disc, the verdict fromthis corner is that there must be a reason forher popularity in Italy that has nothing to dowith her voice.

All of the songs are in Italian, and they allsound as though they are being choked out ofone of those awful jukeboxes that crowd thetrattorias on an Italian autostrada. Any mo-torist who has driven through Southern Italycan tell you of the horrors of these drive-inpizza joints, where you pay with your gasstamps for overpriced grappa and greasy la-sagna while your ears are assaulted by hard -sell vocalists shouting Italian love songs invoices that sound exactly like Iva Zanicchi's.It's all so second-rate, so bottom -rung. SurelyItaly must be producing better material thanthis, better singers than bosomy ladies whotremble with roaring vibrato. Miss Zanicchisings. We learn nothing. The vita is there,but it's certainly not very dolce. R. R.


ro1,1 GEORGE BRAITH: Extension.George Braith (tenor, soprano, and alto sax-ophones), Grant Green (guitar), Billy Gard-ner (organ), Clarence Johnston (drums).Nut City; Ethlyn's Love: Out Here; Exten-sion; Sweetville; Eery Time We Say Good-bye. BLUE NoTE ST 84171 $5.79, 4171*$4.79.

Performance: Green excelsRecording: Very goodStereo Quality: Excellent

This is a case of a leader being cut by hissidemen. The most authoritative soloist onthe album is guitarist Green, whose acutesense of rhythmic placement remains impres-sive throughout his many recording appear-ances and assures that any session he's on willswing. Second in order of interest is organ-ist Billy Gardner, who plays with admirablecontrol of dynamics and an intriguing bitter -lemon sound. The leader is only ordinary ontenor saxophone, but somewhat more distinc-tive on soprano and alto. Braith obviously hascapacity, but something seems to be holdinghim back-emotionally and imaginatively.It might be revealing if he were to try tolet go next time. N.H.


(§) C) DAVE BRUBECK: Anything Goes!Dave Brubeck (piano), Paul Desmond(sax), Joe Morello (drums), Gene Wright(bass). Anything Goes; Love for Sale;Night and Day; You're the Top; and fourothers. COLUMBIA CS 9402 $4.79, CL 2602

$3.79.Performance: RefreshingRecording: ExcellentStereo Quality: Excellent

The hard -driving intellectual musicality ofDave Brubeck and the sophisticated aged -in -wine urbanity of the late Cole Porter seem aperfect match in this tribute to the greatcomposer. I've never heard Brubeck soundso deceptively simple, nor Paul Desmondsound so deliciously lyrical. There seems tobe no need for those great Porter lyrics here,for Brubeck's musical ideas get the messageacross without them. (Dig Love for Sale,with an after-hours rehearsal piano soundthat quickly turns into barrelhouse.) All ofPorter's cleverness is intact, nothing is sacri-ficed, and nothing is condescended to in anattempt to juice things up for the jazz buffs.

This is a gem of an album, inspired in itstestament to Cole Porter, and inspirationalto listen to. I can hardly wait for Brubeck totackle Harold Arlen. R. R.

GARY BURTON: Tennessee Firebird (seeBest of the Month, page 61)

MILES DAVIS: Miles Smiles (see Best ofthe Month, page 62)

JUNE 1967

0 ® ART FARMER AND THE BA-ROQUE ORCHESTRA: Baroque Sketches.Art Farmer (flugelhorn) ; orchestra. Aria;Sinfonia; Alfie's Theme; Etude; and fourothers. COLUMBIA CS 9388 $4.79, CL 2588$3.79.

Performance: Farmer brilliantRecording: ExcellentStereo Quality: Superior

It was the idea of Teo Macero, who pro-duced this album, that Art Farmer ought tobe heard in a setting with a "baroque flavor."The idea was expanded, however, to includeadaptations of Chopin and Albeniz as wellas Bach. And for more diversity, JohnLewis' Little David's Fugue, an excerpt fromSonny Rollins' score from the film Alfie, anda tune from Sweet Charity were also added.The question is why the album was conceivedat all. I grant that arranger Benny Golsonhas created interesting orchestral textures-though the definition of "Baroque flavor"has been widened to the point of extremeattenuation. I grant too that the orchestraperforms with impressive skill. But the re-sult has been to graft extraneous forms andsounds onto the quintessential jazz lyricismof Art Farmer, who really doesn't need anartificial superstructure to tell his story.Farmer is superb throughout, but 1 expecthis small -combo albums will last much long-er than this factitious event. Jazz can standon its own, just as Bach and Chopin do. Imust admit, though, that there are some un-usually evocative passages, most notably inthe transmutation of Chopin's Prelude inA Minor. But even these are more in thenature of novelties than they are music withits own organic reason for being. N. H.

RECORDING OF SPECIAL MERIT(§D C) STAN KENTON: Stan Kenton Playsfor Today. Orchestra, Stan Kenton cond.Spanish Eyes; Never on Sunday; Anna;Strangers in the Night; Yesterday; It Was aVery Good Year; and five others. CAPITOLST 2655 $4.79, T 2655* $3.79.

Performance: VolcanicRecording: ExcellentStereo Quality: Excellent

When hard-nosed supporters of the mum-bo -jumbo passing for current NOW musicpoint out that the great talents of sophisti-cated popular music and jazz are washedup, the first person they usually pick onis Stan Kenton. It's like the young Methodactors' putting down Helen Hayes. Fine fortheir time, perhaps, but a bit passe now.Well, examine this: Stan Kenton's lessonsin this new collection of pop hit songsseem to be that (1) you can teach an olddog new tricks, and (2) it takes an oldpro to teach the new music, feeble as it is,how to stand up on its own legs and soundlike music.

The melodies are crystal bright, neverdiffused in the augmentation of big -bandjazz, and while the material is largely be-neath the Kenton genius, he arranges itwith respect, as though it had just beenwritten by Stravinsky. All of the excitementwith which he used to flood his big bandis here, but the effect is achieved withfewer instruments. He uses striking shiftsof tonal color, interchangeable rhythms andtempos (listen to his own piano playing theone -note -at -a -time theme from the Beatles'

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Michelle while a rampaging herd of bongos,timpani, congas, tambourines, and cow bellscry havoc in the background) and full-bodied brass choirs to construct unique ar-rangements of pop songs that make themsound years ahead of their time.

Only a genius could make Strangers inthe Night sound like something palatable-it crops up with nauseating regularity inalmost every album you pick up these days-but this is the first arrangement of itI've ever heard that I could stand for morethan three bars. Kenton builds it into adriving frenzy with a muted brass sectionagainst throbbing congas, with brief respitesof improvisational Kenton piano thrown infor sultry brilliance. And the old Kentonbent toward sensitive ballads turns FrankSinatra's It Was a Very Good Year into atone poem without syrupy strings by usingpiano and bass against an echo chamber ofcascading trumpets. The effect is similarto the one created in his classic City ofGlass suite.

Critics have devoted vast quantities ofpaper to writing about "the Kenton sound."Without further comment, I hasten to addthat it is to his imagination and musclethat credit must go for his being able tomake absurd music sound so exciting. Ifthere is a "Kenton sound," it has neversounded better. R. R.

RECORDING OF SPECIAL MERITg JAY McSHANN: McShann's Piano.

Jay McShann (piano, vocals, celeste) ;Charlie Norris (guitar) ; Ralph Hamilton(Fender bass) ; Paul Gunther and JessePrice ( drums ). Yardbird Waltz; MotenSuing; Blues for an Old Cat; Dexter Blues;and seven others. CAPITOL ST 2645 $4.79,T 2645* $3.79.

Performance: Robust and mellowRecording: Very goodStereo Quality: Excellent

Jay "Hootie" McShann is best known in jazzannals as the leader of the Kansas -City -basedband in the 1930's and early 1940's fromwhich Charlie Parker, among others,emerged. The focus in this session, made inAugust, 1966, is on McShann the pianist.Though he has never been a direction -setter,McShann is deeply grounded in the basicpre -bop piano language. Here he rangesthrough boogie-woogie, slow blues, anearthy waltz, gospel, and barrelhouse. Heplays a consistently satisfying recital of akind that, I think, will last long in jazz rec-ord collections. There are times when youdon't want to stretch your listening capaci-ties, but prefer instead a warmly familiarand expertly performed variety of jazz. Thisis an album for those times. N. H.

RECORDING OF SPECIAL MERITg ALBERT NICHOLAS: Albert Nicholasin Milan. Albert Nicholas (clarinet), withLino Patruno and his Dixieland Jazz, Milan -

Riverside Band. Wolverine Blues; St. JamesInns -mart'; Tiger Rag; Royal Garden Blues;Savoy Blues; and five others. ODEON QPX8097 $4.79.

Performance: Finger -snappyRecording: Good

Happiness abounds in this collection ofItalian -style Dixieland with American jazz

clarinetist Albert Nicholas at the helm.What a funny thought: Pops Nicholas, withhis white cotton -candy hair and his old-fashioned licorice stick, panting out thechants of happy New Orleans revelers andBeale Street vagabonds with a group ofpin -stripe -suited, ravioli -eating Italians. Thephotos on the jacket, snapped in Italy, areeven funnier. They show Nicholas stand-ing around in his faded old sweater, sur-rounded by admiring Italians who look likemovie extras ready to do the St. Valentine'sDay massacre scene from a "B" flick aboutthe Mafia.

The results, however, are the only im-portant consideration, and they are tops-good enough, in fact, to make this themost enjoyable collection of Dixieland hits(they're all here, from Kid Ory's SavoyBlues to Jelly Roll Morton's Wolverine

STAN KENTONThe Kenton sound has never sounded better

Blues) since Satchmo's tour of Russia. Itis also a remarkable tribute to the Italians,who may never get any closer to Story\ illethan the music they play, but who love itanyway. R. R.

® SHIRLEY SCOTT: Roll 'Em. ShirleyScott (organ) ; on four tracks, orchestra, Oli-ver Nelson cond.; on six tracks, George Du-vivier, Richard Davis (bass) ; Grady Tate,Ed Shaughnessy (drums). For Dancers Only;Sophisticated Suing; Things Ain't WhatThey Used to Be; Tippin' In; Little BrownJug; Stompin' at the Savoy; Ain't Misbe-havin' ; and three others. IMPULSE AS 9119$5.79, A 9119* $4.79.

Performance: CompetentRecording: ExcellentStereo Quality: Very good

This album is subtitled "Shirley Scott Playsthe Big Bands," and all the tunes havebeen associated with large jazz orchestras,mostly of the past. Four tracks even in-clude a big band, and while the arrange.ments are functional enough, the perfor-mances are limited in interest because noneof the sidemen are allowed to solo. MissScott's own supple though not especiallyinventive playing is better heard in a triocontext, and those six performances are ac-cordingly more satisfying. Most notable isAin't Misbehavin'. A pleasant album, butexpendable. N. H.

CIRCLE NO. 36 ON READER SERVICE CARDHIFI/STEREO REVIEW


® ADDISS AND CROFUT: Steve

Addiss and Bill Crofut (vocals). SimpleGifts; A Man of Words; Innsbruck; Malay-sian Flute; Sita Ram; Blues on the Ceiling;A Ballad from Vietnam; and six others. CO-LUMBIA CS 9411 $4.79, CL 2611 $3.79.

Performance: StirringRecording: GoodStereo Quality: Good

Addiss and Crofut are two young men whohave been singing together since their schooldays in Vermont. Bill Crofut is Dave Bru-beck's neighbor in Connecticut, a reason nodoubt for this Columbia recording and forBrubeck's interesting liner notes. Whateverthe reason, I am grateful for this disc re-cital. They are more interesting than mostof their contemporaries, because the songsthey sing, in a broad sense, are truly folksongs-that is, they embody the souls of allpeople, all eras, all ethnic groups. There is asong about Vietnam, but it is included be-

cause of its musical importance. Addiss andCrofut are not one-track-mindniks. They canturn right around and sing a medieval hymnabout the Virgin Mary which BenjaminBritten used in his Ceremony of Carols. AndV on Nobis Domine is a sixteenth.century

melody gussied up for two voicesand accompanied by jazz bassist Willie Ruff.There's a great Woody Guthrie tune calledMail Myself to You that is as contemporaryas a hamburger.

These are freshly -styled voices, practicallyUtopian in their peaceful perfection, cooland languid as a gentle brook after a rainfall.They sing songs from the French Crusades,city blues, Shaker hymns, Malaysian lovesongs, encompassing the human condition interms that are new and genuine, with noneof the desperate hard -sell hysteria that ac-

companies most of what is currently billedas folk music. R. R.

0 ® NEW LOST CITY RAMBLERS:Remembrance of Things to Come. MikeSeeger (vocals, autoharp, banjo, mandolin,guitar, violin), Tracy Schwarz (vocals, gui-tar, violin, spoons), John Cohen (vocals,guitar, banjo, triangle). Lord Bateman;Black Bottom Strut; Dark and StormyWeather; Give the Fiddler a Dram; andfourteen others. VERVE/FOLKWAYS FTS3018 $4.79, FT 3018 $3.79.

Performance: BuoyantRecording: Very goodStereo Quality: Good

For this album, these three eclectic citybillieshave studied in depth a rewarding variety of

sonny_b_gy williamson

MOREREAL

FUN BLUES

LP/LPS 1509 LP/LPS 1511

sources from the Carter Family and UncleDave Macon & His Fruit -Jar Drinkers to aneighty -year -old folk singer in Arkansas. Theyknow the diverse country instrumental idi-oms exceedingly well, and their vocals-particularly when heard together in high,close harmony-distill the spirit as well asthe letter of the traditions to which they aredevoted. Admittedly they synthesize and re-create, rather than make original contribu-tions to, folk music, but judged in light oftheir own goals, they are a consistently pleas-urable and instructive trio. Special commen-dation is due engineer Peter Bartok for therecording. N. H.


S M1 MALVINA REYNOLDS: Sings theTruth. Malvina Reynolds (vocals, guitar).Little Boxes; I Don't Mind Failing; TheBloody Neat; Bitter Rain; and nine others.COLUMBIA CS 9414 5I.79, CL 2614 $3.79.

Performance: Persuasive and engagingRecording: ExcellentStereo Quality: Very good

Malvina Reynolds, of Berkeley, California,has been writing songs for twenty of hersixty-six years, but has been a public per-former of those songs only for the past sixyears. A unique force in the folk musicworld, her compositions have been recordedby Joan Baez, Pete Seeger, and Harry Bela-fonte, among others. Some of them have be-come anthems for the rebellious young,notably What Hare They Done to the Rain?and Little Boxes. As a performer, she sounds,

LP LPS 151,

Thoughts that breathe ...Words that burnThese, my friends, are the real folk blues.

Available in both Mono and Electron. Stereowherever records are sold.

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as she puts it, as if she has a semi -permanentfrog in her throat. And yet she is a delight tohear because she is so honest in her feelingsand so wryly skillful a singing dramatist.Her quintessential qualities as singer andcomposer have been best summarized as "dryintelligence, a warm heart, and a sly andferocious humor." She goes deeper than topi-cal protest to universal concerns and ambi-guities. Not all of her songs are memorable,but she certainly is. For this disc, congratu-lations are due Columbia Records and pro-ducer John Hammond, a person who, likeMiss Reynolds, has refused to let time freezehis feelings and ideas. N. H.

C) C) ROGER SPRUNG: Grassy Licks.Roger Sprung (banjo), Jon Sholle (leadguitar), Jody Stecher (mandolin), GeneLowenger (violin), Larry Dunn (guitar),Mike Miller and Austin Gelzer (bass),Jackie Pack (dumbek), Gene Zimmerman(jew's-harp), Richie Barron (drums).Greenland Fisheries; Muskrat Ramble;Eighteenth Century Drawing Room; Paddyon the Turnpike; The White Water Jig;jingle Bells; Black Mountain Rag; TheWhite Cockade; and nine others. VERVEFVS 9037 $5.79, FV 9037* $4.79.

Performance: SkillfulRecording: Very goodStereo Quality: Good

Roger Sprung, though not reared in Blue-grass territory, has become convincing enoughin that idiom to appear with success at var-ious Southern Bluegrass festivals. He is hard-ly, however, "the country's foremost prop-agator of Bluegrass music," as the notesinsist. Among others, Flatt and Scruggs andBill Monroe can easily contest that claim.But Sprung and his colleagues are dexter-ous, and play with the zest and humor es-sential to the Bluegrass style. Unfortunate-ly, Sprung feels compelled to "popularize"Bluegrass further by applying the form tosuch inapposite tunes as Eighteenth CenturyDrawing Room, Jingle Bells, and HavaNagila. The effect is somewhat like that ofhearing Carlos Montoya play jazz: a novelty,and little more. N. H.

RECORDING OF SPECIAL MERITi) THE STAPLE SINGERS: Pray On.

Roebuck Staples (vocals; guitar) ; Mavis,Cleo, Pervis Staples (vocals), unidentifiedrhythm section. How Great Thou Art;II "hen War Jesus Born?; Glory, Glory, Hal-lelujah!; Had No Room; John Brown; andsix others. EPIC BN 26237 $4.79, LN 24237$3.79.

Performance AbsorbingRecording: Very goodStereo Quality: Excellent

The Staple Singers are the pre-eminent gos-pel group in the country. Their foundationis the blues -rich guitar and voice of RoebuckStaples, the father of the other three mem-bers of the group. Their most hypnotic soloornament is the dramatic contralto of MavisStaples, and their collective strength andcharacter come from the vivid, deep, denseensemble textures they weave. A particularlynotable track in this collection is JohnBrown, a penetrating tale of the destructive-ness of war. It is impossible to listen casual-ly to the Staple Singers; they draw you intothe vortex of their passionate art. N. H.

THEATER FILMS'ILt BY JUPITER (Richard Rodgers -

Lorenz Hart): Original -cast recording, 1967production. Bob Dishy, Jackie Alloway,Sheila Sullivan, Robert Kaye, and others(vocals) ; chorus and orchestra, Milton Set-zer cond. RCA VICTOR LSO 1137 $5.79,LOC 1137* $4.79.

Performance: JauntyRecording: ExcellentStereo Quality: Alive

Along with The Boys from Syracuse, Rod-gers and Hart's By Jupiter stems from theGreek, or neo-classical, period in the paradeof musicals by this still unsurpassed team.And both ventures recently have provedtheir durability in first-class off-Broadwayrevivals. By Jupiter, based on Julian Thomp-son's once -popular play The Warrior's Hus-band, has all the elements Lorenz Hartliked to kick around in a book and lyrics:an Amazon queen with a frightened spouse,a war between aggressive ladies and a par-cel of handsome Greeks, and a completeset of alternately piquant and ridiculoussituations. It is the cast of the 1967 pro-duction that is heard here. Although BobDishy cannot hope to compete with theoriginal performance by Ray Bolger in the1940's as Sapiens, Hippolyta's non -herohusband, he is certainly winning enough.In addition, Jackie Alloway as Hippolyta,Sheila Sullivan as Antiope, and Robert R.Kaye as Theseus all have lovable ways andforthright, pleasant voices. The score of ByJupiter is not as likely to stir your pulsesas often as that of The Boys from Syracuse,but it has its moments, and the best ofthem are in the second act: the graceful,hummable Wait till You See Her, thecasual Careless Rhapsody, and the exuberantEverything I've Got. They don't make 'emlike that any more. Not lately, anyhow. P. K.

C) C) CARMEN JONES (Georges Bizet -Oscar Hammerstein II). Grace Bumbry,George Webb, Ena Babb, Elizabeth Welch,Thomas Baptiste (vocals) ; chorus andorchestra, Kenneth Alwyn cond. HELIODORHS 25046 $2.49, H 25046* $2.49.

Performance: LadylikeRecording: SuperbStereo Quality: Vivid

Once in the dear dead days beyond recall,when audiences could still chuckle withoutself-consciousness at racial stereotypes anddialect, when the lyrics of Porgi and Besswere accepted as believable approximationsof Southern Negro speech, and a referenceto his "wonderful sense of rhythm" wasthe highest praise you could bestow on ablack performer, Oscar Hammerstein IIwoke up one morning with the bright ideaof changing Carmen's color and shippingher from her cigarette factory in Seville toa wartime parachute factory in the Amer-.

94

= .. .II All11=100

HIF1/STEREO REVIEW

can South. It is a tribute to the indestruc-tibility of Bizet's score that the lady traveledas well as she did, enchanted Broadwayaudiences for 502 performances, and evensurvived a dismally literal movie treatment.

In Carmen Jones, first performed withan all -Negro cast in 1943, in the midst ofWorld War 11, Don Jose was transformedinto Joe, an army corporal; Escamillo be-came Husky Miller the heavyweight boxer;and Micaela turned up as Cindy Lou, thesmalltown girl who's left behind as Joeslips off with Carmen to Chicago. Themusic was left pretty well intact, except fora spectacular production number called BeatOut Dat Rhythm on a Drum, based on theChanson boheme, and a slick "adaptation"of the scoring for show orchestra by RobertRussell Bennett. The whole score was issuedby Decca with Muriel Smith in the titlerole in an album that is still available butmarkedly dated in sound. The new pro-duction leaves out the children's chorus but

WALT DISNEY

Musical memorial to a remarkable creator

includes almost everything else save theincisive comedic spirit of the original. Theensemble is brisk, and the soloists are first-rate. As Cindy Lou, Ena Babb is touching,and George Webb as Joe lifts a skilledthough insufficiently impassioned tenor inarias like Dis Flower. Elizabeth Welch isspine -tingling as the heroine's friend Frankie,especially in Beat Out Dat Rhythm. Thechorus resounds with vigor in respectfullydistinct renditions of Hammerstein's mostfelicitous moments in passages like Stan'Up and Fight, which for my money is evenmore apt for the music than the originalToreador Song. Only Grace Bumbry in thetitle role refuses to let her hair down atall for the occasion, maintaining her aloofsoprano with haughty elegance and no con-cessions to the low-down nature of the girlwho "ain' de kin' of a mare dat'll stan'widout hitchin'." Still, it's a lovely mezzo-soprano. P. K.

COLLECTIONS

0 g BEST ORIGINAL SOUND-TRACKS AND GREAT THEMES FROMMOTION PICTURES. Soundtrack musicfrom Hawaii, Return of the Seven, The For-tune Cookie, After the Fox, Duel at Diablo,

JUNE 1967

Khartoum, A Man and a Woman, Cast aGiant Shadow, Viva Maria. Dr. Zbivago,The Russians Are Coming, and A FunnyThing Happened on the Way to the Forum.Various artists and orchestras. UNITED ART-ISTS UAS 6570 $4.79, UAL 3570* $3.79.

Performance Searing! Sensational!Supercolossall

Recording. GoodStereo Quolity: Excellent

Movie -lovers waiting for the feature tostart should have no trouble getting into themood as this assortment of voluptuous, ifamorphous, themes from the money-makersof recent times fills the air with ravishing andever -so -stylish gasps of sensuous sound.From the soundtracks of epics such as Hawaiiand Dr. Zhivago come the customary deepmusical sighs of yearning, from Khartoumthose oriental strains that promise bravedeeds in the desert, from Cast a Giant Shad-ow a kind of nervous symphonic hora. Butmovie music is manufactured so as not tocall too much attention to itself in the firstplace, and the nearest thing to the genuinearticle on this disc turns out to be a witty lit-tle sequence by composer Burt Bacharachfrom After the Fox. There's also a pleasantbonus at the end in the form of Zero Mostelsinging the exuberant Comedy Tonight fromthe soundtrack of A Funny Thing Happenedon the Way to the Forum. The rest is fudgefrom the same old candy machine, the kindthat gets between one's musical teeth untilthey ache with the sticky sweetness of it all.

P. K.


Ai) THE MUSIC OF WALT DISNEY.Various artists. Alice in Wonderland; Lav-ender Blue Dilly Dilly; Chim Chim Cheree;Winnie the Pooh; When You Wish upona Star; Hi Ho; and ten others. BUENA VIS-TA 2000 $3.00.

Performance: CheeryRecording: Fair

What adult has not, at one time or another,been touched in some way by Walt Disney'sremarkable world of dwarfs and witches andtalking ducks? I suspect there are two kindsof Disney fans: those who admit it and thosewho do not. Both groups will love this col-lection of songs from Disney productions-produced as a memorial to the man who be-gan the whole thing-featuring everythingfrom the Seven Dwarfs' work song to MaryMartin singing Lavender Blue from So Dearto My Heart. Many of the songs are fromthe shaky sound tracks of the Thirties andForties, so the recording quality is only asgood as modern techniques can make themin the transfer from the originals. You won'tnotice. You'll be having too good a time lis-tening to Uncle Remus belting out Zip-a-Dee-Doo-Dah in his great basso profundoor Leopold Stokowski and the PhiladelphiaOrchestra playing the fascinating Chine,,Dance from Fantasia. Remember the voice ofIlene Woods, trembling and virginal as Cin-derella, trilling A Dream Is a Wish YourHeart Makes? Or the mouse chorus singingits Work Song? Or Peter Pan finding hisway to Never Never Land with the aid ofThe Second Star to the Right? They're allhere, and many more. R. R.


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(f_vi SANDY BARON: I Never LetSchool Interfere . . . with My Education.Sandy Baron (performer). CAPITOL ST 2613$4.79, T 2613* $3.79.

Performance: FunnyRecording: GoodStereo Quality: Who needs it?

Only the most churlish of dropouts couldfail to be amused by the ingratiating Mr.Baron as he recalls, with the aid of a coupleof friends who "felt his story must be told,"the experiences of his adolescence as a stu-dent in a New York high school. Smokingin the bathroom, dodging the school bully,undressing for a medical checkup, cheatingon exams, and playing Romeo in the schoolauditorium are among the memories dealtwith on side one, but things really begin towarm up when the hero describes dating hisfirst girl. "Come on in, rapist," her fathergreets him, and grunts at the happy couple,"Be back at 8:15." Few will not be moved byher riposte when the young swain makes hisfirst pass: "I don't feel that a person on afirst date with another person should get thatpersonal...." Things come to a head duringan interview with a terrifyingly helpful guid-ance counselor and an address at graduationby John Perfect, the class valedictorian. Mr.Baron, who appears in the TV series Hey,Landlord, has been entertaining many of usfor years, from the days of The Second Cityand The Premise right through That Wasthe Week that Was. On his own, he is notready as yet to compete with, say, WoodyAllen, but in a special, disarming way he iscertainly amusing here. P. K.

DONALD HALL: A Summer in theStomach. Donald Hall (reader). WESTERNMICHIGAN UNIVERSITY AURAL PRESS 1004S5.00.

Performance: PristineRecording: Clear

Donald Hall works in black and white, shun-ning all easy, decorative, colorful imagery tofashion word -snapshots in the sharpest focus,darkly lit and of extraordinary evocative pow-er. Yet these photographic souvenirs of in-eradicable moments-a Saturday morning inJanuary in a lonely New England kitchen;a sleepless night spent separately by restless,jealous lovers; an abandoned airfield hauntedby the spirit of a dead pilot-are trick photo-graphs transformed into more than memoriesby the somber imaginings of a camera eyethat dreams as well as sees. Dreams anddaydreams turn his pictures into events, andeven the brief verses inspired by the sculp-ture of Henry Moore are transformed by vis-ual magic: a pair of stone figures becomea king and queen ruling "over the dark na-tion of themselves." The poems are read ina rich dark voice entirely free of literarymannerisms or affectation-in fact everything

96

about this record deserves superlatives ex-cept the title. But please, in future, oh, West-ern Michigan University, be generous andgive us texts to help us follow the subtlemaneuverings of the poetic mind. P. K.

8 0. HENRY: Short Stories. The Ransomof Red Chief and The Cop and the Anthem.Ugo Toppo (reader). CMS 509 $4.98.

Performance: Bright and rightRecording: Good

CMS, one of several small companies at-tempting to supply literate entertainment forthe young, has in the past been particularlyfortunate in the casting department, and is soagain this time around. There has been noambitious scramble to engage Big -NameStars, but the lesser -known personalitieswho read aloud on these records are certainlyexpert at it. Ugo Toppo, who, in an earlieralbum of this series, offered a performance ofJack London's story To Build a Fire thatset my teeth chattering at its realism, thistime takes on two deservedly popular oldfavorites. 0. Henry has been recorded before-there is a particularly valuable collectionof his tales read by Robert Donley at the16% -rpm speed on Libraphone-but neverso well as by Toppo. He builds considerableexcitement out of The Ransom of Red Chief,the story of a kidnapping by two scalawagsnamed Sam and Bill of a "two -legged sky-rocket of a kid" from a town in Alabama.This little redheaded monster turns out tobe such a menace that the kidnappers arehappy to pay ransom money to his parents toget rid of him in the end. A touching periodpiece set in New York at the turn of thecentury, The Cop and the Anthem summonsup not only the character of the wistfulhero -bum who is trying to get himself jailedfor the winter, but the very flavor of thecity in its Age of Innocence. Here Mr. Toppohas just the right touch of New York in hisvoice, and enough relish for his assignment,to take the curse off one of the corniest trickendings in the history of the short story.

P. K.

RECORDING OF SPECIAL MERIT(§) THE LORD IS MY SHEPHERD-Psalms from the Old Testament. Sir Lau-rence Olivier (reader). Incidental music per-formed by the Zemel Choir, Dudley Cohen,director. WORLD SERIES PHC 9047 (com-patible stereo) $2.50.

Performance: Ear -openingRecording: GoodStereo Quality: Artificially induced

Let the skeptical be forewarned: this isnot just one more reading of selectionsfrom the Book of Psalms by a skilled actor.There are a number of those already in thecatalog, notably the excerpts read by JudithAnderson for Caedmon and by Morris Car-novsky for Spoken Arts. Mr. Olivier haschosen a far more arresting, even startling,approach. Opening quietly with the pas-toral Twenty-third Psalm ("The Lord isMy Shepherd"), he carefully builds a pro-gram of increasingly passionate recitations,which unfold into full radiance with therhapsodical outbursts of Psalm 148 ("Praiseye the Lord from the heavens; praise Himin the heights") and conclude with thefinale of Psalm 150, where all instrumentsare summoned to join in praise of God "in

HIFI/STEREO REVIEW

the firmament of His power." The effect isretroactive, for it is only after hearing bothsides of this tour de force that the listenerrealizes how he has been lulled and swayed,his emotions stirred to a pitch and finallygalvanized into awe by the sweeping cre-scendo of a masterful performance.

The power of Olivier's reading is en-hanced by a musical choral tapestry wovenin and out among the words to createexalted interludes from stanza to stanza.The score is chosen from traditional se-lections and original settings by Paul Ben -Haim and Dudley Cohen. The total effectopens a new dimension in the arid flatlandsof religious recording. P. K.


QM JAMES THURBER: The ThirteenClocks. Lauren BacaII (reader). PATHWAYSof SOUND 1039 and 1040 $3.98 each.

Performance RemarkableRecording: Excellent

"Once upon a time, in a gloomy castle on alonely hill where there were thirteen clocksthat wouldn't go, there lived a cold, aggres-sive Duke, and his niece the Princess Sara-linda." So begins the story of The ThirteenClocks, one of three fairy tales for grownupsthat James Thurber, perhaps the supremehumorist, cartoonist, and comic essayist ofour time, turned out in his later years. AndThe Thirteen Clocks, more than the slyerand subtler The White Deer which pre-ceded it, or The Wonderful 0 which cameafter, is also the likeliest to appeal to actualchildren. For the story of the Duke who isso cold he wears gloves when he sleeps inhis castle where time has stopped and lifehas frozen, and who schemes to turn awaySaralinda's suitors so that he can keep heralways to bask in her glow, is richly satisfy-ing in the suspense and complexity of itsplot as well as in the ironies and undercur-rents of its spellbinding development. LaurenBacall's reading, throughout these two longdiscs, is one of those miracles of the actingart in which the voice of the narrator dis-solves to bring the listener into direct andtotal rapport with thoroughly enchantingmaterial. This is all the more remarkable inthat the voice itself, which is pitched some-where between an alto and a baritone, issomewhat harsh and not at all anonymous.But Miss Bacall, who dedicates the recordsto her own three children, manages to meltright into the story and supply the rightflavor for every sentence-without ever add-ing a single grain of saccharine. P. K.

RECORDING OF SPECIAL MERITg MARK TWAIN: Tom Sawyer (ex-cerpts). Ed Begley (reader). CAEDMON TC1165 $5.95.

Performance SuperbRecording: Good

From the great saga of Southwestern boy-hood in the nineteenth century, the editorsof this stunning record have chosen thepassages that deal with how Huck Finnand Tom are witnesses to a murder com-mitted by Injun Joe in a cemetery and withthe events that lead to the discovery of thecriminal. These are excerpted from the bookand woven together expertly for the maxi-mum effect of suspense and atmosphere. Ed

Begley's name is a byword in the world ofrecorded readings, but it would be an in-sult to summarize this particular excerptas good or even excellent. Actually thereading is uncanny-as spooky in its skillas the material itself. As the tight, lucidprose of the novel moves from the diurnalworld of school and home to the eerie at-mosphere of the cemetery where Huck andTom watch the half-breed kill the doctorfor whom he was supposed to dig up acorpse for use in medical research, Begleychanges before your very ears into onecharacter after another. His own personalitysimply melts away and leaves us amongthe people in the story in the murky ceme-tery, later at the festivities of the Fourthof July picnic, and finally, in terror, withTom and that incredibly good-temperedgirl Becky Thatcher in the cave where theyare lost and narrowly escape being mur-dered themselves. For kids? For adults?Twain never made up his mind for what"age level" he wrote Tom Saucer. I can'timagine any listener of any age failing toenjoy this narrative. P. K.

RECORDING OF SPECIAL MERITC) PETER WEISS: Reading From HisWorks. Excerpts from The Investigation,Marat/Sade, I Come Out of My HidingPlace, and The Leavetaking. Peter Weiss(reader). CAEDMON TC 1131 $5.95.

Performance: HauntingRecording: Very good

Peter Weiss, like the novelist Eli Weiseland the poet Nelly Sachs, is one of thoseliving ghosts whose role in the present seemsto be to prod the sluggish contemporary con-science by summoning remembrances of hu-man cruelty. Weiss is not a Jew in search ofhis mission, as is Weisel, but the son of aconverted Catholic father and a ProtestantSwiss mother, a German who left Germanyin 1934 and since 1938 has pursued his liter-ary career in Sweden. Yet his voice, likeWeisel's, seems to emerge from somemurky region of the dead and damned whereall emotion has been purged from the humansoul. To hear him read, in an English al-most entirely free of a foreign accent orinflection, the description from The Investi-gation of the herding of victims into aNazi concentration camp is an experienceto freeze the blood. He also reads severalpassages from his play Marat/Sade, andhere he has selected those that contrast Sade'sskepticism that justice is ever possible withMarat's impassioned belief that the revolu-tion in France will make life better for thecommon man. But there apparently are twoWeisses-an early writer concerned withprivate sensibility as well as the later onewho believes that art must be wedded topolitical commitment. Weiss Number Oneis beautifully represented by a full side de-voted to a passage from his autobiographicalbook The Leavetaking (1960), a descriptionof a child's first visit to a carnival almostProustian in its meticulous evocation ofatmosphere and detail. Weiss in transition,abandoning the detachment of privacy tobecome involved in the struggle for socialchange, is glimpsed through a revealingpassage from his later writing called I ComeOut of My Hiding Place. This is a hauntingrecord, the more so in that so little it containsis either familiar or predictable. P. K.

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HIFI/STEREO REVIEW


STEREO TAPERECORDING OF SPECIAL MERIT

® BEETHOVEN: Quartets, Op. 59, Nos.1,2, and 3 ("Rasounsorsky"); Quartet No.10, in E -/fat major, Op. 74 ("Harp"). Juil-liard String Quartet. EPIC E3C 849 $11.95.

Performance: ExcellentRecording: Clear and of good qualityStereo Quality: Not markedSpeed and Playing Time: 334 ips; 130' 26"

Two hours and ten minutes of Beethovenhere, and the tape quality is good. Theseare, above all, admirable performances. Ido not agree with those who criticize theJuilliard players for over -precision or lackof feeling. These are not, of course, ultra -Romantic readings; but then this is not ultra -Romantic music. It is Classical art in the bestand most precise meaning of that misusedterm. I find the Juilliard players anythingbut mechanical and insensitive; certainlythey are never merely metronomic and neverfall into the -modern" fallacy of playingonly from phrase to phrase. Indeed, they areaware of, and project, some of the biggerformal ideas of this music better in manyrespects than the -traditional" chamber mu-sicians-represented by, say, the Budapestplayers. Yet the Juilliard Quartet maintainsa kind of buoyancy and ensemble articulationthat is quite right for this still relatively ex-trovert middle -period Beethoven. There isone problem, generic to big albums and largecollections: the loss or lack of certain de-sirable repeats.

These recordings nicely survive the trans-fer to 3% tape: the quality of the sounditself is close and clear but not dry, like thatof a comfortable room, and is at a high level.The stereo effect is not particularly direction-al, but the voicing is certainly always clear.Since the original disc set had three records,this tape comes out according to my calcu-lations a bit cheaper. In any case, it's a goodbuy. E. S.

® BERNSTEIN: The Age of Anxiety(Symphony No. 2, for Piano and Orches-tra). Philippe Entremont (piano); NewYork Philharmonic, Leonard Bernstein cond.COLUMBIA MQ 807 $7.95.

Performance: AuthenticRecording: LivelyStereo Quality: Over -resonantSpeed and Playing Time 71/2 ips; 36' 45"

Explanation of symbols:C) = stereophonic recordingC) = monophonic recording

Ea

c.

Reviewed by WILLIAM FLANAGAN DAVID HALL REX REEDPETER REILLY ERIC SALZMAN

I am not a Let's -knock -Lennie man myself,but I can't say that I much admire The Ageof Anxiety. I don't mind the fact that itdoesn't go in sonata form (for me that'srather a plus), and I can even overlook thepretentious program-Auden disembowelled,so to speak (and, amusingly enough, some-what censored in the version given in theprogram notes here). But this curiouslyRussian music-Shostakovich and Prokofievwith a little Copland thrown in, and, some-where in the background, a common pointof origin in Mahler-lacks exactly the onething that Bernstein is always so careful to

LEONARD BERNSTEINStrong conducting of Mahler and Bernstein

note in the music of others: striking, in-dividual ideas. The whole first part is a

long theme and variations, sometimes tricky,sometimes trivial, mostly just a glamorouspiano concertante showpiece. "The Dirge"has a big twelve-tone chord ( ! ) right cwtof Berg; it makes an effective sound -piece,but there isn't much more to it than that.The best part of the show comes later inthe funky -jazzy' movement called "The Mas-quers," which is wry, amusing, and bitter.A fine touch comes just at the crossoverto the "Epilogue" when the solo pianostops, and an upright piano distantly off inthe orchestra keeps right on going. The"Epilogue" itself is grandiloquent and, Ithink, mostly rhetorical twaddle. Incidental-ly, the version here-a recent revision ofthe 1949 original-includes extra interludestoward the end for solo piano, which be-fore the revision remained silent throughmost of the final section.

This is an effective and presumably au-thentic performance-although one wouldlike to have Bernstein playing the solopart, which he wrote for himself. The re-cording is gorgeous but vastly over -resonant.Perhaps the composer likes it that way, butit obscures some things and ruins the effectof the distant upright piano by sinking itin an acoustical haze. The recording other-wise fares well on tape except for a highhiss level. I can't close without mentioningthe cover art: a kind of pop -art paintingof Bernstein lighting up in a gloriouslyvulgar multicolored neon glow. E. S.

RECORDING OF SPECIAL MERIT® MAHLER: Symphony No. 8, in E -fiat.Erna Spoorenberg, Gwyneth Jones, GwenythAnnear (sopranos); Anna Reynolds, NormaProcter (altos); John Mitchinson (tenor);Vladimir Ruzdjak (baritone); Donald Mc-Intyre (bass); Leeds Festival Chorus; Lon-don Symphony Orchestra Chorus; OrpingtonJunior Singers; Highgate School Boys' Choir;Finchley Children's Music Group; HansVollenweider (organ); London SymphonyOrchestra, Leonard Bernstein cond. CoLuta-BIA M2Q 876 $11.95.

Performance: Bernstein in exceisisRecording: The best so farStereo Quality: Reasonably effectiveSpeed and Playing Time: 71/2 ips; 79' 05"

This "Symphony of a Thousand" is nothingto attempt to play back on compact equip-ment. No less than the best will (10 fulljustice to this tape, for otherwise the bal-ances in this huge sonic fresco, built aroundthe ancient I'eni Creator Spiritus hymn -textand the final scene of Goethe's Faust, PartII, simply fail to take effect. But when thistape is heard at maximum room level onthe finest playback equipment, there can beno doubt that Leonard Bernstein and hissoloists, mu!tiple choruses, organ, and aug-mented orchestra have gotten everythingthat can be gotten out of this fabulous, over-loaded score. The sheer kinetic impact isoverwhelming.

For those who seek solid musical sub-stance, let me say that while I find the evoca-tive "landscape" episodes of the Falcomovement wonderfully poetic, I would glad-ly sacrifice the whole of the Mahler Eighthfor the refined and poignantly tragic in-tensity of Dal Lied von der Erde, com-posed two years later in 1908. In theEighth, huge sonorities are piled up inthe first movement, but it all gets to berather much of a muchness, despite someenormously impressive moments-as in therecapitulation of the initial Veal Creator

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theme about two-thirds of the way through.The soloists and choirs do themselves

proud, most notably Gwenyth Annear inher brief Mater Gloriosa episode in thefinale, Donald McIntyre as Pater Profundus,and John Mitchinson in the demandingDoctor Marianus role. I am not sure thatthe musical substance of the Mahler Eighthis worth all the effort demanded, but Leo-nard Bernstein has set forth a strong case.I repeat that the recorded sound "works"only under the best possible playback con -only under the best playback conditions pos-sible. D. II

RECORDING OF SPECIAL MERIT,A) MOZART: Quintet in C Major (K.515); Quintet in G Minor (K. 516);Quintet in D Major (K. 593); Quintet inEliot ( K. 614). Griller String Quartet; Wil-liam Primrose (viola). VANGUARD EVERY-MAN VEA 1917 $8.95.

Performance. ExpansiveRecording: GoodStereo Quality. GoodSpeed and Playing Time: 33/4 ips; 109' 17"

In general, these performances of four ofthe Mozart quintets are as far above evenan uncommon excellence of musicianshipas you are likely to encounter. The approachis broad, expansive, lyrical-even somewhatromantic. The romantic aspect is not somuch in deviation from tempo or phrasalmold, but rather in the very sumptuousnessof the string sonority itself. But particularlyin masterpieces like these, the day of think-ing of Mozart as only a sunny classicist -gen-ius is happily past.

I have a couple of things to carp about,even in these superior performances. In allhut the G Minor, there is a similitude ofdynamics that is not only a little palling initself, but also minimizes the differentiationin contrasting thematic and motivic elements.Furthermore-and this is only a suspicion-I get the feeling that Primrose (who mostcertainly cannot be accused of a moment'sup -staging) has not so much adapted hisstyle and string sound to the Griller en-semble as he has allowed the quartet tomake its adjustments to him.

Be that as it may, the performances arehigh-level. Vanguard's recorded sound isgood, if just a shade ''covered," and thestereo treatment is subtle and refined. W. F.

ENTERTAINMENT

® ROBERT GOULET: Robert Goulet onBroadway, Volume Two. Robert Goulet(vocals); orchestra, Marty Manning cond.Mame; What Is a Woman; Shalom; Impos-sible Dream; Cabaret; Walking Happy; andfive others. COLUMBIA CQ 882 $7.95.

Performance: DullRecording: GoodStereo Quality: GoodSpeed and Playing Time: 71/2 ips; 32'

As far as I can see, Robert Goulet hasnothing going for him except a matinee -idol face, a very loud voice, a shock ofcoal -black hair, and a drawing -room phy-sique that looks good in a dinner jacket.Of course, that's enough to make him amillionaire, and apparently his appearancealone sends enough women into deliriumto insure his place in show business for afew more years. But none of these factors

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will ever teach Goulet how to sing. He issimply the squarest, most boring interpreterof songs since Nelson Eddy.

His voice is strong, bountiful, resonant,and best suited for Broadway theaters andsummer stock tents, but it is curiouslybland and unsuitable for night clubs andrecords. He demonstrates a remarkable abil-ity to resist what songs try to say, so theresult is often blatant and unconvincing.Listen, for instance, to the way he screamsWhy Did I Fall in Love, like a tenor try-ing to break a drinking glass. There is anoccasional wedding of singer and song,especially on tunes like Shalom which re-quire nothing more than volume. But sendhim a love song like If She Walked intoMy Life, and he'll tackle it like a fullbackevery time. His phrasing is poor and hisintonation grainy, and the arrangements onthis tape are so loud they play ping-pongwith his shouts. The whole affair soundsas though it's being performed by one ofthose men who stand up at boxing matchesand sing The Siar Spangled Banner. R. R.

C) THE SANDPIPERS: Guantanamera.The Sandpipers (vocals); orchestra. Strang-ers in the Night; Carmen; La Mer; La Bain -ha; Enamorado; and seven others. A & MAMX 117 $5.95.

Performance: Very goodRecording: ExcellentStereo Quality: ExcellentSpeed and Playing Time: 33/, ips; 33' 16"

The Sandpipers consists of three boys andtwo girls. It is a refreshing and modestgroup with a moderately hip and mostlypleasing sound. In Stasera gli angeli nonvolano, they won me over completelya performance that reminded me of the in-comparable Les Compagnons de la Chanson.Nothing else on the tape reaches quite thatlevel, although Louie, Louie, sung in Span-ish, as is La Baniba, comes reasonably closeto that excellence. Carmen is saved by animaginative orchestration by Nick Decaro,who has interpolated a few bars of Bizetin appropriate places, but the lyric, whichis aimed at the teen market, is ludicrous.

The major fault here, I believe, is thatA&M has tried to cover too many bases.Although in their photograph the Sand-pipers look quite young, they are leasteffective in teen -oriented material. I shouldlike to hear them doing more things likethe aforementioned Stasera gli angeli nonvolano, or La Mer, which is also on thistape and done very well. Somehow theydon't have a very American sound-so whypush it when there are so many good French,Italian, and Spanish songs around? P. R.

RECORDING OF SPECIAL MERIT(§) NANCY WILSON: Hello Young Lov-ers; Nancy Naturally! Nancy Wilson (vo-cals); orchestra, George Shearing, MiltonRaskin, and Billy May cond. and arr. Sophis-ticated Lady; Little Girl Blue; Nina NeverKneu'; Since I Fell for You; My Babe; AGood Man is Hard to Find; and eighteenothers. CAPITOL Y2T 2673 $9.98.

Performance: TopsRecording: ExcellentStereo Quality: ExcellentSpeed and Playing Time: 334 ipst 65' 28"


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One of the aspects of observing the trendsin current music is the way they defeat andbaffle the true artists, who must sing trashto make a living. That, more than anythingelse, is the reason I rejoice in the strato-spheric success of Nancy Wilson. She isone of the few people on the music scenewho sell records by singing with taste.While Mel Torme and Sarah Vaughan-and yes, even Ella Fitzgerald-have sacri-ficed their self-respect singing gibberishclearly beneath them for a chance to hit theTop Twenty, Miss Wilson has never low-ered her standards. Still she always ends upon the popularity charts.

Happily, this tape is a merger of two ofher best albums, and it is even more inter-esting because it represents Early Nancyand New Nancy. The "Hello Young Lov-ers" side features a group of delicious hand-picked songs spun into a glossy cocoon bya string choir arranged by George Shearing(who even plays harpsichord on Miss OtisRegrets). This collection-wistful, young,tender-is notable primarily for the remark-able perception Miss Wilson shows by in-cluding a great, little -heard Tommy Wolftune called Listen Little Girl. Listen to thetrembling vibrato held at arm's length likethe sound of a tuning fork on the word"girlll"-it's almost like having Lee Wileyback. So much for what might be called thesalad.

The meat and potatoes appear on sidetwo, with Miss Wilson wailing the blueslike a jaded chanteuse who has paid herdues to life. This is the jazz side, and MissWilson demonstrates an ability, picked upthrough experience, to swing from the ceil-ing on hard -to -sing tunes like WillieDixon's My Babe. I'm convinced she cansing anything, and on this tape she singsalmost everything. I can't imagine any collec-tion without it. R. R.

FILM MUSIC

C) ATS UP TIGER LILY? (WoodyAllen). Original soundtrack album. TheLovin' Spoonful (vocals). Pow; Gray PrisonBlues; A Cool Million; Speakin' of Spoken;Unconscious Minuet; Fishin' Blues; Phil'sLove Theme; and five others. IC/am SUTRAKSX 8053 $5.95.

Performance: UndistinguishedRecording:O.K.Stereo Quality: IndistinctSpeed and Playing Time: 334 ips; 28' 45"

I haven't seen What's Up Tiger Lily? and onthe basis of this tape I'm not making plansto. The music here is preceded by an archlittle introduction by Lenny Maxwell andthe ubiquitous Woody Allen, which de-scribes how Allen took a Japanese Bond -type film, junked the soundtrack, and sub-stituted one of his own, so that the characterson the screen are doing one thing but sayinganother perhaps completely at odds with theaction. I don't know how it works in themovie house, but on the tape deck the thingis just another rock album by The Lovin'Spoonful. The best band is UnconsciousMinuet, an instrumental with a nice blendof East-West instrumentation. You don'treally need this one. Instead, go see a revivalof What's New, Pussycat? in which Mr.Allen is very funny, and which has, as youalmost certainly know, a very good title songby Burt Bacharach. P. R.

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TAPE HORIZONSBy DRUMMOND Mc INNIS

HOUSEHOLD INVENTORY

MOST everyone will agree that a professional inventory of householdpossessions that can be lost by fire or other misfortune is a good idea,

but it is a project usually postponed until too late to be undertaken. It canalso he an expensive procedure: an expert appraiser spends a lot of time onyour premises, and more time preparing the bundle of typed sheets he de-

livers as his finished inventory.However, you can make a simple and inexpensive inventory of your own

-on tape-that may be of great value. Admittedly, you are not a profes-sional, and cannot come up with the fast knowledge of "today's values"that the pro has. Your recorder, though, is a patient companion, and withminimum effort and surprising speed you can record the intermediate stepsin the valuation process that will give your amateur inventory much of thestatus of professionalism.

Unless you have a very large house, a 5 -inch reel of 1 -mil polyester tape(for long life and minimum print -through) at 33/4 ips will do very well.So start the reels turning and tackle some one room-any room. As theappraiser would, list absolutely everything in that room. Don't attempt toorganize and classify. List each item as you come to it. Cover each of thefour steps below.

I. Description of item. Style, type, finish, color, model number if avail-able, condition of wear or damage. In professional appraisal, this often endsup as a long paragraph. Keep talking-and slowly-for as long as you canthink of anything to say.

2. Cost when new. If you have no record, or recollection, or never knew,say exactly that but do cover the subject.

3. Age. Guess as accurately as you can. Except for art and antiques,appraisal is based on original cost minus depreciation, never on replacementat today's prices.

4. Today's value. From you, an amateur appraiser, this will be a guess,but guess anyway. You are working toward a total figure.

Now cover every other room and storage area in the house in the sameway. For the sake of fast relocation of items in playback, you might leave ablank space between rooms. With the tape completed, play it back onceand write down the "today's value" figures as they go by. The total of themwill be surprisingly accurate, and it will have legal value if you should everneed it.

Your recorder will of course be an inventory item too, and you can useany recorder except one of the miniatures without capstan drive. If yourrecorder is lost, your tape will then be easily playable on any other standard -model recorder.

Place your tape in a metal reel can (available from most photo and hi-fistores), title the can, and seal it with masking tape. Your safe deposit boxis an obvious repository, but you need hardly be that careful. Store the tapewith a relative or friend. Hopefully and probably, there will never be aneed to play it again, although you may wish to add or subtract items fromtime to time.

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HI -Fl Equipment at largest discount. Catalog.Macalester Corporation, 355 Macalester, SaintPaul, Minnesota 55105.

FOR SALE

VIOLIN MAKERS SUPPLIES, Catalog 10t-Artlar,Box 25. Torrance, Calif. 90507.MESHNA'S Transistorized Converter Kit $5.00.Two models converts car radio to receive 30-50mhz or 100-200mhz (one mhz tuning).Meshna, No. Reading. Mass. 01864.ELECTRONIC Bargains -Diodes, Transistors,Tubes, Courses. Free Catalog -Immediate Ship-ment. Cornell, 4215H University, San Diego,Calif. 92105.TELEPHONE RECORDER -ACTUATOR (TWI-007).SOLID STATE MODULE AUTOMATICALLYTURNS TAPE RECORDER, AMPLIFIER, INDI-CATOR LIGHT ON WHEN TELEPHONE IN USE.CONNECTED ANYWHERE ON LINE. SIMPLEINSTALLATION INSTRUCTIONS INCLUDED.PREPAID $22.85. SURVEILLANCE RECORDERS:(TWI.1000), (TWI-1010). TWILIGHT ELECTRON-ICS, BOX 11595-H, ST. LOUIS, MISSOURI 63105.USE your auto tape player at home. $5.98 forsmall AC to 12 volt converter. Armstrong, 1055North El Centro, Los Angeles, Calif. 90038.JAPAN & Hong Kong Electronics Directory.Products, components, supplies. 50 firms -just$1.00. Ippano Kaisha Ltd., Box 6266, Spokane,Washington 99207.

MUSICAL INSTRUMENTS

RECORDERS (Flutes), Gambas, Lutes, Catalog-Artlar, Box 25. Torrance, Calif. 90507.

TAPE AND RECORDERS

RENT Stereo Tapes -over 2.500 different -allmajor labels -free brochure. Stereo Parti, 1616-GTerrace Way. Santa Rosa, California 95404.BEFORE RENTING Stereo Tapes try us. Postpaidboth ways -no deposit -immediate delivery.Quality -Dependability -Service- Satisfaction -prevail here. If you've been dissatisfied in thepast, your initial order will prove this is no idleboast. Free catalog. Gold Coast Tape Library,Box 2262, Palm Village Station, Hialeah, Fla.33012.RENT 4 -TRACK STEREO TAPES -Dependableservice our keynote -ALL MAJOR LABELS -FREECATALOG (48 States)-TRIMOR Company, P.O.Box 748, Flushing, N.Y. 11352.STEREO TAPES. Save up to 60% (no member-ship fees, postpaid anywhere USA). Free 60 -pagecatalog. We discount batteries, recorders, tapeaccessories. Beware of slogans "not undersold,"as the discount information you supply our competitor is usually reported to the factory. SAXI-TONE, 1776 Columbia Road, Washington, D.C.20009.

TAPE RECORDER SALE. Brand new, nationallyadvertised brands, $10.00 above cost. ArkaySales Company. 1028-A Commonwealth Avenue.Boston, Mass. 02215.TAPES. Recorders. Stereo Tapes. Catalog -5Cstamp. Tower, Lafayette Hill, Pa. 19444.TAPE REELS. Large quantities of reels 5" and7" seconds. Small and large hubs. Gray andclear. Low prices. 50 minimum. Write: DictationProducts, Box 587, N. Bellmore, N.Y. 11712.HI -Fl Components Tape Recorders, at guaran-teed "We Will Not Be Undersold" prices. 15 -daymoney -back guarantee. Two-year warranty. NoCatalog. Quotations Free. Hi -Fidelity Center, 239(HT) East 149th St., New York 10451.


SCOTCH RECORDING TAPE, highest quality,lowest prices. TAPE CENTER, 398 NationalPress Bldg., Wash., D.C. 20004.RENT STEREO -8 CAR TAPES. 100/day. Send re-fundable $10.00 deposit and name of first selec-tion. Autotapes, Box 19086-A. Indianapolis, Ind.46219.MANY FAMOUS METROPOLITAN AND EURO-PEAN BROADCAST TAPES (1930s -present) of-fered for exchanges. Angelo Pirro, 8046 Nagle,North Hollywood, Calif. 91605.RENT STEREO TAPES -75¢ week. Catalog. Art's,1442 Blaze, Simi, Calif.

TUBES- -DON'T BUY TUBES -Radio, TV-Xmitting, spe-cial-purpose types until you get our price list!Lowest prices in U.S.A. 5.000 types -Guaran-teed Brand New. Send postcard for TV -SpecialPurpose Price List. UNITED RADIO COMPANY,P.O. BOX 1000, NEWARK, N.J. 07101.

RECORDS

A CENTURY OF AMERICAN MUSIC. Magnificentthree record treasury (stereo). $7.95. Order to-day --receive free record gift (value $1.98) orwrite for catalog. Qualifine-H, 310 Madison Ave-nue, New York, N.Y. 10017.PROTECT YOUR LPs: Heavy poly sleeves forjackets 50; poly lined paper sleeves for LPs100; round bottom inner sleeves 31/2¢; Recordjackets white 20g, colors 256t. Minimum order$5.00. Record Supplies, Hillburn P. 0., NewYork 10931.RARE 78's. State Category. Write Record -Lists.P.O. Box 2122. Riverside, California 92506'HARD To Get" records -all speeds. Record Ex-change, 812 Seventh Avenue, New York, N.Y.10019.CASH for your unwanted LPs. Reder, 81 ForshayRoad, Monsey, New York 10952.HARD to find collectors LPs, Like new, Lists 250.Records, Hil!burn, New York 10931.RENT STEREO RECORDS, $1.00 three days.FREE offer -write DISCO -TAPE, P.O. Box 5202-HF, Sta. #4, North Hollywood, California 91604.COLLECTORS JOURNAL -valuable data, variedrecord mart. Six issues -$1.50. Record Re-search. 131 Hart, Brooklyn, N.Y. 11206.PLASTIC lined inner sleeves, with identificationwindow. White cardboard covers, 45 and 78sleeves. Free details, samples 500. Cabco, Dept.119, 89 East Woodruff, Columbus, Ohio 43201.INDEX to Record Reviews covers all categories-classical, jazz, pop, spoken, etc. -in elevenmajor periodicals including HIFI/STEREO RE-VIEW. 1966 edition $1.50. Polart, 20115 Goul-burn. Detroit, Mich. 48205.RECORD COLLECTION FOR SALE --classics,jazz, country, folk, foreign. Send for lists.Hawkes, 58 Hardy Rd., Westbrook, Maine 04092.

WANTED

INVENTIONS -IDEAS developed: Cash/RoyaltySales. Member: United States Chamber Com-merce. Raymond Lee, 130-GH West 42nd, NewYork City 10036.

REPAIRS AND SERVICES

MOVIE FILMS

16mm SOUND -Projectors, Films, New, Used forSale, Free Catalog. National Cinema, 333 W. 57St., N.Y., N.Y. 10019.

ALL Makes of Hi-Fi Speakers Repaired. Amprite, EDUCATIONAL168 W. 23 St., N.Y.C. 10011. CH 3-4812. OPPORTUNITIES

BUSINESS OPPORTUNITIES

INVESTIGATE Accidents -Earn $750 to $1.400monthly. Men urgently needed. Car furnished.Business expenses paid. No selling. No collegeeducation necessary. Pick own job location. In-vestigate full time. Or earn $6.44 hour sparetime. Write for Free Literature. No obligation.Universal, CZ -6, 6801 Hil!crest. Dallas, Texas75205.I MADE $40,000.00 Year by mailorder! Helpedothers make money! Start with $10.00 -FreeProof. Torrey, Box 318-N. Ypsilanti, Michigan48197.FREE BOOK "990 Successful. Little -Known Busi-nesses." Work home! Plymouth -145L, Brooklyn,New York 11218.MAKE up to $10,000 a year raising chinchillas,mink, rabbits or guinea pigs for us. We supplybreeding stock, equipment and feed. Send $1.00for catalog and complete information. KeeneyBrothers Farms, Dept. ZE, New Freedom, Pa.,17349.

INSTRUCTION

LEARN Electronic Organ Servicing at home. Allmakes including transistors. Experimental kit -trouble -shooting. Accredited NHSC, Free Book-let. Niles Bryant School. 3631 Stockton, Dept. A,Sacramento, Calif. 95820.ASSOCIATE Degree in Electronics Engineeringearned through combination correspondence -classroom educational program. Free brochure.Grantham Technical Institute. 1505 N. WesternAve., Hollywood. California 90027.HIGHLY Effective home study review for FCCCommercial Phone Exams. Free Literature.Cook's School of Electronics, P.O. Box 517.Monticello, Ky. 42633.REI First Class Radio Telephone License in (5)weeks Guaranteed. Tuition $295.00. Job place-ment free. (KANSAS CITY) R.E.I., 3123 GillhamRoad, Kansas City, Missouri, Telephone WE1-5444. (SARASOTA) R.E.I., 1336 Main Street,Sarasota, Florida, Telephone 955-6922.HIGHLY effective home study course in Elec-tronics Engineering Mathematics with circuitapplications. Earn your Associate in ScienceDegree. Free literature. Cook's Institute ofElectronics Engineering, P.O. Box 517. Monti-cello, Ky. 42633. (Established 1945).

PHOTOGRAPHY -FILMQUICKSILVER, Platinum, Silver, Gold. Ores Ana- EQUIPMENT, SERVICESlyzed. Free Circular. Mercury Terminal, Nor-wood, Mass. 02062.WANTED old radio programs on tape or record.Send lists. Karl Amundsen, 5219.5th Avenue.Brooklyn, New York 11220.

AUTHORS' SERVICES

AUTHORS! Learn how to have your book pub-lished, promoted, distributed. Free booklet "ZD,"Vantage, 120 West 31 St., New York 10001.

SONGWRITERS WANTED! Send song materialfor recording consideration. Tin Pan Alley, 1650Broadway, New York 10019.

RUBBER STAMPS

RUBBER ADDRESS STAMP $1.50. SIGNATURE$2.88. FREE CATALOG. JACKSON PRODUCTS,1433 WINNEMAC, CHICAGO, ILL 60640.

INVENTIONS WANTED

PATENT SEARCHES $6.00! FREE "Invention Rec-ord"/Information. Miss Hayward, 1029HH Ver-mont, District of Columbia 20005.

SCIENCE Bargains -Request Free Giant Catalog"CJ" -148 pages -Astronomical Telescopes, Mi-croscopes, Licenses. Binoculars, Kits, Parts, Warsurplus bargains. Edmund Scientific Co., Bar-rington, New Jersey 08007.

MEDICAL FILM -Adults only -"Childbirth" onereel, 8mm $7.50, 16mm $14.95. International H,Greenvale, Long Island, New York 11548.

WALL MURALS from your 35mm Black andWhite negatives 40X60" $20.00. 60X90" $40.00.ENDACOM, Box 342, East Hartford, Conn.06108.

HYPNOTISM

FREE Hypnotism, Self -Hypnosis, Sleep LearningCatalog! Drawer H400, Ruidoso, New Mexico88345.

HYPNOTIZE FEMALES! -Unnoticed! Instantly!Nerves! Exciting! Send $2.25. Research Enter-prises, 29-SN21 Samoset, Woburn, Mass. 01801.

FEMALE HYPNOTISM!! Easily! Instantly! SecretNerve Centers! $2.20. Brugenheimer Publishers.Box 158-E30, Lexington, Mass.

LEARN While Asleep, hypnotize with your re-corder, phonograph. Astonishing details, sensa-tional catalog free! Sleep -Learning Association,Box 24-ZD, Olympia, Washington 98501.LEARN WHILE ASLEEP. Miraculously build MindPower, achieve Self Confidence, improve Health,gain Success. Method 92% effective. Detailsfree. ASR Foundation. Box 7021 Henry Clay Sta.,Lexington. Kentucky 40502.

GOVERNMENT SURPLUS

JEEPS Typically From $53.90 . . . Trucks From$78.40 . . . Boats, Typewriters, Airplanes, Elec-tronics Equipment, Photographic Equipment,used. 100,000 Bargains Direct From Govern-ment. Complete Sales Directory and SurplusCatalog $1.00 (Deductible First $10.00 Order).Surplus Service, Box 820-L, Holland, Michigan49423.

EMPLOYMENT INFORMATION

FOREIGN and USA job opportunities availablenow. Construction, all trades. Earnings to$2,000.00 monthly. Paid overtime, travel,bonuses. Write: Universal Employment, Wood-bridge, Connecticut 06525.FOREIGN EMPLOYMENT. Construction, otherwork projects. Good paying overseas jobs withextras, travel expenses. Write only: Foreign Ser-vice Bureau, Dept. D, Bradenton Beach, Florida33510.OVERSEAS position now available. Construc-tion, technical, business. Excellent wages. Freeinformation. PRS Associates, 7710 Computer,Minneapolis, Minnesota 55435.

MISCELLANEOUS

WINEMAKERS: Free Illustrated catalog ofyeasts, equipment. Semplex, Box 7208, Minne-apolis, Minn. 55412.MONEY WE PAY $10 hr. for NOTHING but youropinions, written from home about our clients'products and publications, sent you free. Noth-ing to buy, sell, canvass, or learn. No SKILL,NO GIMMICKS. Just honesty. Details from RE-SEARCH, ZD-5, Box 669, Mineola, N.Y. 11501.STOP BURGLARS THE EASY WAYI I Affix au-thentic "Protected by Electronic Sentry Alarm"Decals to auto windows, doors and windows ofhome, retail stores, vending machines, etc.Whether you have an alarm or not -thieves stayaway! Only $1.00 for each set of two. J. Ross,80-34 Kent St., Jamaica, N.Y. 11432. Dept. HF.EMPLOYMENT Resumes. Get a better job & earnmore! Send only $2.00 for expert, complete Re-sume Writing Instructions. J. Ross, 80-34 KentSt., Jamaica, N.Y. 11432. Dept. HF.BEERS, PEACH BRANDY, WINES -StrongestFormulas, $2.25. (complete brew supplies, hy-drometers, catalog included) -Research Enter-prises, 29-D Samoset, Woburn, Mass.

AS YOU SCAN THESE COLUMNS, more than167,000 monthly buyers of HiFI/STEREO RE-VIEW are doing the same. These readers sharewith each other the satisfaction derived fromactive involvement in the enjoyment of recordedmusic. HiFI/STEREO REVIEW readers look to thepages of the CLASSIFIED each month for primesources of products and services of interest tothem -Components, Accessories, Tape, Records-everything they need to make their favoritespecial interest even better. Are they buyingfrom you? They will, you know, if your classifiedadvertising appears regularly in these columns.A handy order form is supplied for your use thismonth. To appear in the next available issue,August, on sale July 20th, forward copy and pay-ment before June 1st closing deadline to: HalCymes. Classified Advertising Manager, HiFi/STEREO REVIEW, One Park Avenue, New York,N. Y. 10016.

JUNE 1967 105

HI FI/ STEREO REVIEW ADVERTISERS' INDEXREADER SERVICE NO. ADVERTISER PAGE NO. READER SERVICE NO. ADVERTISER PAGE NO.

1 Acoustic Research, Inc. 21 30 Kenwood Electronics, Inc. 382 Airex Radio Corporation 89 31 KLH Research & Development Corp. 15, 633 Altec Lansing Corporation 67 32 Koss/RekO.Kut 734 Ampex Corporation 91

Audio Unlimited 100 5 Lear Siegler, Inc. 87London Records 68. 83

62 Benjamin Electronic Sound Corp. 7333 Magnecord 2661 Benjamin Electronic Sound Corp.-EMI Loudspeakers 9534 Marantz, Inc. 295 Bogen Communications 87 35 Martel Electronics 86Bozak, R. T. 5 29 Minneapolis -Honeywell 94103 British Industries-Garrard 2 36 McIntosh Laboratory Inc. 926 BSR (USA) Ltd.. McDonald Division 30

18 Nonesuch Records 778 Carston Studios 969 Cartridge Tape Club of America 10 41 Pickering & Company. Inc. 3rd Cover

10 Celanese Plastics Co. 103 38 Pioneer Electronics Corporation 87 Chess Records 93

11 Citadel Record Club 12 39 Rabsons-57th Street, Inc. 9712 Command Records 70 40 RCA Victor Records 64

42 RCA Victor Tapes 6. 7

13 Defa Electronics Corp. 97 43 Rheem Roberts 7114 Deutsche Grammophon15 Dressner

81

8944 Sansui Electric Co., Ltd.

100 Scott, Inc., H. H.13

2756 Dual 9, 1145 Sherwood Electronic Laboratories. Inc. 3716 Dynaco, Inc. 8046 Shure Brothers. Inc. 1947 Sonotone Corporation 14

17 Eastman Kodak Company 101 48 Sony Corporation of America 2519 Electro-Voice, Inc. 4th Cover 65 Sony Corporation of America 8220 Elpa Marketing Industries, Inc., Ortofon Div. 79 49 Sony/Superscope. Inc. 9861 EMI Loudspeakers 95 50 Sony/Superscope. Inc. 2822 Empire Scientific Corp. 89 51 Sound Reproduction, Inc. 10052 Stanton Magnetics, Inc. 23

23 F. E. I. 10321 Fisher Radio Corporation 2nd Cover, 1 53 Telex 2424 Fuji Photo Optical Products, Inc. 96 54 Toujay Designs 102

35 Uher by Martel 8625 Grundig-Triumph.Adler Sales Corp. 12 55 uniClub, Inc. 1656 United Audio 9, 11

26 Harman-Kardon, Inc. 84 57 University Sound 6927 Heath Company 33, 3528 Hi -Fidelity Center 102 58 Vanguard Records 7529 Honeywell Photographic Products 94 59 Viking of Minneapolis, Inc. 79

Classified Advertising 104. 105

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

CLASSIFICATION PAGE NUMBERS CLASSIFICATION PAGE NUMBERS

Amplification Systems 29 Receivers, Stereo 2nd Cover, 1, 8. 35, 37, 38. 80Records 68. 70, 75, 77, 81, 83, 93

Cabinets 102Record and Tape Clubs 10. 12, 16Cameras 94. 96, 101

Cartridges 19. 23, 79, 3rd CoverSpeakers and Speaker Systems 2nd Cover, 1, 5. 15. 21, 27, 63, 64. 69.Catalogs 92 79, 84, 89. 95, 4th Cover

Headphones 24, 73Tapes, Prerecorded 6. 7

Microphones 14 Tapes, Recording 103

Organ Kits 33Tape Recorders and Decks 26, 28. 71, 86. 91, 97, 98Tuners 25, 29

Portable Radios 12 Turntables and Changers 2, 9. 11, 21. 29. 30, 73, 87

106 Printed in U.S.A. HIFI/ STEREO REVIEW

"11,11, 11111°

Ram

Iflustalnatic:the cartridge that cleans the grooves while it plays.

The new Pickering V-15/3 Micro -Magnetic`" stereo cartridge proves that cleaner grooves combined with c'eaner tracingresult in cleaner sound. The built-in Dustamatic- brush assembly automatically sweeps dust particles from the groove beforethe stylus gets there; and the new moving system reduces tracing c.istortion close to tne theoretical minimum, thanks toDynamic Coupling of the stylus tip to the groove. There are four "application engineered" Pickering V- 15/3 Dustamatic modelsto match every possible installation, from conventional record changers to ultrasophisticated low -mass transcription arms.Prices from $29.95 to $44.95. For free literature complete with all details, write to Pickering & Co., Plainview, L.I., New York.

CIRCLE NO. 41 ON READER SERVICE CARD For those who can hear the difference.

When we put thisfour layer voice coil

in the new E -V FIVE -Awe knew it would

sound better...

N.'

N.

we never dreamedit would lower

your cost of stereoby $94.00, too!

,' .* \\\VN..s.

.'N' i\kN`

The voice coil is the heart of any speakerA coil of wire. It moves the cone that makes the

music. And in most speakers, that's all it does.But in the new E -V FIVE -A we've found a way to

make this little coil of wire much more useful.Instead of one or two layers of wire, we wind the

E -V FIVE -A woofer coil four layers deep.

Voila!Now the coil actually lowers the natural

resonance of the 10' E -V FIVE -A woofer. Andlower resonance means deeper bass with

any acoustic suspension system.In addition, with more turns of wire in the

magnetic field, efficiency goes up. But it goes upfaster for middle frequencies than for lows. This

weans we must reduce the amount of expensivemagnet if we are to maintain flat response.

Its an ingenious approach to woofer design, andit works. E -V engineers point out that their efforts

not only resulted in better sound, but also cut$47.00 from the price of the E -V FIVE -A.

So now you can compare the $88.00E -V FIVE -A with speakers costing up to $135.00

... and come out $94.00 ahead in the bargainfor a stereo pair! The difference can buy a lot of

Tschaikovsky, or Vivaldi, or even Stan Getz.And after all, more music for your

money is at the heart of high fidelity!Hear the E -V FIVE -A at leading audio

showrooms everywhere. Or write foryour free copy of the complete Electro-

Voice high fidelity catalog. It is filledwith unusual values in speakers, systems,

and solid-state electronics.P.S. If you think the E -V FIVE -A

woofer is advanced-you should hear thetweeter. But that's another story.

high fidelity systimi., tune, .implifiers, receivers public address loodspez, kers microphones phonograph needles and cartridges organs space and defense electronics

ELECTRO-VOICE, INC., Dept. 674F; 616 Cecil Street, Buchanan, Michigan 49107CIRCLE NO. 19 ON READER SERVICE CARD

ili/stele review...this proposal was recently advanced by jac holzman, president of elektra records,...

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