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Plan NOW to participate in Audio Devices

educational awards
72 awards totaling over $16,000 worth 0/ Sound
Recording Equipment and tape or discs will be
donated by Audio Devices, Inc.

H once-in-a-lifetime opportunity
ERE'S A of qualified judges, plan to make the most
for any high schoo l or college that effective and beneficial use of the record-
wishes to expand its recording facilities or ing fac ilities offered. You can select your
to start a new sound recording program. own recording equipment, as well as the
First award, in each of two classifications, types of Audiotape or Audiodiscs that
will be $2,000 worth of tape or disc re- best meet your requirements. There's
cording equipment, plus $500 worth of nothing to buy - no strings attached . .
tape and/ or discs, plus a bonus of $250
worth of tape or discs for Distributor en- For complete details and official entry
dorsement of entry blank. These and 70 blank, see your Audiotape Distributor ...
other valuable equipment and tape or disc or write to Audio Devices, Inc., Educa-
awards will be donated by Audio Devices, tional Dept. H, 444 Madison Avenue,
Inc., to the schools which, in the opinion New York 22, N. Y.


how to make good tape recordings
by C. J. LeBel, Vice President, Audio Devices, Inc.
This completely new handbook of tape recording read and easily understood from cover to cover by
contains up-to-the-minute information of interest even the most inexperienced of home recordists. Yet
and real practical value to every tape recordist. it contains such a wealth of practica l information
Profusely illustrated with photographs, charts and that it will be a valuable aid to professional tape
diagrams prepared especially for this book , it con- recordists as welL
tains 150 pages of valuable information on all phases Available in deluxe cloth-bound edition at $2.50,
of modern tape recording. The author, Mr. C. J . or economy paper-bound edition at $1.50. Get a
LeBel, is one of the country's foremost authorities copy from your Audiotape distributor or send check
on sound recording. or money order direct to Audio Devices, Inc. , Dept.
"How to Make Good Tape Recordings" can be H-l.444 Madison Avenue, New York 22, N. Y.


IN HOLLYWOOD: 1006 N. Fairfax Ave. IN CHICAGO: 6571 N. Olmsted Ave.
Export Dept.: 13 East 40th St., New York 16, N.Y., Cables "ARLAB"

. . . . IN ~tnIJI1 PACKAGES
Jensen Duette and Contemporary models are the greatest
values in hi-fi loudspeaker history! Nowhere will you find so
much performance at such a low cost .. . nowhere can you
get such fine reproduction in so little space.
These authentic hi-fi reproducers are full 2-way and 3-way
systems with special heavy-duty 8" woofer in specially de-
signed enclosures for best bass response. High frequencies
are reproduced by a Hypex· horn loaded compression driver
tweeter (plus Hypex horn loaded compression driver super-
tweeter in the CN-83 system) .
You'll need to listen to fully appreciate the outstandingly
smooth, clean, finely balanced hi-fi sound. We think you'll be
pleased with the trim styling and fine finishes. Ask your
dealer about Jensen Duette and Contemporary now.
· TM Reg.

Duette Speaker Systems

DU-201 D~e"e 2·way system. Pigskin grai ned Burgand y Fabrikoid fini shed
Cabinet. Sizes 11 " H .; 2 3\1.1 " W .; 10" D .
Ne[ Price ............................... ... .... .... ........................ ............ 56 2.50
DU-300 Duerre " Treasure Chest" 2·way system. Choice of genuine Blonde
Oak or Mahogany veneers. Size 11 " H .; 2 3\1.1" W .; 10" D.
Ne[ Price ....... ........... ..... .. .... .. .......... ...... ... ............. : ........ ..... . S76.50
Wrought iron leg set .. .... ........ .... ... .. .. .... ................. .. ............ 4.25

Contemporary Speaker Systems

CN-82 Co ntemporary 2·way system.
Selected Mahogany. Net Price .. ... .. .... .. .. ................ ... ............. . 58 8 .75
Blonde Oak . N et Price ................................. ......... ....... ..... .... 89.75
CN-83 Co ntemporary 3-way system
Selected Mahogany. Ne[ Price .. .. ................. .. ..................... 512 8 .75
Blonde Oak. Ne[ Price .... .. .. .. ......... ............. .. ....... .. .... ......... 129.75
Contemporary dimensions are: 24\1.1 " H.; 19" W. ; 12 % " D .
Write for Catalog J65 ·A

................................................................ '


If you want the fun of building your own

hi-fi speaker system of your own selection,
this Jensen Manual simplifies it for you.
Complete instructions for free-standing or
COMPANY built-in systems with simplified drawings,
Division of The Muter Company parts lists, circuit and wiring diagrams.
6601 5. Laramie, Chicago 38, Illinois
In (anada, (opper Wire Produds, lid. Licensee Send 50¢ today for Jensen Manual 1060

When your authorized Pickering Dealer is demon- into the air at a low velocity-instead of at a high
stl'ating the revolutionary new ISOPHASE SPEAK- velocity as In ordinary speakers. In addition, the
ER, please, don't look behind it for the orchestra, ISOPHASE generates sound in phase fTOm the entire
Take our word for it-these magnificently realistic swIace of its large curved diaphragm-instead of
sounds are coming from the .curved diaphragm it- from a point source as in conventional cone speak-
self. "U n believa ble," "ex traordinary," "breath tak- ers. Thus the sound reproduced by the ISOPHASE
ing," and "window-on-the-studio quality" are some closely ap/JTOximates the unit-area energy of the
of the comments we've heard from dealers and cus- original sound entering the microphone in the
tomers alike. But don't be persuaded by mere words studio or concert hall.
alone. Hear it for YOllHelf.
Unlike ordinary speakers, the ISOPHASE does not
The Pickering ISOPH ASE SPEAKER uses the elec- "break up" at high frequencies. And because of the
trostatic principle to recreate musical sounds with inherent linearity of the push-pull electrostatic de-
a degree of realism unattainable in conventional sign, harmonic and intermodulation distortion are
speakers. virtually nonexistent-a tremendous advantage over
conventional speakers. For further details, please
The ISOPHASE reintroduces the original sound write Department H- I 3.


Professional Audio Components

Demonstrated and sold by Leading Radio Parts Distributors everywhere. For the one nearest yO!! and for detailed literature: write Dept. H-13


illk 1idelitJj

The Cover. Art director Roy Lindstrom,

who drew the fierce-looking Slav on the
Volume 6 Number II November 1956
cover, does not know whether he (the
f.-1.5.) is supposed to be Prince Igor or
Boris Godunov, so you may take your
Noted With Interest .. ... .. .. ............. ... .. ..... .. .. ...... .. .. .. ..... ......... .. .... .... . 4
choice. To make this easier, Mr. Lindstrom
has identified him at the top as Igor and AUTHORitatively Speaking ...... ...... ... .. .. ...... ............ .. ..... .. .... ...... .... 16
at the bottom as Boris, both in Cyrillic
lettering. Mr. Lindstrom does not know Letters 21
Cyrillic lettering, in case you were won-
dering, but one of the editors does (this Books in Review
is an unusual publishing firm) . And when
some doubt arose about a terminal "soft" As The Editors See It
letter (pretty important in Russian script), 55
it developed that another of the editors
knew a beautiful and highly literate Rus- Russia As It Saw Me, by Jan Peerce 56
sian-born lady pianist, who happened to be A pe1'cipient Peerce piece on piercing the Iron Curtain.
living in the neighborhood and who solved
the problem in jig-time, or perhaps it was Why Biamplify? by Roy F. Allison 59
trepak-time. Fast, anyway.
What to do with your old amplifier when y01t buy a new one.
This Issue. We can't remember how we
first encountered Fred J. Sass, since he A Half-Million Records, by Harold C. Schonberg
has long been a sound enthusiast and for The British Broadcasting Corporation's collection is the world's
some considerable time also a New York largest.
Times photographer, and we could have
heard of him in either connection. The Living With High Fidelity, photographs by Fred J. Sass
connection we were most happy to make
with him, however, began when he under- First of a new series picturing the listening rooms of people of
took to make for us a series of pictorial
reports on people in the public eye who
are fond owners of and listeners to high- Love Letter To An Old Speed, by John Ball, Jr. 66
fidelity music systems. The first Sass-sub- A voice in the microgroove wilderness, crying at 78 rpm.
ject, as page 64 will confirm, is Harold
Rome, composer of such Broadway scores Music Makers, by Roland Gelatt 71
as Fanny and Wish YOlt Were Here.
Record Section 75-u8
CHARLES FOWLER, Records in Review; Dialing Your Disks; B1tilding Your Record
JOHN M. CONLY, Editor Library; Russian Opera on Microgroove, by Herbert Weinstock.
ROLAND GELATT, New York Editor
The Tape Deck, by R. D . Darrell 121
J. GORDON HOLT, Technical Editor
Roy LINDSTROM, Art Director Tested in the Home ...
Assistant Editors Scheller Rack 55; Gray Concert Duet; Colbert electr01zic fre-
MIRIAM D. MANNING; JOAN GRIFFITHS quency divider; Pampa electrostatic tweeter; Fenton B&O
Special A+ cartridge; Fisher FM-40 FM tttner; Radio-Craftsmen
Ma1zager, Book Division CA-rr Concerto amplifier; Stereo by Holt.
Cont·r ibuting Editors FM Directory
R. D. DARRELL Audio Forum 153
Professional Directory 160
WARREN B. SYER, Business Ma1lage1'
ARTHUR J. GRIFFIN, Circttlation Trader's Marketplace . .. ......... .. .... .. ..... ... .. ...... ........ .. .. ...... .... .. .......... .
Advertising Index
Main Office - Cla ire Eddings, The Publish- High Fidelity Magazine is published monthly by Audiocom, Inc., at Great Barrington, Mas ••
ing House, Great Barrington, Mass. Tele- Telephone: Great Barrington 1300. Editorial, publication, a nd c irculation offices at: The Publish-
phone : Great Barrington 1300. ing House, Great Barrington, Mass. Subs~rip~ions: $~:OO . per y~ar in the United States .and
New York - Fred C. Michalove, Room 600, Canada. Single copies: 60 cents each. Edltol'lai contrIbutIOns wIll be welcomed by the edItor.
6 East 39th St. Telellhone: MUrray Hill 5-6332. Payment for articles accepted will be arranged prior to publication. Unso1i<:ited manuscripts
should be accompa nied by return postage . Entered as second-clnss matter Apn l 27, 1951 at the
Chicago - John R. Ruthel'ford & Associates. post office at Great Barrington, Mass., under the act of Ma rch 3, 1879. Additional entry at the
Inc., 230 East Ohio St. Telephone: Whi~ehall post office, Pittsfield, Mass. Member Audit Bureau of Circulation, Printed in the U. S. A . . by
4-6715 . the Ben Franklin Press, Pittsfield, Ma ss . Copyright 1956 by, Inc. The cover deSIgn
Lo. Angeles - Brand & Brand, Inc. , 6314 and conte nts of Hi g h Fidelity magazine are fully protected by copynghts and must n.Q.t be repro-
San Vicente Blvd. Telephone: Webster 8-3971. duced in any manner. .

1000 ct_ IOlC cJs
'''' '0 IOOch 1001C .....


Wide-bol/d respol/se curve of amplifier, 2 cycles

per second to 160,000 cycles per second , In

The Quality comparison with the audible band 20 c.p.s. to

15,000 c.p.s ., assurcs effecti ve feedback.

Amplifier -----------------
distinguished Changer Covers, Continued

by these ]00 c/~ 15000(/~

Who starred all this, anyway? Seems
as if we've been discussing changer
covers practically all year!
outstanding Sql/are zvave respollse at 300 c.p. s. fundamental
and 15,000 c.p.s. fundamental; the latter contains
Well, so long as we keep getting
harmonics to about 150,000 cycles and indicates
good ideas from readers, we will go
features the degree of damping attained. right on. This time, we are indebted
to Earl B. Weber, 36 E. Milwaukee,

----------------- Detroit 2, Mich., for a brief accou m

of his own experiences and a sugges-
tion which should have appeal for
many HIGH FIDELITY readers. Here's
his letter of August Iy
"I have some ideas regarding Mr.
Momaldi's suggestion, in your August
'Noted With Interest' column, that
covers for record changers be a do-it-
yourself project fashioned from plastic
Subchassis view of amplijier showing fine work-
manship, which ensures enduring reliabilllY III
"I also had this problem and met
performance. In the long run there is no sub- with the same difficulty in finding a
stitute for quality. solution. Flexible plastic, while ade-
quate as a dust cover, presented an

---------------- unsightly appearance.

"Finally, out of sheer despair, I
paid something like $20.00 to have a
clear Lucite box cover made. How-
ever, I feel it was well worth the
price as it is a perfect dust protectOr
and at the same time, in an offhand
IMAIN AMPUFIER I COl/lrol UI/it Jacilities SOrt of way, adds a modernistic, tailor-
Power output 35 watts. Output imp~d­ include radio, micro- made touch to the table upon which
ances 4, 7, 15 and 60.fl.. Noise and hum
-90 db from full output. Harmonic
phone, pick-up and tape I have mounted the changer.
Distortion less than 0. 1% at 15 watts, recorder inputs; outlet "It occurs to me if enough indi-
0·3% at 35 watts. LM. Distortion 0-4% for tape recording; pre-set radio input attenuator as viduals are interested in a product of
at 25 watts, 0.5% at 30 watts, 0.72% at
35 watts. Damping Factor adjustable
insurance against overload; interchangeable com- this kind, I could contact the local
from 35 to infinity. Negative feed-back pensator plugs to meet the wide variation in pick-up manufacturer for a more reasonable
26 db round amplifier. gain and optimum load requirements. price based on a quantity. I will be
glad to hear from any reader who
ICONTROL UNIT I would like to explore this further. "
COlilrols: Bass, Treble, Low Pass Filter,
Volume, Selector for tape, radio and
microphone inputs and all standard
Don't think we need to say any-
thing more . . . sounds like a smarr
recording characteristics. Low noise and attractive idea, and Mr. Weber
circuitry. Cathode follower output to BY PYE LIMITED
power amplifier allows remote control
is, no doubt, due for some mail!
up to 20 feet. Makers of the Famous
Leaflets givillg fuller specificatiolls alld B1.ACK BOX RECORD PLAYER
High Fidelity Clubs
desigll data are available 011 request.
A call for help and assistance has been
U.S.A. }AmPlifier $139'50 Distributed ill the U .S.A. by received from Donald K. Isburgh, 164
PRICES Control Unit $59'50 British Radio Electronics Ltd.
West Main St., Amsterdam, N . Y.
P,iCCf sll,hely hrrfler west of the Rockies: 1833 Jefferson Place, N.W., Washington 6, D .C. He writes:
Contintted on ptlge 6



Shown here, the first of the Charles Eames designs for Stephens Tru-Sonic
speaker enclosures. Essentially, they are a combination of Eames' design
talent and Stephens' pioneer audio engineering. Mr. Eames has already
designed the most important group of furniture ever developed in this
country. His achievements in this and other fields indicate both technical
inventiveness and aesthetic brilliance. There are more Eames designed
enclosures to come . .. fresh, exciting concepts in form and audio structure.
STEP~E1:-..J'S TJR~· SO:lOJ:EC J:~C.

8538 Warner Drive, Culver City, California

NOVE MBER 1956 5

The curious analogy Continued from page 4
of the hlack diamonds "There is a group of music lovers
in this area who are very much in-
Recent issues of the Schwann Cata- tion, you're suffering from the malaise terested in getting together and form-
log have shown a large number of of the black diamonds. You're miss- ing a high-fidelity listening club. The
black diamonds opposite listings of ing a lot of m1tsic/ idea would be to become acquainted
recorded performances of fine music You can recover all the music by
. . . black diamonds that mean music with various types of hi-fi installations
playing your records on really good belonging to members of the club
will be missing from fumre issues. high fidelity equipment - the kind of
These black diamonds can be an and also to promote better under-
equipment recommended by Listening standing and appreciation of hi-fi in
object lesson to every serious listener
Post engineers. Typical selections this area. . . .
to music, too, for in music reproduc-
tion there is a strong analogy. If you from the Listening Post's complet~ "My reason for wnrmg you is to
listen to your records on outmoded stock are shown below. Write today ask if you have any information con-
phono equipment, even if you've paid to find out how to eliminate "black cerning the type of group which I
all outdoors for a new TV combina- diamond" listening from your home.
have described: how such a group is
formed; how it functions; where and
Listening Post Engineers Recommend These when it meets - just anything per-
Components Without Reservation taining to a high-fidelity club."
We sent Mr. Isburgh such infor-
Ferrograph Tape Recorder - Superb ~ri~is~­ mation as we had, and suggested the
made 2·speed instrument for the dlscnml- names of a couple of clubs he might
nating home recordist. Exceptional fre- get in touch with. But - that didn't
quency response. Built-in VU meter. Bass
and treble tone controls. seem like very much help; hence this
Net Price $379.50 (3 l A-7Th ips) call to readers.
$425.00 (7Th-IS ips)
We would appreciate it-and so
would Mr. Isburgh, of course - if
The Connoisseur Turntable - Dynamically bal-
anyone who has any ideas on the
anced hysteresis motor and positive speed subject would write him. Further-
adjustment combine to give you the finest more, what's the stams of high-fidelity
3-speed turntable at any price. Absolutely
quiet operation. clubs and music listening groups these
Net Price $11 0.00 days? Would readers like us to pub-
lish the names and locations of aCtive
clubs? If so, will club secretaries send
ESL Professional Arm and Cartridge - Superb
arm and cartridge value at this or any
us brief, basic information: name of
price. Startling clarity and detail of. r~pro­ club, address (if permanent), name
duction. For up to 16" transcnptlOns. and address of secretary or other per-
Diamond stylus. son to whom inquiries for further
Net Price $106.50
information should be addressed.

JansZen Electrostatic Tweeter and AR-1W Fie

Woofer - Acclaimed as the ultimate speaker
system in minimum space. Pure highs; We wish to take this opportunity to
crisp, clean lows. Truly natural reproduc- remind readers of the well-known fact
tion. Available unfinished or choice of
finish. that little differences make big messes.
Net Price, both units (mahogany) $329.00 For example, in spite of the best
efforts of printers and proofreaders,
All prices F. O. B. Boston, Mass.
hi-fi gets tangled up every now and
then. We recently read about "hi-if."
This seemed rather appropriate, since
that particular article had a good deal
of iffiness about it ... and it certainly
161 Newbury Street, Boston 16, Mass. is true that if everything is just right,
many times over, then in spite of hi-if
you get hi-fi.
o Please send information 0 Please ship We also read once about hi-fie.
o Ferrograph Tape Recorder (0 3 %-7Y2 0 7Y2-15) o Connoisseur Turntable This, we think, is an admirable term,
one that should be added to the audio-
o Dynakit (0 assembled ) o AR-1W and JansZen
phile lexicon. Into the category we
Enclosed is check for ..... . can put equipment such as was de-
scribed in one of the trade papers last
............. ..... . .......... ........ ... ........ ............. ... ................ ..........................................
summer : "The RE Co. is marketing a
Street or P.O. Address ....... ....... ....... ........ ... .... .... .. ...... ... .. ........ ..... .. .. .. ..... .... ........ .... .. .. ......... .. 15-watt amplifier, plus or minus five
City ....... ............... ..... ........................ . Zone ( State ... .. ............ ......................... .... ...... .. Continued on page 9


Component High Fidelity Instruments-for 1957
The only really new component instruments in the high fidelity field. Printed wiring throughout
insures quality control and product uniformity at a previously unattainable high level. Important new
circuits and operating features plus brilliant new styling. Write for free catalog HF-2 to Harman-Kardon,
520 Main Street, Westbury, New York.


amplifier and amplifier.
Model PC-200 $55.00
AM·FM tuner.
Model T-1O $79_50
C• THE SOLO~ Cambination of
Overture and Prelude on
one chassis. A B c
Model TA-1O $129.50
o• THE MELODY II: 20 watt pre-
amplifier and amplifier.
Model A-120 $95.00
Model T-120 $95.00
fessional Quality FM tuner. o E
Model FM-100 $95.00
tion of Rondo and Melody
on one chassis.
Model TA-12O $175.00
H• THE TREND II: 40 watt pre-
amplifier and amplifier. F
Model A-I040 $125.00 G
FM tunef.
Model T-1040 $140.00
tion of Theme and Trend on
one chassis.
Model TA-1040 $225.00
(Prices sli9htly higher in the Wesll

Integrated High Fidelity Systems - In Cabinets

Magnificent high fidelity components in electrically and acoustically balanced systems. Each equipped
with Garrard record changer, reluctance cartridge and diamond needle. Housed in custom-crafted, solid
3f.s" furniture cabinets. Write for free catalog P-I to Harman-Kardon, 520 Main St., Westbury, New York.

TH~ BALLAD: 12 watt amplifier,AM-FM tuner, THE CODA: 20 watt amplifier, deluxe AM·FM, THE DUET: Two-piece system. End table houses 20
ported triple speaker system with horn new exclusive four speaker system in friction watt amplifier, deluxe AM-FM, and record changer
loaded dual tweeters. (28%"H, 29"W, 18"0, loaded Helmholtz resonator. Tambour roll away in drawer. (261/2"H, 211,4"0, 171/4"0, in walnut and
in walnut or mahogany.! $400.00 doors. 34"H, 37"W, 181/2"0, in walnut or niahogany.!
THE ARIA: (Not illustrated) Same as Ballad
mahogany. $525.00 Separate custom multiple speaker system. (261/2"H,
311/2"W, 171/4"D, in walnut or mahogany.!
less AM-FM. $325.00 tPr;ces slightly higher in the Wesl) The pair, $575.00

New, prefabricated

can be started as a
single channel system
, ' .~

and converted to 2-way and 3-way •. #' '

without modification

Recent articles in technical and hobby convert your full-range Axiom system into
magazines have extolled the performance a 2-way with frequency response extended
of Goodmans loudspeakers in friction- to 20,000 cycles. Then, by adding a Midax
loaded enclosures. The "advantages dis- and 750-cycle crossover unit, this 2-way
cussed are now all available in the new converts into a Goodmans 3-way system.
friction-loaded ARU Enclosures: small In this instance, the 12-inch Axiom may be
size- bass response to 20 cycles-elimina- replaced with a 12-inch Goodmans Audiom
tion of peaks - effective loading to zero 60 or 70 woofer, if desired. ARU Enclos-
cycles. The quality of sound obtainable ures are also available for use with the 15-
with Goodmans speakers in these new inch Audiom 80 and 18-inch Audiom 90 AXIOM
ARU Enclosures is absolutely superb- woofers in 2-way and 3-way systems.
comparable to the most costly systems
available today. Another type of AR U Enclosure is
designed to use 8-inch Goodmans Axiette
One of the most desirable, practical fea-
speakers as tweeters with Audiom woofers.
tures of these enclosures is the ease with
which a modest Single-channel system can Three special ARU Enclosures have also
be built up to a 2-way and 3-way system been developed for use with one, two or
without modification. For example: the four of the famous Axiom 80 'free suspen-
Model B-1200 ARU Enclosure is designed sion'speakers as wide-range single-channel
for use with a 12-inch Goodmans full systems exclusively.
range Axiom 22, Axiom 150 or Axiom 100 Each ARU Enclosure Kit is complete in
as a single-channel system. The front panel every detail: supplied with selected
is also pre-cut to accept the Goodmans 3/4-inch, birch-faced plywood, cut to fit
Midax and Trebax, mid-range and high and sanded smooth for finishing, all screw-
frequency pressure-type reproducers- holes pre-drilled - plus grille cloth, acous-
these openings being covered with tempo- tical damping material, glue, hardware,
rary, easily removable panel blocks. instructions and the ever-important ARU
By simply mounting and connecting a Tre- Acoustical Resistance Unit. Only a screw-
bax and 5000-cycle crossover unit, you driver is needed to assemble this kit. TREBAX

ARU ENCLOSURE KIT prices range from $59.25 to $79.30 less speakers and crossover units.
prices slightly higher west of Rockies

For complete details, see your hi-Ii dealer or write Dept. V L-2.
650 Halstead Avenue, Mamaroneck, N.Y.
In Canada: A. C. Simmonds and Sons, Ltd., Toronto, Ontario


Continued from pClge 6 get custom quality at .low cost In

decibels, for $129.95. The unit is ALLIED'S own HIGH FIDELITY

made of % -in. wood with lock-joint
corners. Among the controls is an knight-kits
on-off pilot light." KNIGHT-KITS give you the last word in
This, we claim, is hi-fie. And, in HI-FI design, performance and value ... and
they' re easy to build from crystal-clear man-
a few well-chosen words, the item uals featuring "Step-and-Chek" assembly.
conveys to the reader which, of a vast Save money-get true Hi- Fi quality with these
custom-designed KNIGHT-KITS.
number of possible technical speci-
fications, are truly important to the BUILD THE BEST ••• AND SAVE!
achievement of hi-fie. So : don't be
misled by wild advertising claims.
If you really want hi-fie, be .rure you knight-kit LINEAR DElUXE
get lock-joint corners and an on-off 25-WATT BASIC HI-FI
pilot light. AMPLIFIER KIT

Jensen Enclosure Designs Model S-755 $4450

Just received from Jensen Mfg. Co. Enclosure Williamson-type Circuit
is a sample copy of their new pub- Available Printed Circuit Board
Chrome Plated Chassis
lication, Loudspeaker Manual ro60 ...
and a most interesting and worth- Designed to satisfy the most cri t ical listener. Intended for use with tuners incorpo rating buil t -in
preamp or with separate preamp. Uses latest Williamson-type circuit. H as potted, m atched
while manual it is. transformers. Output: Maximum, 45 watts; undistorted. 25 watts. Frequency response : ± 0 .5
db, 10 to 120,000 cps, measured at 20 watts. H a rmonic distortion is o nly 0.15 % right up to 30
Described are a whole series of watts. Intermodulation is only 0.27 % a t 17 watts a nd only .5 % at 20 watts, using 60 cps and
loudspeakers systems and enclosures, 7 kc, 1:4 ratio. Hum level is 85 db below rated output. Output impedance, 4, 8, 16 ohms. Uses
two 12AU7's, two 5881's, a nd a 5V4G. Printed c irc uit is utili zed in voltage amplifier and phase
ranging from the 28-cubic-foot Im- in verter sta ges . H as output tube balancing con t rol, variable damping control, and on·off
switch. H andsome chrome·plated chass is, 14" x 9" x 2". Overa ll height, 7". Complete with ·all
perial to a I % -foot Duette. Con- parts , tubes and. construction manual. Shpg. wt., 27 l?s. . $44 SO
struction drawings and instrucrions Model 5-755. BaSIC 25-watt HI-FI Lmear-Deluxe Amplifier Kit. Net. . . ... . ... . . . ... •
5-759. Metal enclosure for above a mplifier. Black finis h. Shpg. wt., 3Vo lbs. Net . . .... . . $4.25
are given in detail so you can build
your own enclosures, of appropriate
size and style, to accommodate your
own speakers or the Jensen speaker
kits specifically assembled for the en-
closure. The descriptions cover all the Available
well-known Jensen models : Imperial, Chrome
Triplex, Ultra £lex, Concerto, Du ette Chassia

- each in several sizes and shapes

knight-kit knight-kit
( corner and wall).
If you're interested in building en- 10-WATT HI-FI AMPLIFIER KIT 20-WATT HI-FI AMPLIFIER KIT
closures better get this manual. It's Model 5-753 Famous for wide response Model 5-750 True Hi-Fi for le ss! Re-
and smooth reproduction a t sponse, ± 1 db, 20 to 20,000
only 50¢.
$23 50 low cost. Only 0.5 volt drives
a mplifier to full outpu t . R e-
sponse: ± 1 db, 30-20,000
cps at 10 watt.s. H armon ic distortion less
$35 75 cps at 20 watts. Distortion,
1 % at 20 watts. Hum a nd
noise level : Tuner input, 90
db below 20 watts; magnetic phono. 72 db
New in San Francisco th a n 0.5% at 10 watts. In te rmodulation is less below 20 watts . Sensitivity: Tuner input, 0.6
than 1.5% at full o utput. Controls: On-off volt for 20 watts output; magnetic phono,
volume. bass , t reble. Input for crystal phono .007 volts. 4 inputs: Magnetic phono. micro·
Miller Brennen of Edgewater Inn, or tuner. C hrome-plated chass is is punched to
take preamp kit (Ree below) for m a~neti c car-
phone. c rys t a l phono or recorder, and tuner.
Controls: Bass, Treble, Volume, Selector with
Corte Madera, Calif., wrote us during tridges . Match es 8 ohm speakers. Shpg. wt., compe nsatio n positions fo r 78 a nd LP records.
14 lbs . Complete; ready to build . H andsome chrome-plated chassis. Shpg. wt.,
the summer that they planned to open Model 5-753. Am plifier Kit. Net .. . .. $23.50 23 lbs . Complete; ready to build.
soon for business, specializing in Model 5-235. Prea mp Kit for above . Net $3.10 Model 5-750. 20- Watt Kit. N et . . . ... $35.75
S-757. Enclosure fo r above. Net . . ... ,. $3.95 5-752. Chrome control panel. Net . . . .. . $1.40
records and hi-fidelity sound repro- ALL PRICES NET F.O.B. CHICAGO
5-758. Enclosure fo r a bove. Net ........ $4.15
duction, in the San Francisco Bay
area. Stop in to see their place if ORDER FROM €l ALLIED RADIO
you have a chance.
o ~~Ht-ft~
High Fidelity Defined
From Ed Altshuler of American Elec-
--------t I~-----------
100 N. Western Ave., Chicago 80, III.
I Ship the followin g :
. ••
., I
tronics ( Berlant-Concertone) comes a 1957
definition of high fidelity: CATALOG I $ enclosed I
"High-fidelity components differ Send for this 356·poge volue.packed
catalog covering ev."ything in Elec· I 0 Send m e yo ur FREE 1957 ALLIED 356-Page Catalog I
from regular packaged goods in one tronics. Camplete sections featuring
basic respect: the hi-fi component is world', lorgest selection of Hi-Fi I Name I
components and music aystems,
an integral part of a music reproduc- many more famous KNIGHT.KITS, I Address I
recorders, P.A . aystems, Amateur
gear, parts, tube" toots and books.
II City
. Zone __ State

Continued on page

I2 Send for your FREE copy today.

----------------_... 9

Anniston : COLUMBIA WOODBURN SOUND SER- 107 3rd Ave. N . 48 West 48 th S t. Porlland : EL PASO AUDIO CENTER
RADIO D Is. & SUPPLY C o . Washing Io n : VICE HI-FI SOUND HUDSON R ADIO & TV L. D. HEATER CO. 103 E . Ma in St.
125-27 W. 10 th S t . ELECTRONIC WHOLESAL- 218 E. College S t . 69 S. 12th St. 2 12 Fulton St. N. 1001 S .W. Morrison F ore Wor th:
KENTUCKY Co. 69 Cortl a n d t S1. CECIL FARNES CO .
TANNER COMM. Co. 2345 S her man A venue, Louisv ille: 2804 R ace S t.
304 N. 26 th S t. N.W. 88 S. 10 th St. MIDWAY RADIO & TV 440 N. C h urch St. R AE GANTI' SOUND
Tusca loosa : GOLDEN EAR R oches ter: CoRP. EQUIPMENT Co.
FLORIDA 61 0 S . Third St. HI GH FIDELITY SOUND 60 West 45 th St.
M u nicipal Airpon ForI L a uderda le : S TUDIOS M ILO RADIO & ELECTR IC A llen town: H ouston:
DISTRIBUTORS I NC. 200 Greenwich S t. INC. 1633 Westhcfmer
Little R ock : 2606 S. Fed. Highway LOU I SIANA MISSISSIPPI RADIo W IRE TV INC. 11 15 Hamilt on 5 t.
MOSES MEL ODY S HOP Pass Chr istian : 100 6th Ave. WRYE Co., LTD.
G alncsvtlle : New O rleans: R ADIO ELECTRIC SERVICE 2410 W. A labama
ElI Fl. INC. 121 Davis Ave. CO. of PA. P ort Arthur:
CALIFORNIA VILLE , INC. 1600 Baronne St. tCS CO. INC. 1042 Hamilton 51.
Bak ersfi eld : 103 1 S. Main St. THE MUSIC SHOP INc . Cbeslel' :
BAKERSFIELD AUDIO & 4215 S. Claiborne Ave. Kansas CitY: 85 Co r tlandt St. 2 122- 7 t h S t.
640 New Haven Ave. H IGH FIDELITY CENTER DAVID BEATn' CUSTOM Red Hook: East on : San A mon io:
Burbank: Miam il 2530 L inwood Ave. HARTER, INC. R ADIO ELECTRIC SERVICE
FLAOLER RADIO Co .• INc. 1616 W. 43rd 10 S. B roadway Co. OF PA. INC . HOUSE, VANDERGRIFT
VALLEY BUCl"RONlO (Westpon Rd .) AUDIO Co.
SUPPL Y Co. 1068 W. F lagler S t. MAINE Roches ter: 916 Nor t h ampton St.
RlOH FIDELITY ASSOC I· Ba ngor : St. Louis: ROCHESTER RADIO SUP- Er ic : 4106 Sa n P ed r o
1302 W. Magn olia NAPPER R ADIO Co.
Ho llywood :
A.T~88 Biscayne Bl vd. 118 Main S I. 3117 Wash in gton Ave. PLY CO.
600 E. Main St.
1315 Peach S t.
O r la ndo : Lew isl on : VAN SICKLE RADIO CO. SaU Lak e City :
ICS 11 13 Pine St. Schenectady: Johnstown : DESERET BOOK CO.
WESTERN STATES ELEC- 631 W. Central Ave. 23 Lisbon St. PARTS Co . 44 E. So . Temple St .
Tam pQ,: NEBRASKA 1034 Easter n Ave.
TRONICS Portla nd : 226 Main S t .
1.509 N . Western Ave. GODDARD-TAMPA I n c. H. D . BURRAGE & CO. O mah a: Syracuse:
Lan caster:
60 1 S. Mo r gan S1. 92 Exchange S t . HOUSE OF HI F J CAMBRIDGE ELECTRONICS Rut land :
Inglewood: 4628 W. Dodge 530 Wescott S t . GEORGE D. BARDEY CO .
SUPPLY 18th and S1. Mary'S 582 S. SaUna S t. L cbenon: 285 S. Main S t .
836 S. LaBrae Ave. INC . GEORGE D . BARDEY CO.
THE HOUSE OF H IGH FI- Ba ltimore:
4736 W. Cent ury B lvd. Concord : 349 E. Onond aga St. Lewiston :
205 Dat ura St. 2 N. Howard S1. EVANS RADIO ] NC . T r oy:
22 S. Schoo l 5t. PARK RADIO&: T.V. Co. TROJAN ELECTRONIC Meadv1lJe:
BAKER FIDELITY CORP. 106 W. Fayette St. Eatontown : U tica : CORP.
107 Santa Barbara PI. HIGH FIDELITY SOUND N ew Kcns:ing ton :
11240 W. Olympic HIGH FIDELITY S . S. S . 4010 G lengy le Ave. CENTER PLY CO. Charlottesvillo :
608-610 Peach troe St . . Sa lis bury: Ro ute No. 3S 1102- 1106 2nd Ave.
Men lo Park : Mounta ins ide: 1415 Oriskany St .• W. P hiladelph ia: CHARLOTTESVILLE MUSIC
1T~~5El Camino Real 1824 Walton Way
102 1 U.S. Highway 22 367 Mamaroneck Ave. A. C . RADIO SUPPLY CO. Norfolk :
Oakland : I LLINOIS MonlcJair : Woodside. L .I.: 1539 Passyunk Ave. ELECTRONIC ENOINEER-
4166 Broadway MILllR MUSIC CO. g S . Park St. 69- 18 Roosevel t Ave. DISTR I.DUTORS 316 W. Olney Road
Pasadena: 811 Boylston S I. 614 Arch St.
417 N. Main S1. DEMAMBRO RADIO SuP- Newark: Yonker s:
1759 E . Colorado St. 1005-1007 W. Wash . 235 Lyo ns Ave . CO. OFPENNA .. INC. H IGH Seattle:
HIGR-FIDELITY HOUSE 1095 Commonw. Ave. 2475 Central Ave.
San Berna rdino: 1 10 Federa l St. NORTH CAROLI NA 709 Arch St. 2008 Westlake Ave.
HOLLYWOOD H I-FI SHOP 1305 Roosevelt Rd. RADIO SHACK CORP. 11 4 Hudson St. Char lotte:
Champaig n : 167 Washing ton St. HUDSON RADIO & TV RADIO ELECTRIC SERVICE S p okane:
San F ra nc isco: 8 11 W. Springfield RAD IO WIRE T. V . INC . 34 12 Germantown Av . 20TH CENTUR Y SALES INC .
Ch icago: Cambridge: 24 Cen tral S t. 1431 Bryant S t . RADIO ELECTR IC SERVICE 1021 W. First Ave.
2 290 F ilmore SL ALLlED RAOlO CORP. P la infie ld: Co. OF PENNA .• INC.
100 N . Western Ave. 1077 Mass. Ave. RADIO W IRE T.V., I NC . 205 W. Firs t SI. 5930 Market S t. WEST VIRGINIA
SUPPLY AaTIiUR NAGLE I NC. 139 W. Second Sl. Pittsbur gh: Charlesto n :
1284 Market St. Holyoke : Hendenonville:
PLY I NC . Haywood Rd . (4 miles RADIO P ARTS Co .• INC.
1321 Mission St. 6566 Sheridan Rd. 37 Railroad St. 40 B r iar H ills Circle N .W . of Henderson - Virginia St. W. a t Park
ELBCTRONIC EXPEDITERS, Lawronce: 929 Liberty Ave.
San Rafael : INC., T he Hi-Fi Center NEW MEX I CO ville) RADIO PARTS CO .• INC. WISCONSIN
CATANIA SOUND 2909 W. Devon Ave. YOUNG & YOUNG OF A lbuquerque: RockY Moun t: 6339 Penn Ave. .lanesville:
San ta A na: 223 W . Madison S1. 198 Broadway 816 San Mateo S .E. 143 S. Main S t . GEOROE D. BARDEY Co. 1208 Milwaukee Ave.
LOWENSTEtNS PREM IER RADIO P ittsfield : THE H I-FI HOUSE- W inst on-Sa lem: 205 N. Yor k St.
1508 S. Main St. 3239 W . Nor th Ave. SA~~O~~~cgt~T 'S INC. SoUND ENGRG. & EQUIP. DALTON-liEGE RADIO R eading:
Santa Monica:
9 12 W. Fourt h St.
I NC .
S ta te at Gorham
1642 Ocean Park B lvd.
Van N u ys: 12 15 E. 63 r d S t. SOf4~D:6~v~~1~c;~ONICS B lvd. N.E.
2 n d & Penn S ts. MilwRukee :
VOICE & V ISION, INC. State Co llege:
Riverdale: 402 N. P. Ave. TRIBUTORS lNc.
17647 Shennan Way AUDIO D ISTRiDUTORS 58 Central St. HI-FIDELITY CENTER, 103 S. Pugh St. leB.
Wor cester : INC. OHIO Wynnewood : 840 N. P lankinton
COLORADO 142 18 S . I n d iana Ave. FRED G . WALTERS CO.. 324 Central Ave. Akr on:
Colorado Spr ings: Rockfo rd : OLSON RADIO W ARE - SHRYOCK HI-FIDELITY
DEITS BROS. H & H ELECTRONIC Sup- INC. 1308 G r afton S t.
B r ooklyn :
Bonwit-Telle r B ldg.
119 E. Pikes Peak
Denver : PL~OJ~~'o Kishwaukee MICHIGAN CORP . 73 E. Mill S1.
Ash tabula:
WiJliamspor t: CANADA
ALLEGRO MUSIC SHOP A nn A r bor : 485 Coney I sland A v. ALVO ELECTRONIC DIS-
INC. E lk harl : PLY S t . John :
262 F illmore St. 1317 S . University Av. 836 F la tbush Ave. 240 Pine St.
FRICK ELECTRIC & TV, Batt le C r eek: B uffa lo: 321 Center S t. York: THE NEW BRUNSWICK
520 S . Main S l.
7- 11 Ger main St.
1629 California S t.
C. V. A. H1 FI CENTERS Ft. Wayne c~~P~~~~~rn FRONTIER ELECTRON ICS, 3017 Cleveland Ave.
Nova Scotia :
C. V. A. HI FI CENTERS PLY CO. DEAN INfs05 Main St. C incinna ti: Prov idence: Halifax :
434 16th St.
1320 S . Ca lhoun S I.
Gary: Dci~~if:l
E. Maple A ve. t'.eL~:~~~d~ RADIO DIST. CUSTOMCRAFTERS
6 110 E. Co lfax ANCE Co., INC. A~~~~IH~~~~nI~C. C~I~~~lton Ave. 2259 G il bert St.
C leveland:
790 N. Main St.
U . S. Rou te No.1 Ontario:
3592 Vill age Court RAca DISTRIBUTING CO. NEWARK &: LEW IS Kitchener:
9730 Burnette S I. at 43 Main S t. 2915 Prospect Ave. SOUTH CAROLI NA
Ha r tfor d :
BELMONT R ECORD SHOP VICE Grand River A ve. iau~~~ci:xCHA NGE PROGRESS RADIO SUPPLY Co lum b ia: Ottawa :
MARGOLIS HIGH FIDEL- Indianapo lis: 8300 Fenkell Jamestown : 413-415 Huron Road SUPPLY CO., LTD .
ITY STUDIO GOLDEN EAR 7375 \Voodward Ave. 31 Forest Ave. 1628 Laure l 8t. 836 Somerset \V.
28 High St. 15 E. 16th St. ELECTRONIC SUPPLY Tor o nto:
New Haven : South Bend : 15822 Grand River 525 Je r icho Turnpike 849 N . Hig h S t. 245 E . Mar ket S t. SUPPLY Co • LTD.
DAVID DEAN SMITH FRICK E LECTRIC & TV. Manistee: New York : D aYl on : Knoxville: 522 Yonge St.
RADIO SHACK CORP. 1001 Ma in Sl. SUPPLY INc. IdS INC. 310 Georgia St.. N.E. TEMS LTD.
230 C r own S t. W est La faye tte: 258 River SI. 65. Cort an 1 t . 1000 S. Main St. Mem phis: 169 Kipli n g Ave., S.
DOUGLAS AUDIOTRONtCs 108 Northwestern Av. AUDIO COMM. CO. 11 5 Wes t 45th SI. Co. SHOP Quebec :
15 Map le Terrace 15 11 J anes St. CONSOLIDATED RADIO 135 E. Second S1. 2837 Poplar Ave . Montrea l :
AUDIO WORKSHOP I NC. Bur ling ton : S I. Joseph: SALES d A Toledo:
275 Craig St. W.
DELAWARE F. & M. Ba n k B ldg. 2938 Niles Ave. IN~6 Dey St. Y08U~Og:'w~~ntra l HIGH FIDELITY INC. EXCEL DISTRlBUTING INC.
~~~~ ~~eL~~r1~~
W ilm ing ton: Ceda r R a pids: 3004 Guada lupe S t. 690 S t. James St. W.
CO. OF D ELAWARE 7 19 Center Point Rd .• 32 1 E. Spruce SI. INfi4 E . 44th St. . . THOMPSON AUDIO C'rR. 730 St. James S1. W .
3rd & Tatna ll N .E. 1090 Alma at Park THE RADIo €ENTRE
MINNESOTA HARVEY RADlO Co .• INC. OKLAHOMA Da llas: Cra,l g at S I. Urbain
Des Moines: Minnea polis : 103 W . 43rd S t . Oklah om a Cit)':
403-405 D elaware A v. 12 10 G r and Ave. 1827 E. Lake St. 68 Cortlan d t St. 1239 W. Main 2 608 Ross A vc. 706 B lvd . Charest East
SONOTEC S.A., La Gran Avenida, Sabana G rande, Caracas, Venezuela


Hear it! See it!

The E-V CENTURION Corner Folded-Horn Enclosure is a beau-

tiful, brilliant exposition of Electro-Voice superiority in high-
fidelity equipment. Integrated with matched E-V Model 117 or
105 Component Package, ill is an efficient 4-way reproducer that
gives wide-range response from below 35 cps to beyond audibility,
music in exciting, life-like fidelity. Three individual drivers (one
coaxial) insure clean, distortion-free reproduction of each portion
of the audio spectrum, in proper balance with smooth transition
from one to the other. Level controls permit adjustment of
"presence" and "brilliance" to balance room acoustics. 42/1 high
x 29/1 wide x 227':1/1 deep. Brushed-brass grille.
THE SENIOR CENTURION IV. Includes Model 105 deluxe, 4·way speaker system.
Mahogany, Net $395. Limed Oak, Net $405. Walnut, Net $413.80
THE CENTURION IV. Includes Model 117 4-way speaker system. Mahogany, Net
$325. Limed Oak, Net $335. Walnut, Net S343.80. CENTURION ''~O-IT-YOURSELF''


especially recommended for use with the Centurion.
A complete 4-way system consisting of 15WK 15-inch
IF driver, 848HF coaxial mid-bass and treble assem-
bly, T35 VHF driver, X336 crossover network and two
AT37 level controls. Net $217 Model 117 Component
Package, Net $145.
CENTER. This compact, high-quality 20-watt amplifier is moderately
priced, easy-to-operate .• . a complete control center for your hi-fi sys-
tem. The A20Cl has a 10-position playing selector: tuner, tape, TV, aux.
and 6 phono-equalizer positions_ Vital E-V "Presence" control lets you
"spotlight" singers and soloists. Exclusive E-V Circlotron Circuit with
Critical Damping eliminates switching transients, reduces distortion, ends
listening Fatigue. Net $124.50*
finest high-fidelity systems. Model 84D with a 1-mil natural diamond
playing tip has high compliance, wide-range response, no hum pickup,
highest signal-to-scratch ratio and lowest intermodulation distortion.
Net $23.10.
Electro-Voice, manufacturer of the most complete high-fidelity product
range - speakers, speaker enclosures, systems, amplifiers, preamps,
tuners, phono cartridges, Do-It-Yourself enclosure kits, and microphones.
Available everywhere.
A Sealed cavity behind 15-in. low-fre •
• quency driver cone enhances super·
lative transient response, decreases
B Exclusive E-V "w" single-path, in-
• direct radiator folded horn. Utilizes
walls at corner of room to extend
bass reproduction below 35 cps ..•
a whole octave more than ordinary
enclosures of comparable size.

New Catalog-Guide gives you complete facts on speak.

ELECTRO-VOICE, INC . • BUCHANAN, MICHIGAN systems far true high-fidelity music reproduction. Send ~
Export: 13 East 40th Street, New York 16, U. S. A. Cables : ARLA8 to coyer postage and handling for Catalag No. 117-F611 .
Canada: E-V of Conoda Ltd., 1906 Aven~e Rood, Toronto, Ontario ·Slightly higher in the West.
Contintted f-rom page 9
tion system that is connected by a
strand of wire to the rest of the sys-
tem. The consumer is allowed com-
plete freedom of choice in selecting
the particular unit or units he desires
to assemble to satisfy not only his
aural but also his visual or esthetic
taste as well as his pocketbook. With
a pre-assembled package, the manu-
facturer makes the decision as to
which components shall be connected
and the comparative value of each.
For example, some manufacturers put
particular accent on cabinetry rather
(~II1\)IPI()N than on the electronics of the equip-
ment. Some manufacturers may use
inexpensive phonographs in combina-
tion with fairly good tuners, ampli-
fiers, and speakers. The consumer is
required to purchase the entire pack-
age. If his musical ear cannot digest
the 'package', there is little or nothing
he can do about making individual
changes in the various elements."
There is only one champion il1 the fine phono cartridge field : the ESL.
After impartial testing of nineteen leading pickups, the aflthoritative Loud Enough?
Audio League continues to report:
We recently heard about an installa-
"By a practically unanimous decision, our listening panel tion which we think may possibly
considers the ESL Professional and Concert Series have had enough power to satisfy even
cartridges to be by far the finest phonograph reproducing the most "powerful" audiophile. The
instrumen~s we have heard. system used 14 Jensen speakers, each
driven by a separate 85-watt ampli-
"In A-B comparisons with its closest competitors, fier! Talk abo lit multi-amplifier sys-
even persons who had never previously been exposed tems! Anyway, there were, in this
to high fidelity reproduction were struck by the system, eight Triaxials in Imperial
superior definition of the ESL. " enclosures plus six more Triaxials in
bass reflex enclosures.
"The smoothness and (,;larity of these cartridges are unique. No, we did not say this was a home
... For sheer naturalness and un distorted ease, system. It was one worked Ollt by
ESL has no peer.'" Jensen and the Conn Organ Corpor-
ation for reproduction of electronic
Is your pickup obsolete? No matter how respected nor how recent it may organ music at the Democratic and
be, you're missing plenty if you don't have the world's most advanced Republican conventions. But it has
cartridge: the ESL. Write today for free information. some possibilities, don't you think ?

Maximizing FM Antennas

Readers wiII recaIl the articles on FM

antennas by 1. F. B. Carini. Some of
Electro-Sonic Laboratories, Inc. this material, along with much that is
new and important, has been put to·
Dept. H, 35 - 5 4 Thirty-sixth St. . Long Island City 6, N. Y. gether by Mr. Carini into a small
pamphlet (32 pages) caIled "Theme
Soloist Series from $14.95 • Concert Series $35.95 • Professional Series arm and cartridge $106.50 and Variations - or AIl Abollt FM
Antennae and Their Installation." It's
• A urllorized quoralio" No. ;, . PJea St' (O " SII It TIll! Audio League Repor!, Vol. " No . 6- 7 (March-April, 955) available from him for 25 cents, c/ o
{or tile complete tu /uiicalllHd mbjcl1il1C rCI,ort. A dditio1lal i1Jjormmiolf ;1' Vol. " Nos. 10 Ie 12. Subscription:
J 2 issues $4. frolll P. O. Box 262 . Mr. VentOll, N. Y. Apparatus Development Co., Inc.,
Drawer 86, Wethersfield 9, Conn.
IncidentaIly, a geographic list of FM
broadcasting stations and their fre-
C ontimted on page 14


Electro-Voice design aims: to build an FM-AM tor. Cathode-follower output. Record Output Jack
tuner m a tching the quality of the Electro-Voice (not affected by Loudness, Volume or Tone Con-
Patrician. Result: the E-V Model 3303 FM-AM trols). Preamplifier section operates independently
Tuner with preamplifier. For the man to whom of tuner sections.
price is less important than fine engineering and
For the man who is superior performance there is no other choice than FM TUNER. Sensitivity: 1 microvolt for 20 db
Electro-Voice. noise reduction, 2 microvolts for 30 db noise reduc-
tion, 10 microvolts to open squelch. Tuning Ratio,
CONTROLS. (1) 3-position Loudness. (2) Volume.
planning today's (3) Continuously Variable AFC-Squelch. (4) Play-
7 to 1. Tuning Range, 88 MC to 108 MC. I.F.
Frequency, 10.7 MC. I.F. Bandwidth, 180 KC
ing Selector: tuner, 6-position phono-equalizer, flat. Discriminator Separation, 200 KC between
tape, TV, Auxiliary. (5) Treble. (6) Bass-Off. (7) peaks. Additional FM Output Jack (not affected
Finest Vital "Presence" control (3-position) spotlights by volume or tone controls) used in dual or stereo-
singers and soloists for your Concert-at-Home. phonic operation.
(8) Master Tuning Knob controls both AM and
High Fidelity System ... FM channels. E-V tuners are extra-easy to dial AM TUNER. Sensitivity: 1 microvolt for 6 db noise
because they employ a Tuning Control having a reduction, 25 microvolts to open squelch. Tuning
7 to 1 ratio and Automatic Frequency Control. Ratio, 7 to 1. Additional AM Output Jack: (not
Tuning Knob slides to left for FM; it slides to right affected by volume or tone controls) used in dual or
for AM ... locks band, locks station. stereophonic operation. I.F. Frequency, 455 KC.
DIALS AND METERS. (9) FM Tuning Dial. (10) FM I.F. Bandwidth, 11 KC. Tuning Range, 550 KC
Signal Strength Meter. (11) Magic Eye FM Tun- to 1600 KC.
ing Aid. (12) AM Tuning Dial. (13) AM Signal
Strength Meter. Electro-Voice Tuner dials are easy The Electro-Voice Model 3303 Stereophonic FM-
FM-AM TUNERS to read, easy to set. FM and AM Signal Strength
meters provide easy, exact tuning of both channels.
AM Tuner is finished in handsome Mocha enamel
with dark brown escutcheon and brushed-brass
trim . Mocha chassis has brown case. 15" x 15 :!1" x
PREAMPLIFIER SECTION . Ceramic-Magnetic Selec- 8)1". Net Weight 28 lbs. Net .... .. .... $279.50*.


1 This is a conventional 2
tuner. A single " compro- 3
1 mise" circuit is used for
both FM and AM.
1 4
2 2 This is an El ectro-Voice
1 This is inter · station 2 This is inter-station tuner. Electro-Voice Model 3304 Basic FM-AM Tuner is sim-
noise from a conven- silence from an El ectro- (A) Ind ependent FM section
tional tuner. Voice tuner. (B) Independent AM section . ilar to model 3303. It is d esigned for use with sep-
Block velvet silence between stations on both FM and
arate preamps and amplifiers having a complete
No compromise circuits are used. Result: Superior FM per-
AM is excl usi ve with El ectro-Voice. Precise ly tuned formance (and superior AM performance too ). set of controls. E-V Model 3304 controls include:
programs spring out of complete silence as you turn Stereophonic programs or completely separate FM and . (1) AFC-Squelch. (2) Master Tuning Knob. (3)
the Master Control knob. AM broadcasts can be received simultaneously. In fact, Balance Control for tuning stereophonic broad-
Unpleasant noise between stations is e rased by th e you can listen to FM while your f am ily listens to AM in casts. (4) Level-Off. 15" x 14 :!1" x 8x.". N et Weight,
exclusive Electro -Voice Squelch Circuit! onother room .
27 lbs. Net. . .. . . . . . . . . . . . . . . . . . . $239.50*.

Electro-Voice Model A50 Circlotron High-Fidelity All Electro-Voice Products are uncondItIonally
Amplifier. The p erfect companion unit for E-V
guaranteed to meet or ' exceed performance
tuners. Power Output: 50 watts rated, 100 watts
specIfIcatIons . . . an exclusIve E-V guaranteel
on p eaks. Response: ± 0.5 db, 20-75,000 cps.
Harmonic distortion at rated output less than See your E-V ' High-Fidelity Distributor or write for Bulletin F6I1.
0.5 % ; LM. distortion at rated output less than
1 %. Hum and noise level: 85 db below rated out- NO FINER CHOICE THAN
put. Output impedances: 4, 8. 16 and 70-volt line. ELECTRO· VOICE, INC. BUCHANAN, MICH.

Controls include: (1) Power. (2) Critical Damping. CANADA : E·V of Canada ltd .• 1908 Avenue Road,
Toronto. Ontario
(3) Input Level. 16)/0" x 10)/0" x 8)/0/1. Net Weight EXPORT : 13 Ea,t 40th Street, New York 16. U. s. A-
411bs. Net .. ........................... $169*. Cable., ARLAB
Continued from page I2

quencies is included in Mr. Carini's


New Address
Kingdom Products Ltd., distributors
of Lorenz speakers and enclosures,
have moved to new and larger offices
at 514 Broadway, New York 12, N.Y.

The Inevitable
It was bound to come sooner or later.
The so-called boys' and girls' rooms
in the Reno Hi-Fi Circle club rooms
are labeled "Woofer" and "Tweeter."

Hot Air
We will not mention by name the
company which has, in all seriousness,
announced a system whereby the warm
air ducts of a heating system, of the
proper type, are used for sound distri-
bution. The system is not claimed to
be high fidelity - just "true fidelity."
A king can have no better We hate to mention this, but we
have been doing this same thing for
than this "2300" • . th e years, much to our chagrin. Our high
newest look and performance fidelity rig is in one end of the house
and the sound can be heard in the
in High Fidelity amplifiers. other end with rather startling clarity.
It makes most vocalists, in particular,
Pictured above is the new Bell "2300", twenty watt. sound like Yma Sumac with a gar-
Other new designs are available in 10 to 40 watts. bage pail over her head. The sound
The specifications of these new Bell amplifiers goes in one register, whangs around
through yards and yards of duct work,
are the best in the world today. has fits and spells of severe intermod-
The controls, all closely grouped in the center panel, ulation distortion whenever the oil
present conveniences you've always longed for. burner goes on, and finally emerges
You cannot buy a better engineered or better styled all over the house as - oh, absolutely
High Fidelity amplifier ... anywhere. - true fidelity sound.

No Fair!
NOT JUST NEW VERSIONS OF OLD MODELS We consider it definitely unfair prac-
but ••• COMPLETELY NEW DESIGNS tice for the Brush Electronics Com-
pany to continue sending us publicity
For "Operation 2300", Bell assembled a group of electronic engineers releases about their sound measure-
with knowhow . . . a group of designers with imagination . . . and ment instruments. We read all about
automatic equipment for the measure-
gave them an order-"Create a line of High Fidelity Amplifiers that
ment of frequency response and what
'will produce breathtakingly-realistic sounds-and will be styled for have you, all done with extraordinary
traditional, contemporary and modern living." precision. We look at the price tag,
The "2300" line is the result of this far-reaching project. You should faint, and wander to our back room
and look at our work bench equip-
see and hear it. Your nearest Bell dealer will gladly demonstrate, for
ment. You could buy alI of it three
you, a remarkable "2300". Write us for his name and detailed "2300" times over for the cost of one Brush
literature. Bell Sound Systems, Inc., (A subsidiary of Thompson Prod~ doodad!
tlcts, Inc.) 559 Marion Road, Columbus 7, Ohio. Oh well, we hope to make our first
million by 1960 and will then call in

~~"world Renowned For the Best in Sound"

the Brush salesman. Won't he be sur-


p~ r

with Automatic Phonograph
j amtTape Rec9rder.

~~--- J~
(ZJ .. AM-FM-SHORT WAVE with Automatic Phonograph
6 louds.pea ke'(s. Mahogany or
light Walnut cabinet
A Symphony in elegant, modern design .. . 5 loudspeakers ... natural Walnut finish.


Music Instruments For The Home
~te tiwt~ ... Here, from Europe's largest manufa cturer of
radios, are the most true-to-life, self-contained high fidelity units available today.
With the magnificent Grundig Majestic, every sound from every instrument or with Automatic Phonograph
voice is at the command of your fingertips-the low moans of an alto saxophone, and Tape Recorder.
the rich, mellow tones of a violin, the soaring highs of the Bute-all are 6 loudspeakers. CabiQet, in
reproduced with amazing brilliance and clarity. luxurious Pumice finish:

Best of all, Grundig Majestic Hi-Fi is ready for concert hall performances
immediat!Olly_ No expensive, time-consuming installations, no complicated separate
parts, but perfect life-like sound reception from a Continental-crafted furniture .. Myslic Maestro"
piece that will enhance your home with its timeless beauty. A GrulJdig Majesti&,
Exclusive! '
Converts any room
See, Hear the Incomparable Grundig-Majestic 'soon, into a concert hall by transmitti ng
, middle and high frequencies
from $59.95 to $1,495, at Better Stores, Everywhere. th'roughout the room in ' equal
values, The tones completely· en-
Write ChiOlllllO Office for Free Illustrated Brochure and Name of Nearest Dealer velop you, as perfec!ly true and
clear as jf the ·orchestra and con-
MAJESTIC INTERNATIONAL CORPORAT I ON I ductor were right there with you.
743 N. La Salle St., Chicago 10, Illinois. 79 Washington St., Brooklyn 1. New York Truly, the ,ultimate,fulfiliment in
3D StereophohicSound1. .
~S(]ts i d i a r y of WIL COX · GAY CORP . . M4rs . at fl£COR DI O ~agnet~c rape Reco rd e r s

AUGUST 24, 19 12, AND MARCH 3 , 1933
EASY S TAGES FO R O f High Fidelity, published monthly at
Great Barr ingron, Massac h uscns, for
OctOber 1, 1956
1 . The names and addresses of the publisher,
editOr, m anaging editOr, and busi ness ma nager are :
Publ isher Ch arl es Fowler, Eg rem ont, Mass. ;
Edi tOr , J ohn M . Conly, Great Barr ington , Mass.;
Business :Ma nager, \"Varren B. Syer, New :tvlarlboro,

2 . T he owner is: Audiocom, Inc., G rea t Bar-
ringtOn , Mass.; R . F. Allison , North Egremont,
Mass.; C. G . Burke, Ghent, N. Y .; J . M. Conl y,
G reat Barrington , Mass .; S. Q . Curti ss, Sheffield.
1'\'l ass.; C. Fowler, Eg remont, Mass.; R . H . H oopes,
Jr. , Wash ingtOn , D . c.; R . Lindstrom , North
Egremont, Mass.; F. C. M ichalove. Englewood .
N. ] .; W . B. Syer. N ew Marl boro, M ass.; H . R .
Sykes, Pi rcsfield , M ass.; Frank R . Wrigh t, Jr., New
Ma rlboro. Mass.
3 . The known bondholders, mo rtgagees, and
other securi ty holde rs own ing or holdi ng 1 per ceor
or morc of total amount of bonds, m on gages, or
other secu_rir.ies arc : nonc.

PERFECTI ON ISTS 4 . The cwo paragraphs next above giving che

names of the owners, stockh olders. and security
holders. if a ny, com ain not only the Ii sc of stock-
holders and securi ry holders as they appea,r upo n the
books of (h e company. but al so, in cases where (he

Another TANNOY speaker triumph

stockholder or secur ity h older appea rs upon the
books of (he company as trustee or in a ny other
fid uciary relation . the name o f the p erson or
corporation for w hom such tru stee is acting, is
given ; al so that the said twO paragraph s com ain
The world famous Tannoy Dual Concentric speakers have established statements embracing affia nt's full knowledge and
a standard so high thot even ardent supporters of multi-speaker systems beli ef as to the circumstances and conditions u nder
which srock holders and security holders who do nor
strive to achieve their perfection . In response to overwhelming requests to appear up on the books of the company as trustees.
make available separate speakers for those wishing to improve thei r present hold srock and securities in a capaciry other than
systems, and for those budgeting in easy steps towards the ultimate that of a bona-fide owner; and th is a ffiant has no
reason to believe that any other person . associat ion ,
performance of the Dual Concent rics, we are proud to announce the re lease or corporation has any interest di rect or ind irect in
of t he new Tannoy 12" and 15" LF Units, 12" Di rect Radiator, and horn - the said stock. bonds, or Other secur ities tha n as so
loaded HF Unit, with associated crossover networks. This flexible range staced by him .
( Signed) Charles Fowler
provides a multiplicity of speaker systems, both two and three way, accord-
Sworn to and subscr ibed before me ch is T wenty-
ing to personal requirements. fifth day of September 1956.
In the three-way system the new Tannoy 12" Direct Radiator is the ( Seal ) Li ll ian F. Bend ross. Notary Pu blic
starting point: no single specker can offer a better introduction to the realm Commission expires June 24, 196 1.
of realism than this product of English craftsmanship . The new Tannoy 15"
LF Unit and the new horn-loaded HF Unit (both based on the performance
specification of the DUAL CONCENTRICS) follow , - but not necessarily AUTHORitatively Speak ing
together - to bring the system as near perfection a s human skill ca n de vise .
A specially designed crossover network ensures optimum performance f rom a Among thing~ you probably didn't koow
two-speaker set-up until the budget permits adding the final unit. The about the author of "Russia As It Saw Me"
original 12" Dire ct Radiator then achieves its re markable best as a mid- ( page 56 ) is that he was a successful jazz
range speaker. violinist named Jacob P incus Perelmuth
before he decided to become a singer
Here indeed is perfection in easy stages!
named J a n P eerce. Among enormous
numbers of people who have never re-
g retted this change are audiences at the
Metropoli tan , record buyers, Russian opera-
goers, and , lately, patrons of the Desert
Inn, Las Vegas, where he brought the
house down as easily with E lttcevan Ie
stelle as wi th My Y iddiscbe Mama.
Herbert Weinstock , who surveys Russian
opera records for us this issue, is executi ve
editor of Alfred A. Knopf, Inc. H is books
on musical subjects include Men and Ivfmic
(with W allace Brockway ); Tcbaikovsky;
Handel ; Cbopin, the Man mid H is Music;
and Music as an Art. In the early 1940S
he was editor of the Gramophone Shop
Supplement (remem ber? ), and since the
early 1930S he has been one of the most
ardent vacationist-explorers of Mexico.
H is interest in Russian opera bega n in the
1 92 0 S, when he heard Chaliapin sing Boris
in Chi cago.
J o hn Ball, J r_ , who discourses fondly of
his 78-rpm record collection on page 66,
was born in Schenectady and reared in

\ T AN til OY~. Practitioners in Sound

Milwaukee by a physicist father who was
also an accomplished m usician. 1- B., J r. ,
has been an annotator for Columbi a, music
T annoy (America) L td., 38 Pearl Street, N ew York 4, N.Y. , U.S .A . editor of the Brooklyn Eagle, and author
Tannoy (Canada ) Ltd., 36 W ellington Street East, T oronto I , Ontario, Canada. of the only daily record column in Ameri-
ca, that of the New York W orld-T elegram.
At present he lives in Los Angeles_


: .~ ~ : .;., ~
' .. i ': '. ::' .:. J '

For the Very Best in High Fidelity ...


There is One Accepted Leader

in Every Field

In High Fidelity
.. . it is


Our Twentieth
of Leadership
Founder and President, Fisher Radio Corporation
Chairman of the Board , Institute of High Fidelity Manufacturers
THE FISHER FM·AM Tuner • Model 80·T
• Unequalled a mong FM ·AJlI tuners, Model 80·1'
iden tica l to the 80-R - but includes com pletc pfafc
si0l1a l audio control faciliric.s . F or ge ne ra l spcc i fic

For Pride and tion s, see Model 80·R below. Model 80·T is the fi.-.
F'l\JI -AM tun e r with a se para te tape head playback pr
amplifier (w ith NA RTB equaliza ti on.) Preamplifie
eq uali ze r has s uffi cient ga in fo r lowest level magne t
cartr idges. S ix record equali za t ion settin gs. Separa

Bass a nd Treble Cont rols. DC on all "audi o tu be fil.
ments. Hutl11evel non·measura ble with VolumcColltr
a t minim um, better than 72 db below 2 volts at Jl1a ~
• • • 111um position. On phon o, better th a n 60 db below ou
put wit h l U millivolt s igna l. Four inputs. EIGHT cO
TROLS : Selector, Variabl e AFC / Line Switch, Static

Selector , Bass, Treble, Equali za ti on, Volume, Ca
brated L oudness B a lance. S IZ E : 1 2~" x 8 ~ " (Ie
knobs) x 6" hi g h . WEIGHT: 2 1 pounds . CABINET
Blonde (Model TB) and Ma hogany (Model TM


• Acclaimed everywhere as the finest FM·AM tun<
available . Works whe re ot hers fail. America 's fir:
l"l\JI·AM tuncr wi th two meters, for micro·accu ra
tuning. Extreme sensitivit y - 1.5 microvolts produc
2U db of quieting. S epa rate I'M and AM front end
with ad ju. table AM selecti vity and variable AFC f
J ' ." "~ II I ~ !" l"M. AM sens itivity better than 1 mic rovolt. Respon!
within 0.5 db fro111 20 to 20,000 cycles . Distortion b
-] low U.04 % for I volt output. Inherent hum so low;
to be II on·measu rable! SUller·smooth flyw heel tunin
Usually . . . when a music lover purchases Shie lded, shockmounted chass is. Mu ltiplex, catho
a FISHER high fidelity product; he does follower outputs. S IZ E : 12:14 " x 8:14" (less knobs)
4" high . WEIGHT: 16 pounds. CAB I NETS: BImH
so for pride, for quality, for personal (Model UN · B) a nd Mahogany (Model UN·M
satisfaction. On the other hand, it is
gratifying to know that - if he preferred
- he could have chosen FISHER, the
leader in the field, purely on the basis
of economy. For it has been proven time THE FISHER FM Tuner • Model FM·90
and again, that FISHER, with the best • Tire Fillest FM TUll er Made. The FM·90 definitel
sets the standards fo r the tllner of t omorrow . .. an
m technological advancement and beauty olltper fol'Jl1 s .my cxisti', g FM tUll er! Micro-accura
of style, is most practical to own. tu ni ng combined with extr eme sensit ivity and flex
bility. Equipped with two meters, indicatin g signc
strength and cente r o f cha nnel. Dua l D yna mic Limi
FISHER Modules afford the most e r s ope ra te on signa ls as low as one microvolt . .Ba
complete versatility for practical, anced antenna inputs for 72 a nd 300 ohms. Cathod
step-by-step assembly of a high foll ower a nd Mult iplex outputs. Shielded and shoe
fidelity music system! moun ted. CONTROLS: lntercha llnel Muting, Al"C
P owe r Switch, Stat ion Selecto r , Input Level. Respol1~
FISHER functional concept of unit- within 1 db fr om 20 to 20,000 cycles. Sens iti vit y-
design offers the user the most economical 1)4 microvolts for 20 db quieting. 10 tubes and
means of achieving the ultimate in crystal diodes. S IZE: A compact l 3l1j" wide x 8 ~
sound reproduction! deep x 6Ys" high. D is tin ctively styled and housed
a s ma rt meta l case with ha nd some brass and plast
panel. WEIGHT: 16 pounds. 5149.5

THE FISHER FM Tuner • Model FM.40

• A bea utifully desi g ned ins trume nt at moder ate cost,
for d isc riminat ing lis teners. Stable circuitry a nd s im·
plified controls make this remarkable tuner excep-
ti on a ll y easy to usc. Me ter for micro-accura te, center-
of-chan nel tuning. Sen s itivity, 3 mic rovolts for 20 db
quieting. Can acco mmodate 72 or 300-ohm antenna
syste ms. 8 tu bes. Self-powered. CONTROL S: Power On-
Off/Volume, Station Selector. OUTPUT S : Detector/ Depending on individual re-quirements -
Multiplex, plus cathode foll ower. SIZE: 12~" x 8l1j" whether you are just beginning your high
x 4" hi gh. W E IGHT: 15 pounds. CAB1 N ETS: Blonde fidelity hobby, or whether yo u seek
(Model UN· B) alld Mahogany (Model UN ·M.)
to improve an existing system - plan
the first step with a practical view toware
the future. Devote your budget to basic
components. In that way, you can realiz
immediate listening satisfaction ... with
quality FISHER equipment. Moreover
THE FISHER AM Tuner • Model AM·80 you can add to it later, with the same hig
• The high fidelity AM coullterpa rt of the famous
level of quality .
FM·80 Tuner. Combines the pulling power of a pro·
fessional communications receiver with the broad tun - If you start with phono - choose from the
ing necessary for hi g h fidelity reception. D esig ned to wide selection of FISHER quality amplifie
rigid s tandards; features a meter for micro-accurate models ... later; add a tuner for FM,
t uni ng. Three·position adjustable bandw idth . L ess than
oll e mi crovolt prod uces ma.ximum output. A n excel-
AM or both. Or .. .
lent companion to the FM-80, for those who wish
binaural r ece ption. Three inputs, cathode follower If you start with radio - choose a profes-
output. 8 tubes . Self·powered. SIZE: 12y.\" x 8J4" x sional tuner and amplifier from the
4" hi g h. WEIGHT: 15 pounds. CABINETS: Blonde (Mod· wide range of FISHER models . . . later,
el UN·B) a nd Mahogany (Model UN·M.) $119.50 add phono facilities, buying the best
quality manual or automatic player yo ur
budget permits.

Free Individual Technical Bulletins are Available For the Best Present
on All Models - Write Today and Future • • • Plan with FISHER
FISHER Exclusives That Make a World of Difference!
Exclusive FlSH ER Feat ures
provicle that added measure

of control to satisfy all

listening requirements. Here
is flexibility that obsoletes
...... ..... :'.~
. ~

old fashioned hi-fi. Here is
F ISHER FIDELITY .. . it mllkes a
«'orld of differellce .
T,..I= 6f1ltA.
...... TIU Fls,.,m
=r:~ ~

Progressive Engineering AI .Is Superlalive Besl •••

THE FISHER 90-Watt Audio Amplifier THE FISHER 30-Watt Audio Amplifier THE FISHER 55-Watt Audio Amplifier
• 90 watts of aud io power, with less than ~ % • Incomparable F ISHER amplifier with • Plenty of power for your present - and
distort ioll at fu ll out put. T'wo powe r suppl ies Powcr-Scopc, a vis ual Peak Power Indicator. any possible need s. Less t ha n l o/r di s-
assure optimum operation. F ISH ER Per/onH- :.ryror~ c::lean wa tts per doll ar t han a n y ampli- tort ion a t 55 wa tts. 110 watts peak. 1M d is tor·
alice Mom'tor meter indicates correct ad just- fier 111 Its class. 60 watts peak! Three separate tion below 2% at 50 watts. All-tri ode design .
ments of tube bias, screen voltage and output feedback loops, resulting in low inte rn a l im- Exclusive FISHER Power MOllitor, a n i1lumi ·
halance. S hows average power output in watts. pedance, extremely low distortion, and excel- n a ted meter to indicate average audio power
Less than 1% 1M distort ion at 75 watts! len t trans ient res ponse. L ess than 0.5 % dis- and make possible correct adjustment of output
Harmonic di stortion a t 50 watts ~ of l o/t. tortion at 30 wa tts «1.05 % at 10 watts.) 1M tube bias. New Z-Matic Variable Dampll1g
Frequency response withi n 0.1 db, 20 to 20,000 distort ion tess th a n O.5'i', at 25 watts. U niform Factol" Control wit h three times the range of
cycles . H 11I11 and noise bette r than 92 db below 1·es pouse within 0. 1 db, 20 to 20,000 cycles. onlinary controls of thi s t y pe . Frequency r e-
full output. 8 a nd 16-oh m speaker out put im- Within 1 db, 10 to 50,000 cycles. Hum and s ponse ±O .I db, 20 to 20 ,000 cycles. Hum and
pedances_ POWCT socket su pplies a ll necessary noise virtua ll y 1101l-·m easurable (bette r than noise better th an 92 db below full output ! 8
voltages fur operation of unpowered au.x iliary 96 db below hil i output! ) CONT ROLS: Z-Matic, a nd 16-ohm outputs. Minimum inte rn al im-
components. CONTROLS: Tnput Level, Speaker PowerScopc, In put Level, 8 and 16-ohm out- pedance 0.53 ohms at 16-ohm tap, g iving max i·
lmpedance Switch, Meter Sw itch, B ias, put. TUB E COM r L E MEN T : 1 - 12A T7 , mum damp ing facto r of 3 1. Input Level Con-
Screen Voltage, Output Bala nce, Dri ver Bal- I · 12AU7A, 2· EL37, 1 - 5V4G, 1 · Power- trol. Octal socket s uppli es a ll voltages for
ance, X-Ma tico TUBE COMPLEMENT: 1 · 12AU7, Scolle Indicator, 1 - Regu lator. SIZE : lS~" ope ratin g unpowe red components. TUDE COM-
1 -12AX7, 4-EL34(6CA7), 1 -6Y6, x 4!4" x 6%" deep. W,.': IGIIT: 22 IJOund s. I'I.EMEN T: 3 · 12AU 7A, 2 · 6CL6, 2 · 6550,
I - 6AU6, 2 - 5R4GY, 2· NE16. S I ZE: 14" x $99.50 2 - 5AW4 . SIZE : 14!4" x 9H" x 8 3/ 16" hi gh .
11 Ys " x 8!4" hi g h. WEIGHT: 55 pounds. WE IGHT: 50 Jl ound s.
~229 . 50

THE FISHER Master Audio Control THE FISHER Master Control-Amplifier

• This l\iaster Audio Control matches allY alll- THE FISHER IS -Watt Audio Amplifier • Complete in ever y respect - the remark-
This Master Audio Control matches any am- • Low in cost, terrific in quality. It is the able M odel CA·40 Master Cont rol A mplifier
plifier. Provides professional phono a nd tapc- a mplifie r thousands of h i-fi enthus iasts have wit h TOHeScope! A 2S -wa tt amplifier with
head equali zation . Full mixing and fading" requ es ted. M ee ts the most exacting require- ca mplctL' A udi o Controls. Featur es Ton eScopc~
faci lities for from two to five cha nnels. Seven ments. Traditiona l F ISHER workman ship, an e_.,elusive FISHER first that shows graphi.
inpu ts, including t wo Phono, Mic and T ape . h a n dso m e appea r a 1lce . Ad va nced d es i gn call y the Bass and Treble Control settings on
Two cath ode foll owe r outputs. 1M dis tortion throughout . Response withi n 0.1 db, 20' to all illuminated panel. Response 10 to 90,000
virtually non-measurable. DC on all fi laments. 20,000 cycles at 15 watts. Less than 0.7 % dis· cycles , within 0.5 db! Less th a n 1% di stortion
Separate eq ua li zation and preampli ficatioll tortion. 1M distortion less than ] .5 t ,1r, a t 10 at 25 watts. IM distortion 1% at 15 watts.
di rectl)' from tape playback head. Four nega- watts. Hum a nd n oi se belter tha n 90 db below Hum and noise level better than 90 db. Six
tive feedback loops, for excellent stab ility. full output! Internal impedance : 1 oh m for 16- in lll1ts. Direct tape-head playback and micro-
COl>;TROLS : Bass, Treble , Master Volume, Two ohm operat ion , giving damping facto r of 16. phone preamp. Ta pe recorder output. Output
P hono/ Tape Equali zation. Ca librated Loud ness l\ ssures low d istortion and superio r tran sient impedances : 4, 8, and 16 ohms. CONTROLS:
Balance, Line Swi tch, Five C hanne l · Selector res pon se . Octal socket provides a ll n ecessa r y Volume , 4-Position Loudness Contour, Selec-
Pus h Buttons, F ive I.n put M ixer/Level. Self- AC a nd D C vo ltages for ope.atin g unpowered tor/Equalization, Power Switch, Bass, Trebl e,
powered. T hree AC out lets. TUBE COMP LE- a uxiliary components. Output impedances 4, Humble Filter, Noi se Filter, I nput Level.
MENT : 3 · l 2AX7, 1 . 12AU7A . S I ZE : 12y,j" x 8, and 16 ohms. TunE COr.IPL EMENT : 1-1 2AX 7, TUBES: 1-1 2AU7 , 3 ·l 2AX7, 4·EL84,
7-Y-l" x 4!4" hi gh. WEIGHT: 10 pounds. CAB I - 2 -EL84, I· EZ80. S IZE: 13" x 4!4" x 6 y,j " 2·6B W4 . SIZE: 12¥4" x 1O ~" x 5" high.
NETS : B londe (Mod. CB), Mahog. (Mod. CM) hi g h. WEIG liT: 13 pou nds. WEIGJIT: 24 pounds. $139.50
~99 . 5G

FISHER 'FIRSTS' - Milestones in Audio History

1937 FIRST High fidel ity sound sygtems fea turing a beam·power amplifier, 1953 FIRST Un iversal Horn-Type Speaker Enclosure for a n y room location
inverse feedback, acoustic speaker compartments ( infinite batne and any speaker systen.l.
and bass reflex) and magnet ic cartrid ges. 1954 FIRST Low-cost electr onic Mixer-Fader.
1937 FIRST Exclusively high fide lity tuner, featuring broad·tuning 20,000 1954 FIRST Modera te ly-pri ced, professional FM Tuner with TWO meters.
cycle fide lity TRF.
1955 FIRST Peak Power Indicator in a high fidelity amplifier.
1937 FIRST Two· unit high fidelity system with sepa rate speaker enclosure.
1938 FIRST Coaxial speaker system. 1955 FIRST Commercial Control-Chassis with mixing facilities.
1938 FIRST High fidelity tuner with a mplified AVe. 1955 FIRST Correctly equalized direct tape-head playback preamplifier in
1939 FIRST Dynamic Range Expander. tuners a nd master controls as well as a separate preamplifier.
1939 FIRST Three·Way Speake r in a high fidelity system . 1956 FIRST To incorporate Power Monitor in a home amplifier.
1939 FIRST Center·of-Channel Tuning lndicator. 1956 FIRST All Trdllsitorized P re-Amplifier.
1945 FIRST Preamplifier-Equalizer with selective phonograph equalization . 1956 FIRST Dynam ic limiters in an FM tuner for home usc.
1948 FIRST Dynamic Range Expander with feed back circuitry. 1956 fIRST Performance Monitor in a hi gh quality amplifier for · Ii·onte use.
1949 FIRST FM·AM Tuner with variable AFC.
1956 FIRST FM·AM tune r with t'lCJO meters.
1952 FIRST s O·Wa tt, all·triode amplifier.
1952 FIRST S elf·powered Maste r Audio Control. 1956 FIRST 90·wa tt a mplifier especially designed for home u se.
1953 FIRST S elf-powered, electronic sharp cut·off filter system for high 1956 FIRST Complete visual indicator for bass, treble , filter controls and
fidelity tlse. recorel equalization.
Whatever The Requirement. Do It Better With FISHER
Transitor Preamplifier . TR-l
• The first (l1/·tralls'itor high fidelity IJTocluct!
Absolutely zero hum and =cro microphonism.
Powered by battery or AC powe r supply. Con·
sumes 0.02 17 watt. Choice of four in puts. Ha n-
d les lowest level magnetic cartridges. R I AA
phol1o eq ua li zation. F lat response for mike ±
0.5 db, 20 to 20,000 cycles. Maximum gain,
48 db. T h ree transistors , printed ci rcuit wir-
ing. Four controls. S IZE : 4~" x 4 ~" x 2"
high. WEICHT: 12 oz. POWER
$27 .50 AMPLIFIE R

Mixer-Fader· Model 50-M
• M ixes two s ignal sources of equal or vary illg
amp li tudes. Permits smooth , noiseless fadi ng
from chan nel to channe l. No inse r tion loss,
extremely low hum and noise level. High i m-
Ilcdance input, cathode follower output. H igh
signal -ta-noise ratio, negligible d istortion. Self-
powered, with AC switch. Completely shielded.
Beautiful plastic cabinet, brushed·brass con·
trol IlaneL SIZE: 511 / 16" x 5" x 4 ~" high.
$ 19.95

Hi-Lo Filter. Model 50-F
• E lectronic, sharp cut·off filter system fur
suppression of turntable rumble, record scratch
and high frequency disto rti on - with an abo
solute minium loss of ton a l range. Low fre·
quency cut·off points (Flat, 37, 70, 120 cycles)
at a slope of 10 db per octave. High frequency
cut·off (20, 10 and 3 Kc) at a slope of 20 db
per octave . Self·powe red, j ewel pilot ligh t.
SIZE: 511 / 16" x 5" x 4~" high.

$ 24.95

Audio Control · 50-PRC
• Provides complete professional equalization.
Two stages of triode amplification. 40 db gain;
sufficient for the lowest level magnetic car·
tr idge . Hum level 60 db below 10 millivolt
inpu t . S hock mounted, complete ly shielded,
sel f·powered . With volume control-call se rve
as a mode rate ly priced front end. Pilot light.
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Two tri ode stages , high gain. Exclusive feed-
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NARTB for tape. H um level 60 db below I
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Free Individual Technical Bulletins are Available on All Models - Write Today
First of all a long delayed word of
appreciation for your wonderful mag-
azine. I've enjoyed it immensely and
would only be repeating what others
have said in compliment.
I think that Rodrigues is priceless
in his characterizations, and with
apologies to him I am enclosing a
birth announcement which I thought
you might be interested in:

~tne SU~tne ~o.cQtmu~iR


.... !f' .. ,

11-£ lp·1

." d ·
Bev -: Edtl
13/u_ Ldb.I ·Producbon
Pro1Y"'" Notes : .
Opu5Na.I: Mo:l.urJce ·jo-el
A L''Jht CldsSIC : 3 lbs 14 0:3.
f"$1 Pe,forme.l: Z 'O Av'i v 5 t 1956
At : c~ 11or~ G.... ml Ho'>p,!ol ~ 'j rop!.'"'l UaJl
Fat best r~vlc~\ :':' crp rc.i'.:¢t'"J dean. u,£ o1\l~
bC'st o~,,jI.I'i t.ottGn C.CY~'r>

HIGH FIDELITY is the rage in this part

of the country as it is elsewhere; and
with most of your friends and relatives
having more than a passing acquaint-
ance with music, we thought it would
be appropriate....
Earl Lipsett
Calgary, Alta,

I read Mr. Joseph Kerman's "Trouble
with Tosca" [HIGH FIDELITY, Sept.
Continued on next page
Continued from preceding page
195 6J and came to the conclusion
that there must be some "Trouble
with Kerman" ... .
The purpose of poetry in spoken
drama is to heighten the atmosphere.
Poetry has nothing to do with char-
acterization or dramatic presentation.
It is an idiom in which the author
mayor may not express himself. It
is not an ingredient, a sauce which
has to be added to make a complete
dish. Many good spoken dramas were
written which lack poetry.
The essential characteristics of
opera are (a), the existence of a li-
bretto and a score, the latter having at
least equal status with the former and
(b), [the writer's conscious intention
of producing a work to be presentedJ
on the stage.
There is absolutely no similarity
between the function of poetry in
EL-34-Recognized as the finest h spoken drama and of music in opera,
output pentode, up to 100 watts as the inventive mind of Mr. Kerman
pull. Exceptionally linear, requires puts it. Spoken drama can exist with-
out poetry, but there can be no opera
without music.
The purpose of music in an opera
is not clearly defined. It may be
symphonic in character, thus awaken-
ing and sustaining deeper emotions
than those which could be expressed
by mere words; and it may do this
with or without reference to the
libretto. Or it can be illustrative,
putting the text into sharper focus
and motivating the action. Or it may
be just melodious music giving pleas-
ure to the listeners and keeping the
composer from starvation. And, of
course, it can mingle all three of these
functions . . . .
Mr. Kerman proceeds to put his
theory into practice by comparing
Puccini's Tosca with Verdi's Otello.
*ECC83/12AX7 *GZ34-lndirectly heated full- (We really should be grateful that
*ECC82/12AU7 wave rectifier with 5v, 1.9 he did not compare Noel Coward with
*ECC81j12AT7 ~mp neater, 250 ma output. Stdndberg - he was on his way to
Mullard quality double tri- Equivalent to 5U4G/GA with- do so) . Let us be honest: I personally
odes with low hum, noise and out circuit changes with the do enjoy Otello more than Tosca.
microphonics. advantage of lower tube volt-
age drop due to unipotential However, Puccini in Tosca was led by
cathode. different considerations and motives
*Maximum levels than Verdi in Otello. If Mr. Kerman
really wishes to compare the twO com-
1I1!11rrlnlJTnf!ll throughout the United States. For
posers, why not compare Tosca with
Rigoletto, in which the conception
of music shows at least some similar-
ity? The dramatic element in opera
does not necessarily manifest itself
in "intellectual brilliance"; and as
emotional backgrounds to a melo-


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NOVEMBER 1956 25


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ILLINOIS (Continued)
2057 E. 751h Sir eel
Chicago 49
125 S. Chicago Ave.
Fr eepo rt
252 Oeerpa th
Lake For es t
708 Central Avenue
Hi gh land Park
1202 Fourth Avenue
401 South 20th Street
Mt. Vernon
1001 South Spring
116 North Fifth
Altec Fidelity is available at the following stores: AUDIO SERVICES DISTRIBUTING CORP.
1210 N. Penn
Ind ianapolis
304 No. 26th Street 230 Crown Street No. 15 On The Mall
Birmingham 3 New Haven Pr ai ri e Vill age
Divi sio n of Mercantile Paper Co. 1 South Main LEWIS SOUND SERVICE
138-144 Commerce Str eet West Hartford 226 West Lib erty SI.
Montgomery 2 DELAWARE Loui svi ll e 2
202 E. Fillmore Wilmington 4215 S. Cla iborn e Ave.
Pho eni x D_C_ New Orleans 25
1642 Connecticut Ave., N.W. Koelemay Sa les Co ., In c.
BAKERSFIELO AUDIO & ALARM DEVICES Washington 2530 linwood Avenue
2531 F Street (Westchester) Shr eveport
Ba ke r sfield SHRADER SOUND, INC.
2803 M Street, N. W . MARYLAND
Berkeley 5 SUN PARTS DISTRIBUTORS, LTD. 967 T hayer Avenue
514 10th Street, N.W. Silver Spring
456 North Rod eo Dri ve MASSACHUSETTS
No.1 Tho mas Cir c le, N.W. 161 Newbu ry Street
120 Broadway Bo ston 16
REYNOLDS RADIO & TELEVISION, INC. 167 Washington Str eet
1111 E. Chevy Ch ase Or . Bo ston
Glendale 5
THE A. T . ANDERSON CO . 932 N. E. 20th Avenue, Gateway Bo sto n 10
541 Elm Avenue Fort Lauderdale
HOYT HIGH FIDELITY CENTER 1077 Massac hu setts Ave.
CALIFORNIA SOUND PRODUCTS. INC. 3582 SI. John s Avenue Cambridge
1264 Melrose Av enue Jacksonvill e 5
Lo s Angeles 46 RADIO CENTER
CRENSHAW HI-FI CENTER 1068 West Flagl er Street Fall Ri ver
107 Santa Barbara Pl aza Miami A & L SOUND COMPANY
Los Angeles 8 47 O sgood Str eet
HENRY RADIO 3888 Biscayne Bl vd. Methuen
11240 West Olympic Blvd. Miami 37 CUSTOM -CRAFT HIGH FIDELITY
Los Angeles 64 lake Street
RALKE COMPANY, INC. 1229 Lincoln Road Middleton
829 South Flower Street Miami Bea ch LEE LOUMOS TELEVISION &
los Ang eles 17 APPLIANCE CENTER
SALON OF MUSIC 1347 Washington Street
SANTA MONICA SOUND 401 South County Road
12436 Santa Monica Blvd. West Newton 65
Palm Beach
West los Angeles 25 MICHIGAN
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Newport Beach Ann Arbor
1159 E. Color ado Street Pensacola 16020 E. Warren A venue
Pasadena 4 Detroit 24
HI-FI SHOP 3619-21 Hende r son Bl vd .
3768 Orang e 15115 Livernois Avenue
Tampa 9 Det roit 21
River side
16th and Broadway 925 Buck ingham , S. W.
Sa cramento 1140 Peachtre e Str eet, N.E. Grand Rapid s
1839 Ol E" Str eet Gr and Rapids
606 Peachtr ee Street, N.E.
4337 Fairmount 235 Buckhead A ve nu e 2242 Port age Str eet
San Di ego 5 Atlanta Kalamazoo
650 6th Avenue 112 North Patter son St. 4806 South lo gan Street
San Diego 1 Valdosta Lan sing
A . 8 . Johnson 1932 Pe ck Street
301 Clay Stre et CLIFF'S HOUSE OF HI - FI & MUSIC Mu skego n
San Francisco 11 307 North 9th Street
2598 Lombard Street PK'S ELECTRONICS
San Francisco 1918 Newto n St.
Idaho Falls
Keith P. Br ow n 136 West Clark Street
1225 West San Carl os St. Alb ert l ea
JOHNSON RADIO & SOUND 305 South 7th Street
BOWER 'S MUSIC 203 Galen a Blvd. at Lake 51.
810 So. Gaffey Street Minneapolis 2
ARTISTS RECORDING CO. 1920 lynd al e A ve nue South
LOWENSTEIN'S 6353 N. Maplewood Ave.
1508 South Main Street Minneapolis 5
Chicago 45
Santa Ana (Continued)
3018 Wil shire Blvd. Chicago 26
Santa Monica

COLORADO 14218 S. Indi ana Ave.
326 Holly Stre et
Denver 20 FRIED'S
3801-05 West 26th Street
8 Church Street
48 East Oa k Str eet ~
Middletown Chicago 11

TEXAS (Continued)
Altee Fidelity is available at the following stores: 103 East M Street
EI Paso
MINNESOTA (Continued) NEW YORK (Contin ued) 3711 Camp Bowie Blvd .
816 LaSalle Avenue 159~19 Hillside A ven ue WRYE COMPANY LTD.
Minneapolis 2 Jamaica 32 2410 W. Alabama
NORTHWEST SOUND SERVICE. INC. 367 Mamaroneck A venu e Houston 6
73 Glenwood Avenue White Pl a ins
Minneapolis 3 J . & S. TELEVISION", RADIO CO •• INC, 107 S. Main Street
PAUL A . SCHMITT MUSIC CO. 1040 Broadway Midland
88 South Tenth Street Woodm er e
Minneapolis WESTLAB ELECTRONICS, INC. 2401 Siadium Road
2475 Central A ven ue Port Arthur
1020 West Truman Road Sa n Anton io
1409 N. Ind ependen ce Bl vd. HI-FI SHOP MUSIC SYSTEMS
HACKMANN MUSIC'" SOUND SERVICE Charlotte 3002 Broadway
1208 lee Street San Antonio
Jeffer so n City W . C. REID & COMPANY, INC.
143 S ou th M ain Str eet SILVEY MUSIC COMPANY
NORTHRUP HIGH FIDELITY SOUND Ro cky Mount 1009 Don aldson Ave.
M eadowlake Shopping Center S an Antonio
76th and State Line LONG ENGINEERING CO.
W inston·Salem 1518 N . St. Mary 's Street
3401 South Kingshi ghway OHIO
35230elcr Akron 8 Bla cksburg
WBPA SOUND SYSTEMS 3301 Har ri son A lJe nu e, N. W. 316 Wesl Olney Road
132 West Big Bend Blvd . Canton 9 Norfolk 7
2259 Gilbert AlJ enue P. O. Bo x 92
NEBRASKA Cincinnati 6 H er mita ge Road
1212 Farnam Street 2915 Prospect A lJe nu e
Omaha Cl elJeland 15
2244 Nell A venue SeaUl e 1
P. O. Box 312
Concord 320 Sal em A ve nu e GALPERIN MUSIC COMPANY
NEW JERSEY Dayton 6 11 Capitol Street
51 Main Street 13410 D etroi t A venu e WISCONSIN
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MUSIC AGE, INC. " GENE" DAVIS APPLIANCE 840 N. Plankinton A ve nue
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Pater son 808 Moh ica n Sireel HAWAII
7 Pa lm er Square W est
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502 Mapl e Avenue Westmont Sh opping Cente r CANADIAN ALGOR LIMITED
Trenton John stow n P. O. Box 683
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H igh Fidelity Sudi os KYMA ELECTRONICS CO., LTD.
SOUND ENGINEERING'" EQUIPMENT CO. 913 Ar ch Street 1005 Sh erbroo ke Street W est
3011 Monte Vista Bl vd. N . E. Philadelphia M on treal , Qu ebec
SUPREME RADIO SUPPLY 155·151 Penn Stree l 167 Kipling Avenue South
129 West Second St . Reading Toronto 18, Ontario
232 Crown A venue
70 West Marcy Street Scranton 5 BROCKLISS-SIMPLEX
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NEW YORK 637 East Broad Str eet
Soud erton ITALY
21 W . S outh Str eet Vi a P. da Cannobio, 9
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1509 Hertel Avenue RHODE ISLAND JAPAN
CERONE SERVICE 266 Hawkins Street Kana i Bld g, No, 1
4440 E. Genesee Street Provid en ce Kanda H igas hi-Fukudacho
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HI-FI DEPOT Mi ss ls slppi,59
Electronic Consultants ARTHUR RIXON '" SON (Colon ia Cuauhtemoc)
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Flushing 58 Greenville
353 West Sunrise Highway FRANK L. ROUSER CO., INC. P. O. Box 1598
Freeport 315 W. Cumb erland Avenue M anila
Hempstead, l. I. 644·46 M adi son Avenue LISTER BELAVAL
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Hempstead, l. I. 5th &. M ai n Str eets SWITZERLAND
43-07 23rd Avenue THE MUSIC BOX Jenats ch str . 1
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64 Cortlandt Street TEXAS
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RECORD SHOP Avenida Leonardo da V inci
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LEONARD RADIO, INC. 308 Congr ess
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New York City 7
TEMPLE SOUND EQUIPMENT CO., INC. 1606·08 North Haskell

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C. '" W. RADIO'" APPLIANCE CO. Record S-Mezza ni ne
SO East Central Avenue M ai n, Elm &. St . Paul
Pearl River Dall as
46 Public Square 5328 West Lovers lane ~
Watertown Dallas


Continued from page 22

drama, the scores of Otello and Tasca

are equally successful each in its own
element, regulated by text, the situa-
tions, and the composer's purpose....
Can we not just be grateful for
what we receive from our great
creative artists? [Can we not justJ . ..
settle down to enjoy ·Otello and Tasca
for what they are and not for what
they should have been? What price
common sense Mr. Kerman?
Dr. A. G. Ross
Toronto, Onto

The Editors reply:

We grant Dr. Ross's point: certainly
there exist good spoken dramas written
in prose; and equally certainly, there
can be no opera without music. As we
understand Mr. Kerman's thesis, how-
ever, he meant to suggest that drama
reaches its highest intensity in poetic
Only planned high fidelity
expression. From his point of view,
poetry does not simply "heighten atmos-
phere"; of itself it serves to characterize
can give you true high fidelity!
the speaker and the situation through
the enrichment of emotional response
which metaphor, symbol, rhythm, etc.
Putting together a hi-fi system for your limitless. We're happy to help you
provoke in listener and reader. Mr.
Kerman, we feel, would maintain that home can be simple-and it probably choose what will best suit your home
in opera affording the fullest aesthetic will cost a lot less than you think! and your budget. You can start small
experience, the music is not simply an Here at MusiCraft we offer the kind and add as you wish.
independent source of pleasure to the of information and guidance that will Stop in at MusiCraft soon or write
listener, but performs the same integral help you get started right and avoid us for further information. Let us help
function which poetry performs for the
mistakes. you pl an the kind of high fidelity
spoken drama. In other words, a rose
by any other name would not smell as As you may know, possible , combi- system that will give you true high
sweet; one's experience of a rose is nations of components are practically fidelity.
compounded of a number of allusive
(and elusive) factors.
In contrasting Otello and Tosca, Mr.
Kerman, unless we misread him, is de- Send your name and address if you would like to be on our mailing list for our
liberately setting out to demonstrate cmnouncements. Would you like a free copy of "Understanding High Fidelity"?
that Puccini's opera is (as Dr. Ross also
would seem to agree) "melodrama"-
with the theatricalism and sensation-
alism for its own sake, both musically
and dramatically, which that term im- If you want to "build-it-yourself" and save-MusiCraft
plies - while Otello, as a fully inte- has a complete line of component parts in stock. The
grated musical and dramatic structure, step-by- step directions are easy to
is a genuine work of art.
follow-a'n d you can feel free to call

-.t "YOU
Obviously, one cannot live always
among masterpieces. Mr. Kerman's con- ~ on us for any technical assistance
tention, we think, is that it might be may need.
salutary not only to know what we
like, but to know why we like it.
We should be glad to hear from
our other readers on this score.

There was an error of fact in Part
II of my "Americans on Microgroove"
[HIGH FIDELITY, Aug. 1956J which 48 East Oak Street. Chicago 11, Illinois· DElaware 7-4150
does an injustice to a recording com-
pany and which I should like to see
corrected. Lowes. Prices • Largest Component Selections • Complete Custom Installation Service
The recording of John Alden Car-
Continued on next page

NOVEMBER 1956 29
Continued from preceding page

penter's jazz ballet Krazy K at was

made by the Philharmonia Orchestra
under Richard Korn on Allegro-Elite
3150. Somehow it gOt attributed to
ARS-37. [The error was ours, and
we apologize to all parties concerned.
Eds.} The other Carpenter jazz work,
Skysct'apers, is on ARS-37, coupled
with Elwell's H appy H ypocrite.
While I am writing, I'd like to say
J am enamored of the September cover
- it is a beauty indeed. And that I
was really impressed with Mr. Harold
Schonberg's introductory essay to his
Schumann piano music discography.
For all its brevity, this is just about
the warmest, most understand ing,
most beautifully written piece of its
kind I have ever seen.
Ray Ellsworth
Brooklyn, N . Y.

I am indebted to Mr. Arthur T. Burke
of San Diego, California, for having
drawn my attention to a reasoning
error which slipped into my article
on pitch deficiencies published in the
July 1956 issue of your magazine, on
page 90, third paragraph. There I
said: "Increased pull at the tape and
capstan (caused by the take-up .
wheel) would cause increased tape
What does it take to become a classic? To be speed and rising pitch."
of the highest rank ... to have all parts in perfect coordina- Mr. Burke points out, correctly,
tion ... to be a model for all to follow-that is the CLASSIC that "increased tape speed in the re-
speaker system-the highest achievement in audio engineer- cording machine would raise the pitch,
ing, the ultimate in sound!
Each component of the CLASSIC has been designed with but in playback of such a tape the
. inspiration and made with the loving care of a Swiss watch- result would be a decreased pitch IF
maker. Each detail has been so carefully worked out that the playback machine was not afflicted
the complete system functions as a beautifully coordinated with a speed-up of tape."
team. You simply have to listen to the CLASSIC to believe that
human ingenuity is capable of such perfection. Of course Mr. Burke is right as
The deep magnificence of the "big theatre" 15" woofer, concerns the final playback results,
the incredibly rich mid-range of the patented horn and driver and I apologize for this error. Inci-
and the natural brilliance of the "reciprocating-flare" super- dentally, both of us were wrong in
tweeter are all kept in perfect balance by the ACOUSTIC BATON assuming first that increased tape
In addition to being an exquisite piece of cabinetry, the speed during recording would raise
enclosure is a folded , front-loaded compression horn which the pitch; as a matter of fact the fall-
embraces the latest principles of acoustic design. It functions ing of pitch occurs when the record-
independently of walls and floor. The CLASSIC adjustable base ing machine begins to speed the tape
permits versatile use as "lowboy" or "highboy."
up: the signal frequencies are recorded
The DEAN, shown at left, is exactly the or "distributed" along an increasing
same as the CLASSIC except for exterior
Pt\wer Capacity: 50 watts length of tape per each cycle which,
shape that permits use in a corner. Integrate d Program
For the finest, the very finest, listen in terms of time and of speed, means
Dimensions: (as lowboy)
to the CLASSIC or DEAN at your favorite 34'h " Hx40 '!z"Wx24 %"D a dropping in reference pitch.
Hi-Fi center. Shipping Weight: 210 Ibs. Pritz A. K uttner
UNIVERSITY LOUDSPEAKERS, Inc., 80 So. Kensico Ave., White Plains, N. Y.
Price: Mahogany $450.00 Jackson Heights, N. Y.
Blond ........ 460.00

Re J.F.I.'s review of The Ki1zg and 1
in the August I956 issue of HIGH
FIDELITY: the voice of Anna on this


disk is sung, not by Deborah Kerr
(as your reviewer supposes), but, ac-
or have fun ... save money
cording to the New York Times of
August I2, I956, by Marni Nixon.
Joseph A. Misklo w
Nutley, N. J.
Your timely article "Where Do Con-
ductOrs Come From? ," by R . C. Marsh,
[Aug. I956}, gave much valuable in-
formation on a critical problem in the
world of music.
I was disappointed, however, that
the author did not make reference to
a very worthy organization which is
making a direct contribution to the
solution of this problem, namely, the
National Orchestral Association of
New York. Through its Training
Orchestra, under the direction of Leon
Barzin, the Association offers excel- The fa mOll s UniYcrsHy CLASSIC speaker system (shown at
right) . represents the highest nchie\,ement In audio engineering,
lent opportunities to any musician for th e ultim a te in sound! The CLASS IC is a true, folded. selfa
contained exponential horn which operates the woofer as a
orchestral and ensemble work. Ex- compression driver for maximum efficie ncy. Each detail has been
perience is also available for those so carefully worked out that the complete sYs tem (unctions as a
beautifully coordi nated tca m. A truly selt-s ufficient cabinet. it
students who desire to become con- fun ctions independently or wall s and floor. achiel'ing an amazing
rea li sm . . . almost like ha"in g a concert orchestra in your own
ductOrs. hom e-. The superb craftsmanshi p ot th e cab inet and hi gh Uni ver-
sity sta ndards to whi ch the CLA SS1C componen ts have been built
True, this is not an opportunity to Dluke the price reuUy attracU\'e. Mahoga ny $450.00. Blond $460.00.
play with a professional orchestra, or
to lead a group of professionals. But,
as many members of the training or-
chestra go directly from that position
to some of the leading orchestras in SPEAKER SYSTEMS IN THE WORLD
our country, it is evident that it is University has taken the heart of the magnificent CLASSIC
more nearly professional than amateur. system and made it available as the EN-CB UNFINISHED-UTILITY
The Training Orchestra gives four enclosure. It came about as a result of an overwhelming demand
performances each year in Carnegie on the part of "do-it-yourself" enthusiasts who wanted to build
their own CLASSIC system. The price of the EN-CB is only $120.00
Hall, in addition to broadcasting one The EN-CB is a superb piece of craftsmanship-constructed BUILT-INS
of its rehearsal periods each week on of Grade 1 Birch plywood using locked and mitred joints and
New York City'S station WNYc. Mr. braced with heavy glue blocks for maximum efficiency. Supplied
Barzin and his associates work tire- with full instructions to mount speakers and network compon-
lessly to encourage young musicians ents. Designed acoustically to permit versatile use as "lowboy"
or "highboy."
and conductOrs. Naturally, all speakers sound better in an EN-CB. Recom-
Mrs. John C. Pace, Jr. mended are CLASSIC components: C15W woofer, Cobreflex-2
East Northport, N. Y. mid-range horn with T-30 driver, HF-206 "Reciprocating-Flare"
super-tweeter and N-3 ACOUSTIC BATON crossover network.
SIR: The EN-CB is a boon to the home decorator who plans to cus-
May I add a heartfelt "amen" to Mr. tom build part of his furniture. Decorating ideas are limitless:
AI Franck's letter in your September BUILT-INs-Easily installed into closet or wall, or into large wall-
issue regarding the inadequacy of the to-walJ installations. .
record catalogues currently available ROOM-DIVIDERs-Can be used vertically or horizontally.
in this country. PICK A PERIOD-Any furniture period can be achieved by treat-
The Gramophone, HIGH FIDELITY'S ment of front frame moulding, base, grille fabric, etc.
CUSTOM FINISHING-Can be stained and finished Blond, Mahog-
distinguished colleague, publishes sep- any, etc. Surface treatments: enamel, leather, formica, etc. CUSTOM FINISHING
arate "Classical" and "Popular" LP and
University offers the largest selection of speakers and components to meet every size and budget requirement
45-rpm catalogues four times annual-
ly, listing records available in Great
Britain - and the exact and pains-
taking research and organization that
go intO both makes one realize how,
by comparison, we lag behind them WEA.THER PRO.o"


with our haphazard jumbled list-
Thanking you for a really fine Sep-
Continue~ on page 34
I LISTEN IH~~C ,*.f.., 1
You can enjoy savings without
sacrificing quality-if you "build-it-yourself"
and eliminate labor charges; and if
you buy direct from the manufacturer and
eliminate extra profit.

Here/s what you get:

High-fidelity amplifiers, tuners, and speakers that you assemble yourself,
from the step-by-step instructions furnished. You get, top-quality parts at lower
cost through Heath mass purchasing power. You get the equivalent
of systems costing approximately twice the Heathkit price.

The Healhkil AM luner, FM luner,

and preamplifier kits may be stacked
one on the other to form a compact
Umaster control" for your hi"fl system.

8C·t ~~
~ -
FM·3A ~
WA·P2 k ~

H!~~S Heathkl·t® IS FUN TO BUILD:

Instructions are complete, and our amazing step-by-step method, tied-in

with large pictorial illustrations, guide the beginner through each stage of assembly.
If you can follow directions you can succeed, and can build
high-fidelity equipment you will be proud to show off to your family and friends.

Here/s the proof:

Thousands of Heathkits have been built at home by people just like yourself,
and you should treat yourself to this same experience by dealing with the
world's largest manufacturer of top-quality electronic, .kits for home and industry.


Heathkit Model FM-3A High Fidelity FM Tuner Kit
Features A.G.C., and stabilized, temperature-compensated oscillator. Ten
uv sensitivity for 20 DB of quieting. Covers standard FM
band from 88 to 108 mc. Ratio detector for efficient hi-fi

* These speaker systems are a very vocal demonstration
of what can be done with high-quality speakers in en-
performance. Power supply built in. Illuminated slide rule (With Cobin.t) closures that are designed especially to receive them.
dial. Pre-aligned coils and front end tuning unit. Shpg. WI. 7 Lbs. Notice, too, that these two enclosures are designed to
Heathkit Model BC-1 Broadband AM Tuner Kit work together, as your high-fidelity system expands.
Special AM tuner circuit features ', broad band 'width, high
sensitivity and good' selectivity. Employs special detector
$269•5 * Heathkit Model 55-1 "Igh
Speaker System Kit
for mintmum signal distortion. Covers 550 to 1600 kc. RF (With Cobin.t)
and IF coils pre-aligned. Power supply is built in. Shpg. WI. 8 Lbs.
Employing two Jensen speakers,
the Model SS-1 covers 50 to
Heathkit Model WA-P2 High Fidelity Preamplifier Kit 12,000 CPS within :c 5 DB. It
Provides 5 inputs, each with individual level controls. Tone controls pro- can fulfill your present needs,
vide 18 DB boost and 12 DB cut at 50 CPS and 15 DB boost and 20 DB and still provide for future ex-
cut at 15,000 CPS. Features, four-position turnover and
roll-off controls. Derives operating power from the main
* pansion through use of the SS-
lB. Cross-over frequency is 1600 CPS and the system is rated
amplifier, requiring only 6.3 VAC at 1 a. and 300 VDC (With Cobin.t) at 25 watts. Impedance is 16 ohms. Cabinet is a ducted-port
at 10 rna. Shpg . WI. 7 Lbs. bass-reflex type, and is most attractively
Styled. Kit includes all components, pre-cut

Heathkit Model W-5M Advanced-Design High Fidelity Amplifier Kit
This 25-watt unit is our finest high-fidelity amplifier. Employs KT-66 out- and , ,pre-drilled, for assembly. Shpg. WI. 30 Lb ••
put tubes and a Peerless output transformer. Frequency response ± 1 DB Heathkit Model 55-1 B Range Extending
from 5 to 160,000 CPS at oile watt. Harmonic distortion
less than 1% at 25 watts, and 1M distortion less than
$59 75

Speaker System Kit
This range extending unit uses
1% at 20 watts. Hum and noise are 99 DB below 25 watts. Shpg . WI. 31 Lbs. a 15' woofer and a super-
Output impedance is 4, 8 or 16 ohms. Must be heard to Express Only tweeter to cover 35 to 600 CPS
be fl,llly appreciated. - and 4000 to 16,000 CPS. Used
MODEL W-5:, Consists of Model W-5M above plus Mod!!1 Shpg. WI. 38 Lbs. with the Model SS-I, it com-
WA-P2 preamplifier. $81.50* Express only pletes the audio spectrum for
combined coverage of 35 to
Heathkit Model W-3M Dual-Chassis High Fidelity Amplifier Kit 16,000 CPS within ± 5 DB.
This 20-watt Williamson Type amplifier employs the famous Acrosound Made of top-quality furniture-
Model TO-300 "ultra linear" output transformer and uses 5881 output grade plywood. All parts are
tubes. Two-chassis construction provides additional flexi-
bility in mounting. Frequency response is ± I DB from
6 CPS to 150 kc at I watt. Harmonic distortion only 1%
$49 7•5
pre-cut and pre-drilled, ready
for assembly and the finish of
your choice. Components for
at 21 watts, and 1M distortion only 1.3% at 20 watts, Out- Shpg. WI. 29 Lb•• cross-over circuit included with
put impedance is 4, 8 or 16 ohms. Hum and noise are 88 Express only
kit. Power ra-
DB below 20 watts.
MODEL W-3: Consisls of Model W-3M above plus Model Shpg . WI. 37 Lbs.
ting is 35 watts,
impedance is 16
$99 95

WA-P2 preamplifier. $71.50* Express only ohms. Shpg. WI. 80 Lb••


Heathkit Model W-4AM Single-Chassis High Fidelity Amplifier Kit ·Price includes 10% Fed. Excise tax where applicable.
The 20-watt Model W-4AM Williamson type amplifier combines high
performance with economy. Employs special-design output transformer HOW TO ORDER:
by Chicago Standard, and 5881 output tubes. Frequency
response is ± I DB from 10 CPS to 100 kc at I watt. Har- It's simple-just identify the kit you desire by its model
monic distortion only 1.5%, and 1M distortion only 2.7% number and send your order to the address listed below.
at this same level. Output impedance 4, 8 or 16 ohms. Shpg. WI. 28 Lbs. Or, if you would rather budget your purchase, send for
Hum and noise 95 DB below 20 watts. details of the HEATH TIME-PAYMENT PLAN!
MODEL W-4A: Consisls of Model W-4AM above plus Model , Shpg. WI. 35 Lb••
WA-P2 preamplifier. $f>1.50* Express only

Heathkit Model A-9B 20-Watt High Fidelity Amplifier Kit

Features full 20 watt output using push-pull 6L6 tubes. Built-in pre-
amplifier provides four separate inputs. Separate bass and treble tone A Subsidiary of Daystrom, Inc.
controls provided, and output transformer is tapped at 4, 8, 16 and 500
ohms. Designed for home use, but also fine for public
address work. Response is :c I DB from 20 to 20,000


CPS. Harmonic distortion less than I % at 3 DB below Shpg. WI. 23 Lb••

rated output.
Heathkit Model A-7D 7-Watt High Fidelity Amplifier Kit
$1865• *
Qualifies for high-fidelity even though more limited in
power than other Heathkit models. Frequency response is
± IJh DB from 20 to 20,000 CPS. Push-pull output, and
separate bass and treble tone controls.
MODEL A-7E: Same, excepllhat a 12Sl7 permits preampli-
Shpg. WI. 10 Lb ••

A Subsidiary of Days/rom. Inc. :

fication, two inputs, RIAA compensation, and extra gain. Shpg. WI. 10 Lbs. I Please send Free HEATHKIT catalog . I
Heathkit Model XO-1 Electronic Cross-Over Kit I I
Separates high and low frequencies electronically, so they may be fed to I I
separate amplifiers and separate speakers. Selectable cross-over frequencies I Name I
ar,e 100, 200, 400, 700, 1200, 2000, and 35,000 CPS. Separate level control
for high and low frequency channels. Minimizes inter- $18 95 I Address r
modulation distortion. Attenuation is 12 DB per octave. •
Handles unlimited power.

Shpg. WI. 6 lbs.
I City & Zone State I

Contimted from page 3I
tember issue - I hope Mr. Gelatt
keeps whetting our appetites with "in·
side" and advance information on reo
cording activities.
Frank Schwarzenberger
New York, N . Y.
Charles Moore, of Chicago, p resented
a very interesting problem in his letter
published in your September issue, in
regard to cataloguing his recordings.
Perhaps some of your readers might
be interested in what I have found to
be a very successful method of
keeping track of just what lurks 111
my record cabinet.
The equipment is simple and easily
obtained : white and yellow 3 X 5
file cards; a ring or spring binder;
paper for same; and a file box ( or
cabinet ) . My method, after I've de-
cided to keep a record, is as follows:
I. W hite card - title at tOp left;
manufacturer's record number tOp
A quality, dual· purpose Completely assembled and
speaker. Can be used as ready for installation . Fits right; names of artists center; date of
wide· range reproducer or across 12." speakers with
woofer unit in expanding out projecting beyond front acquisition lower left; purchase price
heavy magnet, long mag·
of speaker mounting baffle. lower right; my record number center
netic path , small air gap, Specially deSigned steel
long vo ice coil, non·reso· bracket supports tw ee ter(s) right.
nant frame, perfect gap ~ coa xlafiy. Rigid metal con-
2 . Yellow card - composer tOp left;
. alignment and multi·para- ":'tl struction discourages reso·
meter, tropicaliied cone. }~~ nance in speaker or tweeter. title (s ) center; my record number
SPECIFICATIONS: Impedance - 16 TB· l (bracket with single
ohms at 800 cps: Respon se - below 20 to tweeter) ... ...... .......... ............ .. ....... net 11.85 center right.
above 14,000 cps : Output - 25 w average,
35 w peak: Magnet Wgt. - 61 .5 OU ; Voice TB·2 (bracket and two tw eeters) net 21.69 3. Add record title to numerical
Coil Diam. - 1112" : Baffle Opening - 10%":
Depth-63/,": Frame-heavy duty ca st alu· listing in binder.
minum gird er construction . net 39.50 My records are numbered in sev-
eral series. From # 1 onward are 12-
inch disks, with lO-inchers beginning
LOUDSPEAKER at 1000. Albums are A-I et seq. and
jazz records, my only special category,
J- I on up.
I have added tabbed index cards to
LORENZ LP 312-1 and LP 312-2 my .card file ( with the "Mc" card
12" COAXIAL AND DIAXIAL SPEAKERS reversed and labeled "Sym") to keep
Extended response coaxial or diaxial speakers
are obtained by adding loienz TB· l or TB·2 a little more order and add much con-
Tweeters ! o lorenz 12" wide· range reproducers .
SPECIFICATIONS lP 312·1 lP 312·2
Impedance (a t 800 cps): 16 ohms 16 ohms It's quite true that multi·selection
Response : 20· 17 ,000 20· 17,000
Output : 27 w 27 w disks, of which Mr. Moore speaks,
Overall Diam .: 12 1/ 4 " 121f4"
Baffle Opening : 10'18" 10'1." could be quite a problem, and I have
Depth : 6 3f4" 7 1/8" found that occasionally seven or eight
Price: . net 49.50 net59. 50
LORENZ LP 65 (includ es HP· l Hi Pass Filter)
cards were necessary to index properly
HORN·TYPE TWEETER a single record. But, in the long run,
Fits any enclosure Dr speaker LORENZ HP-1
.without the usual Interaction.
it more than repays the time and
solid back permits wide application; round For use with any tweeter. Intra· trou ble.
cone design assures even sound disperslonj duces highs at rate of 3 db per
soft plastic construction prevents metallic octave starting at 2,000 cps. The one serious drawback to in-

overtones. SPECIFICATIONS: Impedance - with nominal crossover at 5,000
5.5 ohms at 800 cps; Response (w ith High cps . Effect increases smoothly to limit of
stituting such a system is the initial
Pass Filter Hp·l}-2,000 to 17,000 cps; audib ility. Installed with in speaker enclosure. expense of time, if the collection is
Sound Dispersion-120· (in all directions); DIMENSIONS : Overall height 23f4 " ; Mountfng
Output-2 W; Outside Diam.-2 112"; Cone at all large. I began mine in 195 I ,
Diam . -2'14 ": Baffle Mounting Hole-21/." (square 6ase) - 1'12"
flared to 2112" or more . net 8.50 between hole centers .. when I owned only fifteen records,
and have kept it up to date, with my
present collection being more than ten
times as large . .
lY/illiam C. Hillman
BostOn, Mass.


the NEW [ Pl/o-J- 1AA-920 $ 99 ~i~tlY

hi gher
West of Rockies

Power Amplifier and Audio Control S!,stem

Here - in one handsome, convenient enclosure - is
the immediate answer to all your amplifier needs.
There is hardly a high fidelity feature YOll can name Sharp·cut rumble and scratch filters are also included
that has not already been included in the AA·920. First, in the AA·920. Each is operated by a separate switch
it delivers up to · 20 watts of undistorted audio power which may be set for either mild or extreme conditions.
with a frequency response that is flat from 20 to 20,000 To give full effectiveness to the loudness control, the
cycles ±ldb. Even at its peak output of 40 watts, distor· AA·920 is also equipped with a volume or level· setting
tion is surprisingly low. control.
Second, the AA·920 also incorporates a high quality
The AA·920 employs the new rugged 6L6GB output
preamplifier and a versatile audio control system. In
tubes in push· pull. Use of DC on all tube heaters in the
addition to phono, tuner, tape amplifier and auxiliary
preamp and other low level circuits has brought
channels, the AA·920 also has provision for operating
hum to 80db below full output - practically hum·free
directly from the playback head of a tape deck or tape
recorder. The necessary tape equalization is included.
The phono input impedance is continuously variable, The all· metal enclosure of the AA·920 is luxuriously
and may be adjusted for the optimum value prescribed fini shed in deep burgundy and burnished brass. Styling
for your favorite cartridge. There are four record equaliza· and design make it the perfect match for the Pilot
tion positions, as well as independent, full·range bass and FM·530 and the Pilot FA·540, companion FM and
treble tone controls, effective on all inputs. FM·AM tuners to the AA·920.

See and hear the Pilot AA·920 at your hi·fi dealer or

write for complete specifications to Dept. YL-2
the R ADI 0 COR P 0 RAT ION 37·06 36th STREET. LONG ISLAND CITY 1. N. y~

NOVEMBER 1956 35


lBoob In l~(ew
AUDIO SPECIALISTS, 333 E. Camelback Rd.,
PANTAGES MAESTRO CO., 6233 Hollywood Blvd.,
THE AUDIO WORKSHOP, 2211 Camino Del Reposo,
WH ITEHEAD RADIO CO., 4686 Long Beach Blvd.,
Long Beach.
OLIN GROVE CO ., 2904 Teleg raph Ave., Oakland .
AUDIO ASSOCIATES, 689 S. Fair Oaks Ave. , Pasa- practicable "working" information and
San Diego.
L IKE too many audiophile old-
timers, I have despondent mo-
ments when the high-fidelity move-
On the surface, this book follows
bank Blvd ., Van Nuys.
19318 Van Owen A ve., Reseda. ment strikes me as running a strong the now conventional formula of dis-
Dist. of Col.
HI-FI WHOLESALERS, INC. , 1340 Connecticut Ave., second to the movies as a candidate cussing the various component links
N. W ., Washington.
Florida for the Peter Pan of the arts - eter- in the over-all sound-reproduction
TRUE FIDELITY MUSIC SYSTEMS, 908 North Spring nally youthful, to be sure, but also chain, first individually and then as
St. , Pensacola .
Indiana eternally immature. But if I look and integrated systems, But the necessary
GOLDEN EAR, 15 E. 16th St., Indianapolis.
610 Main St., Lafayette listen around me with freshened eyes background materials (on the nature
HIGH FIDELITY UNLIMITED, 1305 Roosevelt Rd., and ears, I realize anew just how far of sound in general and high-fidelity
THE NEW SOUND, 35 E. Springfield Ave., Cham- and fast we've come from the "good sound in particular, on the significant
old" days; which, to be completely colorations of "The Room in Which
A ve., Chicago.
BECKERS, 801 Dempster Street, Evanston.
honest, actually were thoroughly bad We Listen," and on "How and What
THE HIGH FIDElITY HOUSE , 1127 Westgate, Oak ones as measured by even the most We Hear") are presented in more
Kentucky modest current sonic standards, detail and explained far more mean-
GOLDEN EAR, 610 Third St., Louisville.
Michigan Yet I still must echo the common ingfully than in any previous volume
Ave., St. Joseph. plaint of "senior citizens" in every or pamphlet addressed to the nontech-
Missouri field that their juniors (in experien- nical reader. Components are de-
Truman Rd ., Independence. tial if not in chronological age) lack a scribed in basic functional terms,
port Road , Kansas City. sufficient "sense of history" to appre- rather than those of specific "name"
New Jersey
WBPA SOUND SYSTEMS, 132 W. Big Bend , St. ciate fully not only their present bless- models, although it seldom is difficult
CUSTOM MUSIC SYSTEMS, 426 Main St., East ings but the valiant labors of the hardy for any informed reader to recognize
Orange. pioneers who transformed the dream what particular "makes" of equipment
New York
into its present hard reality. It was on the author has in mind. And the
BROOKLYN HIGH FIDELITY CENTER , 836 Flatbush this score that I urged them so strong- usual system-building recommenda-
Ave., Brooklyn .
THE PINE SHOP, 26 Glenwood Rd ., Glen Head. ly ( in this column for September tions are here omitted in favor of a
Drive, Kenmore. 1955) to read Roland Gelatt's Th e searching questionnaire on individual-
RADIO CRAIG, 1215 Northern Bl vd., Manhasset.
37-40 74th St., Jackson Heights.
Fabulous Phonograph, and now com- listener needs and desires, the honest
AIREX RADIO CORP., 64 Cortlandt Street, New
mend to their attention the reminis- answering of which must surely enable
ASCO SOUND CORP. , 115 W. 4th St., 3rd FI. , New cences of Sir Compton Mackenzie, even the tyro to select his eventual
HARVEY RADIO CO., INC., 103 W. 43rd Street, founder of the oldest and still most purchases for maximum satisfaction as
New York.
1123 6th Ave., New York. important British journal devoted ex- well as minimum cost. Indeed the
HOUSE OF HARMONY, 1034 Eastern Ave., Schene(-
tady. clusively to reproduced music, Th e only serious omissions are an an-
CAMBRIDGE ELECTRONICS CO., 530 Westcott Gramophone. And it is partly on this
Street, Syracuse. notated bibliography and a discussion
Ohio score that I welcome a quite different, of the tantalizing appeals and prob-
Ave., N. W. Canton . more direct, introduction to and clari- lems of stereo - but, then, the latter
Ave., Cincinnati. fication of contemporary audio tech- might well require another 310 pages
MUSIC UNLIMITED, 13410 Detroit Ave., Cleveland.
BEXL Y ElECTRON IC, 14805 Euclid Ave., East niques, equipment, and psychology: of their own... ,
CUSTOM CLASSICS, 13421 Euclid Ave., East Cleve- this one by the original editor, since For those unfamiliar with the
land. 1954 publisher, of the magazine you unique quality of Mr. Fowler's con-
Ave. , Columbus. are now reading. tent and style, the key to both is pro-
HOUSE OF RECORDS, 360 West 8th St., Erie. To be sure, Charles Fowler's High vided in the author's Preface, ' where
HI -FI WHOLESALERS, INC. , 1731 Lhestnut St.,
Ph iladelphia , Fidelity: A Practical Guide (Mc- he tells how and why the book itself
LECTRONICS, City line Center, Philadelphia.
TEN CATE ASSOCIATES, 6128 Morton St., Phila· Graw-Hill, $4.95) is neither a history came to be written - as a kind of
de lphia. of the high-fidelity movement nor the
ENGINEERED ElECTRONICS INC. , 2046 West Liber- summary of and expanded surrogate
ty Ave " Pittsburgh. anecdotal memoirs of one of its most for the enormous correspondence he
SHADLE ASSOCIATES, 151 S. Allen Street, State
College. influential Founding Fathers. Rather has carried on with confused yet avid
South Carolina
HI·FI SOUND & RECORDS CO., 621 Harden St., it is exactly what its subtitle claims: newcomers to the world of high-fideli-
Columbia .
·Texas a highly practical introductory guide- ty sound. It is the exploitation of this
CUSTOM MUSIC OF DALLAS, 3218 Oak Lawn Ave., book to the listener's enjoyment-
Dallas. first-hand familiarity with the ques-
ROSS RADIO & SOUND CO., 1608 North Haskell and management - of reproduced
Ave " Dallas. tions that most puzzle the novice, the
WRYE CO., LTD ., 2410 W. Alabama , Houston . sound. Yet both its actual content and thoroughgoing utilization of Fowler's
HI-FI SHOP, 1309 Beaumont, McAllen.
THE MUSIC CENTER, 6918 N. San Pedro Ave. , San the manner of presentation seem to be own exceptionally enlightening per-
Virginia particularly, even if perhaps subcon- ' sonal experience, and the innate gift
ELECTRONIC PARTS CO., 9303 Granby St., Nor-
fol k. sciously, devised to provide the novice for extraordinarily lucid, verbal ex-
OLYMPIC ENGINEERING CO., 2008 Westlake A ve.,
audiophile with broadened perspective
HOUSE OF HI-FIDELITY 1021 W. First Ave., Spo-
on the art as a whole, as well as with Continued on page 40
HI FI CORNER, 401 State St., Madison.
THE HI-FI CENTER, INC. , 4236 W. Capitol Dr.
AKINS SALES, 114V, Slater Street, Ottawa.
high fidelity

the Ultimate in personal control makes you

your own music impresario - the Ultimate in
crisp detail of music reproduction - presence
as you would have it; music as you like it!

the complete
music center
~ The all new S-1000 n Amplifier You are a music lover, wishing for better music reproduction . Or, you are a Hi-Fi expert, wanting improved
sound-greater flexibility. Why Sherwood?
~ Sensitive FM-AM or FM tuners Sherwood is the Ultimate production of engineers who designed Hi-Fi components for a score of nationally-
recognized manufacturers- who developed the first FM tuner with AFC. You may rely fully on Sherwood,
backed by the industry's longest warranty-1 year! Here is a complete Music Center, including 3-way
~ Unparalleled cabinet design speaker systems, amplifiers, and tuners, so simple to plug together and operate you'll be amazed.
and craftsmanship Tastefully designed for use without cabinets; they may be placed on book shelves, desk top, or chairside
table for remote control. Cabinetry speaks for itself- the finest woods, expertly crafted ; styled to suit any
~ "Realistic" 3-way speaker systems decor. Technical specifications may be had on request.


All Bezels-24 carat gold finished

»»>>d.!.:. 2802 W. Cullom Ave., Chicago 18, Illinois. Export Dept.: 549 W. Washington St., Chicago 6, Illinois

.....z exclusive "center-set" loudness control, loudness

compensation switch , 12 db/ octave scratch and

.. 5
rumb le filters, phono level control , tape'monitor
~ switch, and selector for 5 inputs (including 2 with
high-gain preamplifier)-all on front pane l. Speaker-

damping selector switch on rear. Phono preamp
features low·noise EF86/ Z729 tube . Power output :
20 walts (40 watts peak) at 1% I M Distortion
(60 :7kc/ 4:1). Outputs : 16, 8, and 4 ohms. Inverse
Feedback: 23 db , plus current feedback selection .
S·1000 0-20 Watt Amplifier. This all new amplifier Frequency Response at 20w: 20-30 ,000 cps ± 1 db.
is designed to "bring the maximum pleasure to Preamp Sensitivity : 3mv. Preamp hum level : 60 db
music lovers- the greatest joy to the Hi·Fi expert. below rated output. 105 watts, fused. 6 tubes plus
Controls are simple, easy·to·handle, yet com- rectifier. Size : 14 x 10 112 x 4 in. high. Shipping
plete - include 6·db presence·rise switch , equalizer weight: 23 Ibs.
control for 4 record compensation choices or micro· Model S·1000 0 A or B . .. $99.50; Model C...
phone and tape·playback equalization, inverse- $104.50; Models J, T, or W. . . $109.50 ; west of
feedback type bass and treble controls, Sherwood Rockies, add $3.00 to above prices .

"hi-fin bandwidth or 5·kc selective bandwidth),

precision calibrated dial , directable AM rod an-
tenna, cathode-follower output, output level control,
FM multiplex output, 10-kc "bridged·T" AM filter.
Delayed AGC on FM reduces. 1M distortion to below
I1f2% at 100% modulation . 11 tubes plus rectifier.
Dimensions: 14 x 1011z x 4 in. high. 55 walts,
fused. Shipping Weight: 18 Ibs.
Model S·2000 A or B .•. $139.50; Model C. ..
$144.50; Models J, S or W. .. $149.50.
FM·AM Tuner S-2000. Engineered and styled to Model S-3000-FM Tuner only; same FM speCifi-
match the performance of the incomparable S·1000 cations as the Model S-2000 PLUS tuning eye
n Amplifier, this tuner offers features not previ- and "local -distance" switch to suppress cross-
ously available in this price range . These include modulation responses. Model S·3000A or B . . . Net
0.95~v (20 db quieting) FM sensitivity, cascode $99.50; Model C • . . $104.50; Models J, S, or W . . .
6BS8 balanced input, automatic frequency control, $109.50; west of Rockies, add $3 .00 to above
flywheel tuning, wide/ narrow AM switch, (15-kc prices.

..... Forester 3·Way Speaker. Cabinets: two upright styles - Contemporary (4
This speaker system
11: ...

with horn-loaded cabi-
net is a delight to the
finish choices) $189.00, French Provincial $239.00 .
Low·boy (featured above) natural walnut or ma-
hbgany, $239.00. Matching equipment cabinet has
... CI
woman's distortion-
sensitive ear and
slide-out phono base, record
or extra equipment compart-
style·conscious eye. It ment, 5 in. high amplifier,
f eat u res a 300- cps tuner shelf. With sliding cane
crossover network (once doors $149_50, plain wood or
obtained only in expen- ridged doors extra. (All above,
sive "dream systems") add $5 .00 West of Rockies .)
- reducing intermodula- "Do - it -Yourself" Forester
tion distortion, elimi- System Kits $129.00 com-
nating "harshness and plete; speakers and crossover
fuzziness ." Careful balance of the 12 in ., 8 in., and only $79.50 ... also available ,
5 in. speakers gives realistic music reproduction. crossover networks only .
Response : 40-13,500 cps (-5 db); 1M di st. I 1f2%
at 25 watts. Tweeter level control.

All prices Net-Subject to change without notice

Systems Concept New three-way speaker system with
15 inch resistance damped enclosure
Response from 40 to 18,000 cps
Electrical crossovers of 300 and

New three speaker system incorporating

a resistance controlled enclosure
Response from 50 to 15 ,000 cps,
Power 20 'walls
Net Price $129.50

New corner system utili7ing three

speakers and a resistance controlled
Response 50 to 15,000 cps,
Power 20 walls
Net Price $99.50
Ie famous Catenoid now offered by its
iginators with new improved speakers
sponse from below 30. to beyond
1,000 cps
"ee-way system with full bass horn
FROM THE AUDIO LEAGUE-"We have never heard a
Id electrical crossovers of
smoother averaif' sound. The balance 01 lows, middles,
)0 and 5,000 cps
and highs, was well-nigh perfect. "
lwer 30 watts, d imensions 37112 11 H x
I" a long wall from corner
,t Price $395.00

Two-way ·bookshelf speaker utilizing an

isothermal backvolume
All LEE speakers available in mahogany, blonde aAd Response from 70 to 15,000 cps,
walnut pressure laminate finishes
Continued from page 36
pression which, in felicitOus combina-
tion, give his book its prime distinc-

THE NEWCOMB tion as well as its immense usefulness.

Yet it is in view of the broader
perspectives implied if not explicit
here and of Fowler's great influence
as a spokesman of audio philosophy in
general that I reiterate my obsessive
jeremiads about the dangers of letting

Y!!:! Royal 712 the worthy aim of practicability limit

not merely our immediate hi-fi de-
mands but also some by-no-means-im-
possible ideal objectives.
Happily, and to the author's ever-
lasting credit, he takes far more pains
than most of his predecessors to stress
the basic complexiry of the technical
Combining unbelievable tonal realism with terms and functions explained here so
beautiful decorator styling, this newest in the effectively in everyday language. And
Newcomb Compact series brings together unlike so many of his colleagues, he
in one single unit a balanced-design is careful to indicate tOo that there
audio amplifier and a fine FM-.AM tuner ... well may be better (if necessarily more
plus complete preamplifier and controls. elaborate and expensive) means of
With the Newcomb Royal 712 Compact, spectrum-division than by L-C divid-
your syste~ is assured the correct matching ing networks . . . of obtaining ade-
of the three most important parts of a quate acoustic power than simply by
hi-Ii system, for they are factory-designed upping amplifier electrical-power re-
into one assembly. All of this crowning sources ... and of securing satisfying
achievement comes from the laboratories of aural balance than by the use of "loud-
Newcomb . . , the sOllnd of quality since 1937. ness" and "tOne" controls. Neverthe-
less, and despite his frequent qualifi-
cations, the main spatial emphasis here
. is on the utiliry of L-C networks, non-
horn-loaded speaker sYstems, and
loudness and tOne controls - with-
out fully alerting the novice to what
are (to my mind) their basic and 111-
corrigibk deficiencies.
I take particular exception to
Fowler's statement that "only in the
very simplest systems should tOne con-
trols be completely omitted" (the
need for any "control" except for
equalization and level-setting purposes
is for me an unmistakable indication
of some kind of speaker inadequacy);
to his endorsement, however implicit
and qualified, of pseudo-stereophony
(dispersed sound sources, except for
true stereo, are iQ. my opinion the ruin-
ation of far tOO many otherwise first-
Combining aavanced electronics into a single high fidelity unit. rate contemporary installations), and
.Extremely sensitive FM ,and AM tuner. Special multiplex output above all to his concluding advice,
. jack for eas),,,adaPlatlon' !o stereophonic or binaural
k" " ',, , ti
broadcasts. "Don't buy more than you can hear."
Temperature-controlled oscillators and A.F.C. on FM. Amplifier
That is practical, all right; but again,
has inputs for every type of ' pickup, for tape, and for auxiliary
equipment such as TV · sound and microphone. Crystal-clear,
infinitely educable though ears and
distort io n-free 12 watt camplifier matched to the tuner and pre- aural sensibilities are, they never can
amp. Controls for level and loudne ss, and 6-position record realize any great measure of their
response control. potentialities unless our sound sys-
tems are capable of providing far
more than we can appreciate at first


Limited Production

The secret is OUT! Gray Research has just announced a complete home music
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matched High Fidelity components, known and admired by thousands of music
lovers are now available completely assembled and' mounted in handsome,
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note of distinction to any decor.
This magnificent musical instrument has been designed to set the pace for
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Each component has been electronically designed and matched byen-
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Continued from page 40
There's a pl'estigeand thrill in - or even after years of - hearing.
owning a Rondine! But But perhaps these are matters for
remember too - you purchase a private argument or for extended dis-
Rondine with peace of mind ... cussion with readers who have gradu-
ass~w ed the one shipped to you
ated from their audio apprenticeship.
What even the most fanatical purist
performs like the one at your
must gladly concede is that the search
dealer ... ass~'1'ed it will be for perfection has no possible hope of
quiet for keeps! even partial success until it is encour-
Admire its colorful styling ... aged and shared by a vital nucleus of
then look it over closely. Lift the audiophiles who have been thoroughly
educated in basic principles and fully
turntable free of the well, and
understand the operational capabilities
listen for the "pop" that tells (and deficiencies!) of the "practical"
YOir here is tne ultimate in equipments now generally available.
machining and self-lubrication For such education and comprehen-
for lifelong balanced rotation. sion no book I have seen to date
Underneath is a motor so smooth makes the necessary factual informa-
tion, and the no less essential stimulus
... soundless ... you'll not find of enthusiasm for good sound, more
its equal in other turntables! palatable for the layman than Charles
Fowler's Pt'actical Guide,

Ignoramus to "Gramophile"
While Sir ComptOn Mackenzie's My
RONDINE Record of Music (Putnam's, $5.00) ,
does not itself exhibit any understand-
TURN1'ABLE ing of "high fidelity," it richly docu -
ments the awakening of interest in
recorded music, which inevitably led
to the development of hi-fi techniques
and - more importantly - to their
delighted acceptance by at least a sub-
stantial segment of the listening pub-
lie. However disinterested he may
think himself to be in the pre-hi-fi
disk er'as or however impatient he may
become with Mackenzie's rehashing
of now old and meaningless controver-
sies, the serious record collectOr can
still . learn a great deal from these
reminiscences. The book is also a fas-
cinating account of a complete musical
ignoramus' slow but complete conver-
sion into the protOtype of the modern
music lover christened by Mackenzie
himself as "gramophile," and the even
more absorbing account of the found-
ing of The Gramophone in 1923 and
its pilOting through indifferent,
stormy, and war-tOrn seas to a position
of international renown. The com-
bination makes for first-rate personal,
as well as audio, histOry.
See your dealer. Write for Catalog and FREE strobe disc
Mackenzie himself seems something
K-O-KUT COMPANY, INC. of a reactionary, in music at least, and
38-01 Queen~ Blvd., Long Island City 1, N. Y. more than a little of a curmudgeon.
EXPORT: Morhan Exporting Corp., 458 Broadway, N. Y. 13, N. Y. He 'writes with practiced skill and
CANADA: Atlas Rad io Corp ., 50 Wingold Ave., Toronto 10, Ontario
verve, however, which makes it more
background walnut Weldwood
than ever regrettable that he lazily
fills so many of these pages with ex-


tended quotations from bygone
Gramophone editOrials, his letters to
other editOrs, and the like, rather than
consistently providing new com-
mentary on more recent gramophonic
subjects or reconsidered commentary
on the histOrical ones. But he always
can be simultaneously entertaining
and irritating, as befits the many-
faceted, candid, belligerent, and out- In the new Rek-O-Kut
spoken personality he is. One thing Turntable Arm .. "
I can definitely promise you: if you something exciting has
read his book at all, it won't be unre- taken place! Here at
sponsively. last is lateral and
And it never should be forgotten vertical fl'eedom-from-
by any true audiophile how much the
friction achieved by no
fabulously expanded LP repertOry of
other. , . distortionless
today owes to Mackenzie's condem-
nation of early record catalogues' in- tracking, .. and an
adequacies and to the pioneering ex- excl usive micrometer-
plorations of the National Gramo- action counterweight
phonic Society which he founded . Or allowing easier, more
how much the present freedom of ex- accllrate stylus
pression enjoyed by record reviewers pressure adj ustment!
owes to Mackenzie's powers of persua-
sion over the British manufacturers A-120 for records
to support a publication in which up to 12" $26.95
their products were honestly criticized, A-ISO for records
and to his consistent refusal to inter- up to 16" $29.95
fere (however much he personally
disagreed) with the reviewing staff of slightly higher West of Rookies
his own magazine. Or how much the
present practice of comparative test-
ing and evaluation of equipment owes
to the early "sound-test" demonstra-
tions which Mackenzie initiated.
There was and still is much more
to The Gramophone than Mackenzie Pat. PendIng

himself. Yet in spite of the limita-

tions of his own musical preferences • Frictiori:':£ree
and of the omission from his book motion achieved py
of much material which illuminates unitized sealed-in
the magazine, his Record of Music is twin-beal'ing pivot.
a uniquely significant one. Knowing
• Friction-free vertical
it is likely to inspire many novice
suspension between
listeners with new courage to cope
with what seems at first like unin- 1mm chrome-steel
telligible music, but which through bearings '... sealed in
diligent phonographic repetition can the cross-shaft !
become truly known (and loved) "by • No need for a stylus
heart." And knowing it certainly will pressure gauge! With
give any present-day audiophile en- cartridge mounted and
hanced appreciation of the disks and arm in state of balance
equipment he relishes so much - and ... turn micrometer-
can relish all the more for knowing
action counterweight to
that they didn't "just grow" by chance,
build up stylus pressure.
but were indefatigably encouraged
and promoted by pioneers like Sir
ComptOn Mackenzie in England - for Cata l og and FREE strobe disc
and, I surely must add, by Charles
Fowler in this country. 38-01 Queens Blvd., Long Island City 1, N. Y .
EXPORT: Morhan Exporting Corp" 458 Broadway, N. Y. 13, N. Y.
Mozart Bicentennial (cont.) CANADA: Atlas Radio Corp., 50 Win gold Ave" Toronto la, Ontario

Not much need be said about the

Continued o1~. page 46


SClIlplllre and painlings courlesy Museum of Fine A rts, Boston. Accessories courtesy Talisman Shop, Boston.


Most advanced tuner ever produced, its features will keep it current for years to come.
FM Section: Same features as 311B FM tuner shown at right. AM Section:
• Unique AM circuitry lets you hear audio frequencies beyond 10 kc, an octave
above what has heretofore been practical • New AM detector design is completely
distortion less • Sensitive signal strength indicator. Completely sepa rate
FM and AM sections for stereophonic operation • 3 position AM se lector switch
for optimum reception under any signa l conditions. 10 kc whistle filter. Tape
recorder, multiplex and stereo outputs. Both fast and vern ier tuning. $199.95


T raditional or blond mahogany
(all models) ... $19.95 210E, 99C, 330B, 33lE 15~ x 5x 127.(
L eather-finished plastic covered metal
(all models) .•• $9.95 3 IlB, 12lC, 310B •• . 13~ x 5 x 9)1

FREE send for H. H. Scott

catalog HF-ll
just off the press!
H. H. Scoll brings you new styling ... new features . .. new
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both you and your family to operate. And behind each
H. H. Scott component is an outstanding record of professional
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standards of performance that protect your investment. When
these factors are considered, H. H. Scott components represent
outstanding values whatever their price.
H. H. Scott engineering innovations have consistently set
performance trends in the industry. Among the many H. H . Scott firsts :
• FM tuners with the most advanced circuitry known - wide band
design - for super-selective drift-free tuning. • Best sounding
AM ever developed, ,with frequency response beyond lOkc. • Patented
Dynamic Noise Suppresser that removes record scratch and
turntable rumble yet lets all the music through. • Add-A-Unit
styling so H. H. Scott components go together in any combination.


Complete 30·watt control and power center
that includes Dynamic Noise Suppresser to eliminate
Custom installation can be accom- turntable rumble and record surface noise
plished with one simple cutout ..• • Green Dot control settings • Two magnetic
cartridge inp'uts • Complete tape recording facilitie s
there are no panels or knobs to • 7 position record compensator. Three channel
remove. Decorator-designed Bass and Treble controls • Loudness control
mahogany cabinets harmonize • Variable damping control • Frequency response
well with modern or traditional flat from 19 cps to 35,000 cps • Harmonic
distortion less than 0.5% • First·order difference
furnishings. Components can tone 1M l ess than 0.25%. $179.95
plugging in a lamp. ALL PRICES SLIGHTLY HIGHER
H. H. SCOTT, INC., 385 Putnam Ave., Cambridge, Mass., Export Dept : Telesco International Corp ., 270 Park Ave., N. Y. 17
1/;e mu!!ic wort/ill sjleukers/ Contintted from page 43
latest biography, Annette Kolb's

ELECTROSTAnC Mozart ( Regnery, $4.00) , except by

way of warning. It's far from new,
since it originally appeared (in Ger-
.. jlroo't/clof fJ yeors man) in 1937, but more importantly

o/JonsZen it says noth ing new to anyone already

famili ar with the L etters, on which
Miss Kolb depends for the bulk of her
materials. The rest is her own exces-
sively feminine and romantic gloss
on these. The translator discreetly
shrouds himself in anonymity, but he
or the publishers, certainly shouldn't
ono'oockeo' oy on t/njlreceo'enleo' escape responsibility for so ridiculous
a musical blunder as calling K. 617'S
glass h armonica an accordion. Or was
this an inspired Freudian slip?
About the other, vastly more sub-
stantial and significant anniversary
publication, little can be said here for
quite different reasons: my own lack
of musicological authority and the
unsuitability of these pages for de-
tailed appraisal of scholarly technical
studies. Mozart Companion, edited
by H. C. Robbins Landon and Donald
Mitchell (Oxford, $6.5 0) is a work
which undoubtedly all Mozartean lis-
teners should study, but which most
amateurs among them are likely to
find very hard going indeed .
It's really worth the effort, though,
With the JansZen 1-30 Electrostatic speaker yo u can sit in any part of the room for what we actually have here is a
and still get nothing but pure, even, undistorted sound. Unlike paper-cone panel of outstanding specialists ana-
speakers, this revolutionary method of reproduction transforms electrical energy lyzing, in extreme detail and depth,
directly into sound . .. eliminates breaku p and audible resonances ... almost all aspects of Mozart's incred-
gives 500-30,000 cycle response with an unbelievable 120 degree dispersion! ibly versatile techniques. Some of
these are as readable as they are illumi-
Exclusive electrostatic radiators are the key to JansZen's audio achievement.
Each of the four radiators incorporates a virtually massless, stretched diaphragm, nating (e.g., Gerald Abraham on the
driven over its entire surface by an electrostatic field. The result is completely operas, Jens Peter Larsen on the sym-
uncolored sound for the first time in speaker development. These radiators phonies, K arl Geiringer on the church
are unaffected by temperature and humidity changes ... so stable and music); a few approach well-nigh
dependable we guarantee them two full years. incomprehensible musicological meta-
physics (Hans K eller on the chamber
music, for example); but all of them
can be superbly enlightening. In ad-
*Radiators .guaranteed 2 years; Mahogany, dition to the papers already cited, Ono
Balance of speaker guaranteed J Birch, Walnut
year. Based on a remarkable new and Utility Erich D eutsch discusses rhe Mozart
principle in the transmission finishes available portraits, Friedrich Blume the "style
of sound. on request.
and influence," Arthur Hutchings the
keyboard music, Donald Mitchell the
serenades for wind band, Hans Engel

JonsZenELECTnOSTAnc the smaller orchestral works, and Paul

Hamburger the concert arias; while
the concertos are given especially ex-
tensive and intensive study by Blume,
!ot/o'SjleOKer dealing with their sources, and Lan-
don, dealing with their musical origin
Send tor complete literature on the JansZen 1-30 Electrostatic and development. From now on it
as well as the name of your nearest dealer! w ilJ be a rare (or superficial ) Mozart
Product of NESHAMINY ELECTRONIC CORP. Neshaminy, P a. LP or concert-program annotation
.~.~~port Division : 25 Warren St., New York 7, N . Y. Cable: Simontrice, N. Y. j Continued on page 50


LECTRONICS is continually testing new products,
to decide which are genuine advances in the
art of music reproduction, and which are
merely gimmicks, that waste your time and
money. Most of the significant advances are
brought first to LECTRONICS, for test and
critical comment under home conditions. Very
few of these new devices meet LECTRONICS
standards. When they do, LECTRONICS recommends
them, and stands behind them. That's the
unique policy that insures your every purchase.




For a year or more, LECTRONICS has recommended the AR-1!JANSZEN design in power handling, freedom from obnoxious distortions, in range,
Loudspeaker, as a "reference standard_" A brief description is in order. and in smoothness over the range.
THE ACOUSTIC RESEARCH WOOFER: using air as the mechanical spring, the To replace a conventional speaker with an AR-1!JANSZEN is to lift a veil
bass from this small box is better than from any other woofer, in smooth- that separated you from the music. No matter how good you believe your
ness, range, absence of harmonic and intermodulation distortions-and present loudspeaker to be, you would hear less scratch, less boom, rattle,
thus in its ability to handle the dynamic range of modern records and and other typical speaker distortions. You would get away from the "peep-
tapes. Painstaking laboratory type construction and testing contribute to hole" effect of most speakers, and become conscious of the music.
a remarkably uniform product. For this speaker the "Custom Series" amplifiers were specifically devel-
THE JANSZEN ELECTROSTATIC LOUDSPEAKER: Since our tests on the first oped, to bring the final touch of transparency and free orchestral dynamics.
production model, in February, 1955, we have known that the Janslen is To hear the AR-1!JANSZEN driven by .a Custom "56" or a Custom "100" is to
categorically the world's finest high frequency driver. It is unmatched in experience a new concept in musical reproduction.
range, smooth_ness, energy response, transient response, and its ability Sincerely,
to handle large power peaks at incredibly low distortion. The four driver
design is a result of a long evolution away from single diaphragms, and IRVING FRIED.
is completely covered by basic patents. Less refined approaches, here and Price: AR-1 / JANSZEN, laboratory assembled and tested by LECTRONICS,
abroad, cannot compete in terms of its characteristic qualities. with two year unconditional guarantee of quality:
Connected together in our laboratory, carefully matched and phased, the mahogany, $329; blond birch, $324; utility (unfin.), $299
two units comprise a complete, compact loudspeaker of reference quality. (AR-1 also available separately, woofer only, from $132
It is certainly one of the two greatest available. It is ahead of any other with built in tweeter, from $172)


G enlleme,,: I wis h 10 order:
AR-I/ J ansZen. laboratory assembled with unconditional 2-yea r guarantee
o Mahogany, $329 0 Bl on d Birch . 53 24 0 Utility (unfin.) . S299
OAR-I W oo fer only (unfin. fir) .. .. . .. .. .. .... ... . .. .... .. .SI 32
o AR·I \\(foo fer with built·in tweeter (unlin. fir) .. .......... .... .......... .. .SI72
(M ah ogany fl!1d Birch fin ish <l vailflble on special order)
NAME _________________________________________
AODRESS ______________________________________
CITY _____________________ STATE ______________
Plea se ship C.O.D. 0 Please ship prepaid 0 All prices F.O.B . Philadelphia

NOVEMBER 1956 47
tERMINAL'S Huge ~uying P.o~er PLUS tbejl(
of REGENCY makes it possible to
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Every System a
A genuine Hi-Fi system 01 fomous custom units individ-
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and quality. Install it yourself in bookcase, cabinet
Complete system consists of: or anywh'ere. Just plug together and you ' re ready for
a breathtaking new listening experience .

A real top·performing
REGENCY speaker. This 12" full·
HF·150 AMPLIFIER·PREAMP. COLLARO range. Goodman tw in·cone
design is actually two
The heart of the famous " Pops" home music system ,
thi s top flight 12 watt complete ampl i fi er is capable of
RC·456GE 4·SPEED RECORD CHANGER speakers in one assembly.
Delivers beautifully bal ·
delivering all the sound from your finest record s. Amaz· Plays every speed record including 162/3 rpm . Operates anced sound from 40 to 15,000 cycles bring ing
ing response from 20·40,000 cycles. Inputs: Magnetic , manually. intermixe s all size reco rds, has rapid 6·second the full orchestra right into .your living room .
2 Hi impedance . Outputs: 4·8·16 ohms . Contrals: Base- change CYcle , shuts off after la st re cord . Heavy 4-pole Handles 20 watts of power without distortion .
On / Off, Treble , Loudness , Volume , Re cord Equalization· motor, weighted turntable , Wow and flutter factory Makes an excellent base and mid· range
I nput selector. Dimensions: 81/2 x 131/4 x 7". Shpg . checked for less than 0.25% rm s at 33 1/3 rpm , speaker if a high frequency tweeter is added
WI. 20 Ibs .... """" ..... " ........................ Regular Net $.99.50

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fect fidelity.. ,.. ", .. "" ....... ", Net $50.00
A handsome, clean· lined ultra GOOD MANS AXIETTE 8" TWEETER SPEAKER
high quality audio pre·amplifier The perfect complement to the Au·
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An extremely high fidelity 30·watt
separate power amplifier represent- COLLARO RC-456GE diom 60 Woo,f er, supplying the com·
plete upper frequency range to
control center with separate ing the backbone of this brilliant 15,000 cycles, Produces SIlky highs
controls for volume·on·off, loud· "Classic" system . Full ran~e fre· 4·SPEED RECORD CHANGER without pierc ing harshness , 10 watt
ness, bass, treble, input selec· quency response from 20·40,000 cps. Plays every speed record including 16~ power /land ling capacity .. ,Net $23.20
tor, equalization. Cathode fol· brings the complete orchestra into rpm. Operates manually, intermixes all
lower permits location any· your living room . Less than 2% dis· size records, has rapid 6-second change GOODMANS X07S0 CROSSOVER NETWORK
where . Frequency response 20· tortion at 30 watts, 60 watt peak cycle, shuts off after last record, Heavy Efficiently divides the sound from the amplifier
40,000 cps with 1 % distortion output. Controls: Volume-AC Switch . 4·pole motor, weighted turntable . Wow at 750 cycles, sending the 'bass to the woofer
from 40-7,000 cps. Handsome 8·16 ohm outputs . Handsome gold and flutter factory checked for less than and the treble to the tweeter, Full half-sect ion
wood cabinet 16" W, 4"14" H, anod ized . Dimensions : 151/2" x 8" 0.25 % rms at 331/3 rpm. LlC network with 12 db/ octave roll·off above
71/2" D..""" Regular Net $154.50 x 7" .. ............. " .Regular Net $134.50

The "CLASSIC" Phono System COMPLETE with all tubes, cables

and simple instructions READY TO PLAY ••• WHILE THEY LAST ONLY
With GE Dual-Sapphire Styli .. Net $41.46 750 cps. 15 ohms. "."""" .. ""'''".,, .... ,,Net $25.00

Total Regular Net $428.66
. • DIAMOND NEEDLE on 456GE Changer add $10.90 to total price of
either system . the exclusive ARU Acoustical Resistance Unit
• BASE FOR 456GE CHANGER ............... "".""....".... "., ." $5.50 The se Goodmans ca binets feature the sensat ional and exclusive
• 45 RPM SPINDLE FOR 456GE CHANGER ..... _" .." " $3.30 ARU (Acoustical Resistance Unit) capable of extraord inary per.
formance by providing optimum loading to zero cycles, lower
• SPEAKER SUBSTITUTION: For Audiom 80 (15" woofer) instead of Au- dIstortIon, and bass response to 20 cycle s with negligent
diom 60 speaker, add $45.50 to total price of " Classic " system, peakIng, ARU permits '13 reduction in overall size wi th.
• To expand "Pops" system to a full 2·way system , add a Goodman Tre· out loss of ba ss re spo nse ,
Bax Tweeter ($27.00) and a Goodman X05000 Crossover network ($8.50).
ASSEMBLED, FINISHED CABINET for Goodman s speaker system s employ'
ing 15" woofer. Size: 24" W, 20" D, 30" H (36" H with legs). Walnut, Blond or
GOODMANS TRE-BAX TWEETER Mahogany .",..... ""." .. .... " .. ,.. " .... " .......... ", .. ". .................... .......... Net $102.85
High Frequency Driver with Horn A-158 KIT, knocked·down, unfinished hardwood veneer " .. .... .... ........... Net $71.85
A high range tweeter picking up from a crossover point
of 5,000 cycles, Tapers off smoothly above 15,000 cycles . B-120 CABINET, assembled and finished , For Goodmans Axiom 100 speaker, Size:
30 watt power capacity" ................ " ........ " .. Net $27.00 20" W, 20" D, 26" H (32" H with legs), Blond or Mahogany .... " .. .. .. ........ Net $93.50

GOOD MANS XO-5000 CROSSOVER NETWORK B·120 KIT, knocked·down, unfinished hardwood veneer """ ...... " .. .. .. ..,,, .Net $63.40
For 2·way systems. Crossover at 5,000 cycies, .... ,....... " ... ...... ,.. Net $8.50 NOTE: Ord er B·120T CABINET or B: 120T KIT if a Tre·Ba x Tweeter is to be add ed to
the AXIom 100 speaker. Proces same as B· 120 Seroes,

TERMS: Prices do not include transportation casts. Send at least $25.00 deposit with
MAIL ORDERS SHIPPED PROMPtlY order. We will ship express C.O .D. for balance and transportation charges. SAVE C.O.D.
CHARGES - Send full remittance and pay for transportation only an delivery.


JIM LANSING 12" S';9H4(~e JIM LANSING 15" S'9feat«u
Model D 123 _ " Every Note A Perfect Quot e." M odel D 130 _ A remark ably efficient top quality
So t ru e wi th t his extr emely hig h · qu alit y wide range speake r del ivering breathtak ing sound-s ilky highs, we ll
speake r of unu sually sha llow design. " Step·dow n" frame rounded lows, and a mid· range with ext raord inary bri l·
desi gn with onl y 3 s/." overa ll depth permi t s un ique Ii ance and pres ence. Sp lendid t ran sient response. The
insta ll at ions such as flush wa ll mounti ng bet wee n st ud s. only 15" ex tende d range speake r w ith a 4" voice coil
Delivers cri sp und istorte d highs and clea n ba ss. 3" edge (edge woun d alu minum ribb on). Powe r capaCi ty 25 wa tt s.
wou nd alum i num ribb on voice co il. Powe r rat ing 20 Imp eda nce 16 ohms. Free ai r cone reso nance 37 cps.
wa tt s. Im pedance 16 ohm s. Frequ ency response in suit· Freq uency resp on se in suitabl e enclosure 30·17,000 cps.
able baffle 30·1 5,000 cps . Free air con e resonance 35 Dye rall depth only 5·9/ 16" . First choice among crit ica l
cps. Perfec t for l ·speake r app lications and make s an HI·FI enthU Siast s becau se of its sp lendid tonal de finition
id eal woofe r fo r a fu t ure multipl e systeffet $54 .50 sup er ior to th at of most 2·way systeffest' $76.00
JIM LANSING S'9H4t«.,e Model 075 _ Adv ance d rin g· type radi ator des ign Introduces an entirely
DIVIDING NETWORK new conce pt in hi gh fr equ ency radi ation - produces th e smoothest hi ghs you
ever ex peri ence d, and delivers th em uniformly and di stortion·free from 2,500
Model N2500 - A spec ial dividin g network with cps to beyo nd th e range of audibility. Th e Mod el 07 5 ad ds 2·way brilli ance to
crossover po in t at 2,500 cps espeCia ll y suitable for matching your present system-m akes a pe rf ect matched compani on to t he 01 23 12" or
th e Jim .Lansi ng 0· 123 or 0·1 30 ext end ed range speakers 0130 I S" ext end ed range spea kers with div iding network. Voice coil P /4 " di am.
with the No. 075 tweeter. Includ es cabl e con nected ext ernal Power ra t ing 20 watt s above 2, 500 cps. Impedance 16 ohms. 90 0 di spe rsion
level·ba lancing cont rol. Net $15.00 angle . The pe rfect tweeter for any mul t ipl e Hi-Fi spea ker systeffet $54.50
Enclosure Woods and Finishe s:
Mahogany, Dark Fini sh
Mahogany, Li ght Finish
Birch, Natural Fin ish
Korina, Blond Fini sh
Maple, Sa lem Fin ish
Oak, Light Fini sh
Prima Vera, Natural Finish
193/." wi de, 15 7/. " C38 _ 233/4" wid e, 157/. /1 Walnut, Dark Fini sh C37 _ 36" wi de,
deep, 233/4 " high. 29'12" deep, 193/4/1 hi gh. 26" high wi th Walnut, Li ght Fini sh 16/1 deep, 30 1/4" high. C35 _ 23 7/ ." wid e, 16" deep,
high with legs. Shpg. Wt. legs. Shpg. Wt. empty 47 Ib s. Shpg. Wt . empty 691bs. 381/2" high, Shpg. WI. empt y 69 Ibs.
empty. 47 Ibs.
C·36 and C·38 BOTH $57.00 in Contemporay Contemporary Woods : $105.00 Contemporary Woods: $ 96.00
Woods, $63.00 in Premium Woods Premium Wood s: $114.00 Premium Wood s: $105.00


Mcintosh MC-60 FF75 TAPE DECK Thi s basic
compon ent provides all neces·
60 WATTS OF 99·60/100% sary tap e functions by perm it·
PERFECT AMPLIFICATION ting use of a vari ety of inter·
changeabl e head s for speCial
Designed for the perfection· purpo ~es . FF75 basic monaural
ist who can hear the diffe r· playback unit consists of tran s·
ence. This sensational am· porf. bracket, and on e record·
plifier delivers 60 watts of playback head . Hi· fi re sponse
the purest sound possible from 40 to 14,000 cp s at 71/2 ips. Less than 1 %
within the theoretical limits of quality and efficiency. No other ampl i· harmonic di stortion . Al so plays at 3 3/4 ip s. 4·pol e con stant speed 60 cycle
fier does this with less than 0.5% harmonic distortion from 20 to motor. Viking ' s exclu sive Dynamu heads , with a flu x'gap less than 0.0002",
20,000 cps . The amplifier of choice for really fine systems assures extraordin ary fidel ity for playback of pre· re cord ed tapes and all record·
Net $198.50 ing usage . Dim ensions : 12'/ . x 8% x 4 shl " . wt . 11 Ibs. Net $59.95
MciNTOSH MC·3o 30·watt power ~mplifier with same outstanding ALSO A V AILABLE AS FOLLOWS
performance as MC·60 .................................... .... ......................Net $143.50 FF75·L Monaural Playback Unit FF75·SU Universal Binaural Play·
with Tapelifter. Sam e as FF75 with back Unit, In·Line and Staggered
tapelifter add ed ............ Net $62.45 Heads. Con sist s of tran sport, head
FF75R·LP Mon aural Record Play· bracket, in·line head asse mbly,
Mcintosh C-8 back Unit with tapelifter and pres·
surepads and erase head .. Net $71 .95
standard record ·playba ck head , tape·
lifter, and pressure pads.. Net $97.65
FF75·SR Binaural (Stacket Head)
PROFESSIONAL FF75B· LP Binaural Playback Unit Playback Unit plus Monaural Erase-
with Staggered Heads , matched, for Record Functions. Includ es t rans·
AUDIO COMPENSATOR rec ord·p layback. Includ es tapelifter,
pre ssure pad s, tr ansport, and head port, head brac ket , stac ked head,
Prov ides the absolute max imum erase head , rec ord head, t apelift er
in completene ss and fle xibility brac ket s ............ .. ............ Net $74.45 and pressure pads ........ Net $107 .50
of control for profess ional and
home music syst ems. 10·swit ch 0·396 Portable Case. Pre·drill ed
phono·compen sator for really compl ete record equalization . Separate hole s , .. ............. ........... .. ... Net $24.95
preCision ton e control s. Special inputs for AM , FM, radio, phono , TV
and tape recorder. DC on filam ents assures lowest po ss ibl e hum level
'" Viking RP-61 Viking P8-60 PREAMPLIFIER
obtainable. Record-Playback Amplifier For perfect NARTB equalization and
peak perform ance on playback of
c·a Less cabinet ..., ................................ ................ .... .. Net $88.50 A re cording amplifi er and pl aybac k preamp.
exp ress ly de signed to match th e Viking FF75
pre-record ed tapes the PB·60 pre·
amp . is th e id eal' mate f or your
full fid elity tap e dec k. Provi des perf ect reo
c·a With cabinet .. .. ........... ..................... ....................... " Net $96.50 cording fidelity ove r its entire ran ge to
12,000 cps . Rec ording equalization fi xe d for
re gular powe r amplifier. Contains
separate volume control , a var iabl e
equalization control, and cathode
NARTB curve. Vari abl e equali za ti on f or pl ay· follow er for remote in stallation s. Di·
back from any source . Dimension s: 121f. x mensions: 6 1/2 x 3 x 2" encased.
2 x 6" compl etely encase d. Net $74.50 Self powere d .. .. ........... Net $24.50
Sel f powe red.

A real buy on this professional recording tape

made to our exacting specifi cations. Red oxide
coating on plastic ba se. Fully Guaranteed.

~~::::;;;:~===:=::1200 ft . on 7" reel... .....

1800 ft. on 7" reel... ..... 2 for $4.98
3 for $498
N OVEMBE R I 956 49
Continued from page 46

FRS T ...
which fails to make use of the tech-
nical insights and relationships re-
vealed in such prodigal wealth here_


Stravinskian "Poetics_" One weak-

ness of the current renaissance of
"class" paperback reprints is the com -
paratively few musical classics in-
cluded so far. But at least these few all
have been really first-rate books - as
is the latest, a reissue of Stravinsky's
celebrated NortOn lectures at H arvard,
Poetics of MztSic in the Form of Six
Lessons, translated by Arthur Knodel
and lngolf Dahl (originally Harvard
University Press, I947) _ If perhaps
not quite as richly revelatOry an in-
sight intO the composer's philosophy
and techniques as the out-of-print
the N-10102 Convertible Crossover Network Ch,-onicle of MJI Life (I936), the
present astOnishingly provocative -

G1IbW4 wi& qOUl{ Rozak ~~eo.kt1{ ~q4f1Mt and far too little-known - booklet
contains some of the most tersely co-
gent remarks on the composition and
Wired as an N -IOI it has an 8-0hm Impedance and the slow performance of music to be found
6-db-pe r-oclove Crossovers at 800 and 2500 cycles for the on e - anywhere_ Whether you persona lly
admire or detest Stravinsky's own
woofer Bozak B-302 Speaker System_
scores, you are sure to find here en-
tirely new illuminations not only on
when your 8-302 grows into a two-woofer 8-30S the man and artist himself, bur on
the fundamental nature of all musical
experience (Knopf "Vintage" series,
95 ¢ )-

Crow hurst Audio Handbooks_ I

was so stimulated by No_ 5 in this
British series (The Qttest fM Q1talitJl,
reviewed here September I956) that
I couldn't resist looking up all the
earlier pamphlets: No_ I, Amplifiers
(I95 I, now in its 4th reprinting );
just remove two lea d s and transfer two others, No_ 2, Feedback (1952); NO.3, The
and you have the 16-0hm Impedance and Use of A. F. Tt·ansfo·rmers (I953 );
the same slow Crossovers at 800 and 2500 and No_ 4, P1tblic Address (I956)-
cycles need ed for this out standi ng System_
And I found that, although they are
(as their titles indicate ) of more spe-
For the magnificent four-woofer 8-310 and 8 -400 __ _ cialized interest than NO. 5, all are
add a condenser bank and change four leads for the a -Ohm packed with a great deal of highly
Impedance and slow Cro ssovers at 400 and 2500 cycles_ concentrated practical information .
No. I is perhaps somewhat our-of-date
The N-IOI02 Cro ssover Network , like 80zak Loudspeakers, is never now, and in any case can't get very
outgrown • •• never becomes obsolete_ Together they mean far intO its vast subject in only some
64 pages, but the others shou ld be
extremely useful to amateur as well as
professional technicians (Norman
Price, Ltd ., London, via British Radio
THE R. T. BOZAK SALES COMPANY Electronics, Ltd., WashingtOn, D. c.,
or the Book Department of HIGH


Ho"" much should you pay for the finest cartridge?

As you may have heard, there's a "new champion" ridge. In addition, the high voltage output of these
in the fine phono cartridge field-the Sonotone Super- ceramic cartridges eliminates all need for a pre-
Fidelity. And not the least of its features is price. amplifier. They give flat RIAA response without
A Sonotone Super-Fidelity 3P complete cartridge equalization, resulting in less circuitry and less
with diamond needle costs less than the diamond noise. And they are absolutely free of magnetic
needle alone for most velocity types. hum problems.
Yet this is the cartridge of which The Audio League* Price of the Sonotone Super-Fidelity cartridge with
says: single diamond microgroove needle (3P-ID), only
--.. .overall smoothness instantly apparent .. .~~ $30.00 list. Turnover model with diamond-sapphire
needles (3T-SD), only $32.50 list. No other cart-
" ... a most appealing sense of balance of the
ridge gives you such sound, such savings, such
various portions of the spectrum ... ~~
advantages. Make this new cartridge the heart of
Small wonder the report concludes: your system!
-- ... in view of its excellent listening quality. *Authorized quotation number 34 from Volume I, No. 12,
it must be considered an outstanding buy April 1956, of The Audio League Report. Complete technical
when used with an appropriate amplifier . .. ~~ a nd subjective report avail able from The Audio League,
Box !l52, Mt. Vernon, New York. Single issue $.50, twelve
Your savings don't stop with the price of the cart- issues, $4.00.




NOVEMBER 1956 '5 1

Any way you 1001: a'f it
Maybe you're different, maybe you like to take your
ease horizontally and passive entertainment is your
dish. Here's television you don't have to sit up or even
Crane your neck to see . . . much less run back and forth
across the room to tune. It's Fleetwood designed for custom
installation and remote control. This receiver can be placed
anywhere you want it - in the wall, in a room divider, as you see
it here in the ceiling or in a cabinet of your choice_ Ask your
dealer for a free copy of the booklet "A Fleeting Glance
at Fleetwood" for a whole raft of installation ideas.

Remote Control


AUDIO SPECIALISTS 2817 Crenshaw Bh·d., Los Angeles 16 GRICE RADIO & ELECTRONIC 1408 Huntoon, Topeka
333 East Camelback Road, Phoenix Phone: REpubli c 1-2451 Phone: 25007
Phone: AMherst 5-0447 CUSTOM AUDIO 300 E. Wright Stree t, Pensacola KENTUCKY
ELCO ELECTRICAL 2650 Avon Street, Newport Beach Phone: HEmlock 3-4616
Pho ne : LIberty 8-3391 J. M. HISLE AND ASSOCIA
202 East Fillmore, Phoenix VALLEY CUSTOM SOUND 3619 Henderson Blvd. , Tampa Phone: 2-7884
Phone: ALpine 2-8248 5148 Lankershim Blvd., Phone: 73-6091
North Hollywood THE GOLDEN EAR, INC.
NILES RADIO & TV CENTER Phone : POplar 2-4184 GEORGIA 610 South 3rd Street, Louisville
400 N_ 4th Avenue, Tucson Phone: CL-4531
1757 East Colorado St., Pasadena 4 1140 Peachtree St., N.E., Atlanta LOUISIANA
Phone: SY 3-1196 RYan 1-6683 Phon ~ :
EMerson 2156
GENE TAPIE - HIGH FIDELITY MART 536 South Fai r Oaks Ave., Pasadena 1 New Orleans 25
120 Broadway, Chico THE NEW SOUND
Phone : RYan 1-8171 35 E. Springfield Ave., Champaign Phone : CAnal 4120
Phone: FIreside 2-8675
"THE BARTHOLOMEWS" MUSIC, INC. 442 So. Greenleaf Ave., Whittier
522 N_ Brand Blvd_, Glendale 3 Phone : OXford 414112
Phone: Citrus 3-8873 100 N. Western Ave., Chicago 80 19771 Conant at State Fair E.,
P hone: HAymarket 1-6800 Detroit 34
7460 Melrose Avenue, Hollywood 46
Phone: WEbster 3-8208 ALLEGRO MUSIC SHOP, INC. 2909 West Devon AYe., Chicago 45
262 Fillmore, Denver P hone: RO. 4-8640 7422 Woodward Ave., Detroit 2
THE AUDIO WORKSHOP Phone : TRinity 4-1100
Phone: EAst 2-1869
2211 Camino Del Reposo, La J olla GRANT & GRANT, INC.
Phone: GLencourt 4-5378 708 Cen tral Ave., Hi ghland Park
Phone: ID 2-7222 910 E. Fulton St., Grand Rapid
12026 Wilshire Blvd., Los Angeles 25 INDIANA
262 Elm Street, New Haven 11 THE GOLDEN EAR, INC. 1932 P eck Street, Muskegon
CRENSHAW HI-FI CENTER Phone: UNiversity 5-1101 15 E. 16th Street, Indianapolis Phone: 2-5910
107 San ta Barbara Plaza, Los Angeles 8 Phone: MElrose 5-4915
1 South Main Street, West Hartford 7 THE GOLDEN EAR, INC.
ELECTRONIC SERVICES Phone: ADams 3-5041 610 Main Street, Lafayette AUDIO KING COMPANY
6941 V2 La Tijera Blvd., Los Angeles 56 Phone: 2-2917 1827 East Lake St., Minneapoli
Phone: ORchard 4-4774 Phone : PArkway 9-7451
11240 West Olympic Blvd., CUSTOM HI-FI 218 East College St., Iowa City DAVID BEATTY CUSTOM HI-Ff
Los Angeles 64 Phone: 1642 Connecticut Ave., N.W_, Phone: 8-0151 1616 W. 43rd (Westport Rd_) ,
BRadshaw 2-9921 GRan ite 7-6701 Washington Kansas City 11
Phone: HUdson 3-3336 KANSAS Phone: JEfferson 1-3110
Los Angeles 15 2803 M Street, N.W., Washington 7 1103 Com mercial, Emporia 6383 Clayton Road , St. Louis I
Phone: RIchmond 7-0271 Phone: ADams 4-4730 Phone : 20 Phone : PArk view 1-6500

Free booklet of installation ideas available .from

ljOUfJ h£sthulj
In 'this receiver system remote control is completely
electronic ... there are no ratchet devices. An exclusive
Fleetwood feature you'll like is the definition control which
lets you vary the picture texture ... sharp and clear ... soft and
diffused ... or in-between - any way you prefer it. See your
dealer for a demonstration soon. Fleetwood builds quality
receivers that surpass any TV you've ever seen. The same
company supplies station monitors to the networks. The Custom
Fleetwood you get for home use is engineered to the sam.C Installed
exacting standards as this professional equipment.

II you appreda-te the difference, Q .p -'- .

f ®
you'll enjoy Fleetwood IJLEELW-OO(L
Manufactured by CON RAe, INC.
Department A • Glendora, California

Export Division: Frazar & Hansen Ltd., 301 Clay Street, San Francisco 11, California, U.S.A.
Conroe is the Canadian name for Fleetwood television
© Conrac, Inc., 19S6

650 Sixth Ave., New York 11 14511 Granger Road , Maple Heights 5328 W. Lovers Lane at Inwood Rd.,
rHE HI-FI CENTER, INC. Dallas 9 Phone: ELmhurst 6477
Phone: ORegon 5·8600 Phone: MOntrose 2·3213
008 Wells Avenue, Reno
'hone: 2·5368 TERMINAL RADIO CORP.
85 Cortlandt Street, New York 7 OREGON UTAH
W JERSEY Phone: WOrth 4·3311
rHE JABBERWOCK JERRY FINK CO. 15 East 1st So., Salt Lake City
:96 George St., New Brunswick 644 Clinton Ave. South, Rochester 20 701 S.E. Hawthorne Blvd., Portland Phone: ELgin 9·7633
'hone: CHarter 9·1900 Phone: BRowning 3503 Phone: FIlmore 9375
!05 W. Englewood Ave., P .O. 66, Brandywine Station, 3760 S.E. Hawthorne Blvd., Portland
Schenec tady 4 Phone: FIlmore 5341 OLYMPIC ENGINEERING CO.
'fl. Englewood 2008 Westlake Ave., Seattle 1
'hone: TE 6·4200 Phone: FR 4·0720
Phone: ELiot 4650
349 East Onondaga St., Syracuse 2
136 Flatbush Ave., Brooklyn 18 THE AUDIO EXCHANGE 9 South 12th St., Allentown THE HI-FI CENTER, INC.
'hone: BU 2·5300 Phone: HEmlock 3·3326 4236 West Capitol Drive, Milwaukee
367 Mamaroneck Avenue,
mFFALO AUDIO CENTER White Plains Phone: UPtown 1·2113
.61 Genesee Street, Buffalo 3 Phone: White Plains 8·3380 808 Mohican Street, Bethlehem THE AUDIO SHACK
'hone : MOhawk 1368 WESTLAB ELECTRONICS, INC. Phone: UNiversity 7·3909 1208 Milwaukee Ave., Janesville
IIEWMARK & LEWIS, INC. 2475 Central Avenue, Yonkers Phone: PLeasant 4·7657
~3Main Street, Hempstead, L. I. 19 South 21st St., Philadelphia 3
)hone: IVanhoe 1·6890 OHIO Phone: RIttenhouse 6·5686
l59·19 Hillside Ave., J amaica 32 3017 Cleveland Ave., N.W., Canton 9 6128 Mor ton Street, Philadelphia 44
Phone: GL 5·1000 Phone: UN 6·6681
)hone: AXtell 7·7577·8·9 Phone: GErman town 8·5448
-lOUSE OF HI-FI 901 Bleury St., Montreal, Quebec
i05 Plandome Road, Manhasset, L. I. 2915 Prospect Avenue, Cleveland 15 RHODE ISLAND
Phone: CHerry 1·5560 Phone : UNiversity 6·9202
Phone: MA 7·1376
NEW ENGLAND'S HI FI CENTER 342 Gladstone Ave., Ottawa 4
i5 Cortl and t Street, New York 7 2115 Prospect, Cleveland 15 790 North Main St., Providence
)hone : DIgby 9·4730 Phone: SU 1·9410 Phone : CEntral 6·7219
Phone: DExter 1·4242
l15 West 45 th St. (3rd floor), CUSTOM ELECTRONICS, INC. 29 Adelaide Street, West, Toronto 1
TENNESSEE Phone: EM 6·1591
~ew York 36 1000 South Main Street, Dayton 9
IARVEY RADIO COMPANY, INC. CUSTOM CLASSICS 234 East Street, Memphis 2 557 Mount Pleasant Rd., Toronto 7
13421 Euclid Ave. , East Cleveland 12 Phone: BRoadway 6·4501 Phone: HUdson 8·6443
l03 West 43rd St., 1123 6th Ave.,
~ew York 36 Phone: GL 1·0256
.EONARD RADIO, INC. 20971 Westgate,
AUDIO MART" (Westgate Shopping Center), MELODY SHOP TELCO LTD.
i9 Cortlandt St., New York 7 Fairview Park 26 466 P ine Street, Abilene 605·607 South Queen Street, Honolulu
'hone: CO 7·0315 Phone: ED 1·6448 Phone: 4·4848 Phone: 50·2964

~our Fleetwood®dealer or write: Conrac, Inc., Glendora, Cal.




It's Eas y and E c ono mi c al

Electro-Voice KD Kit spea ker ca b in ets are partially-assem-

bled, pre-cut counterparts of famous Electro-Voice speaker
enclosures_ You get everything you need-parts, glue,
and screws_ Build any of seven carefully-engineered speak-
er cabinets by following simple, step-by-step illustrated in-
structions. Kits from $26 (KD-7, The Baronet) to $118
(KD-l, The Patrician)_
If you prefer, buy only the Electro-Voice instruction
book (75c to $1.50) and secure materials from local suppliers.
Give your completed ca bi net a fi ne f u rniture finish. Electro-
Voice finishing kits-cherry, cordovan mahogany, walnut,
golden oak, fruitwood or ebony-$5. Decorative Metal Trim
kits from $4.80_



S tart With an E-V C oaxial S peaker and ~

Improve Your System O ne S tep at a Time,
Electro-Voice Building Block pla n lets you step up the qual-
ity of your high-fidelity speaker system as your budget
permits_ . You start out with an E-V coaxial speaker, add
very high frequency driver and crossover, then mid-range
driver, horn and crossover until you have a complete,
multi-speaker system_ You can do it with confidence be-
cause Electro-Voice components are completely compatible
-designed to work together for the finest reproduction.

r ~


I ". I There is a difference in high -fidelity
II 7'
eq uipment-and you can hear it.
Diai the unique E-V SYSTEMS
, SELECTOR at your dealers_ Hear
the improvement as you add compo-
nents to the basic system_ Let YOur
'" own ears tell you the story of
Electro-Voice superiority. See your
dealer right away.
= '-1
KD-I. The Patrici an KD-3. The Centurion KD-2. The Georgian

L """'\
30" """'"
24 "


KD-~. The egeney
kD-5. The Empire
. .
o •

KD-7. The Baronet
Export: 13 East 40th Street, New York 16, U. S. A. Cable" ARLAB

How Durable Is Your Fidelity?

L ATELY WE HA VE BEEN accused of treason, by

reason of our having pointed out that high-fidelity
components, no matter how lovingly crafted to begin with,
and damping, and its tracking consists of friction. Withal,
it must be delicate to be good. For these hazards, manu-
facturers have already, in large part, found a working
do not invariably reach their final owners in the best of solution. To wit, they tell customers (or the dealer does)
operating condition, perhaps owing to their not being to send or bring the pickup, or its stylus assembly, back
checked adequately before delivery. Among the most for checkups periodically. Furthermore, most makers
reproachful of our accusers, incidentally (and we love manage to recondition them and return them with com-
them just the same), were people who had not long ago mendable promptness.
submitted for Testing-in-the-Home an amplifier with one There remains the control unit or preamplifier, and in
wrong tube, and an AM-FM tuner which would tune only particular its phono-preamplifying-stage. This is the instru-
AM. The burthen of all the accusations, however, was ment, of the whole array, in which the slightest ill has
that by harping on troubles that beset high-fidelity com- the most horrifying effect. It seems, maybe oddly, that
ponents, we might frighten people back into buying pack- until rather lately this was not realized: the idea being that
aged radio-phonographs instead. distortion in the very early stages of amplification, of a
Well, if this be treason, let's get on with it - after a low order of magnitude, would be somehow "lost" in the
word of fuller explanation. In the first place, institutional inescapable larger distortion elsewhere in the chain of
preachments on this page are not, naturally, aimed at such reproduction. Perhaps realization had to wait until the
manufacturers as have been above reproach, and there are ancillary components were good enough to expose the
always a few of these. Secondly, we doubt that many defection of a preamplifier.
readers of HIGH FIDELITY ever consider seriously, even as Without much doubt, a preamplifier's main points of
a remote possibility, retreating to low fidelity to escape vulnerability are its tubes. It seems also safe to say that
the hazards of high. The chief motive behind commitment the vulnerability was increased when manufacturers went
to high fidelity is not (ordinarily) expectation of complete from big "standard" tubes - the 6SL7 and its ilk - to
freedom from trouble; it is the desire for the best possible miniatures, though there were cogent economic reasons
reproduction of sound. Complete freedom from trouble for their doing so. The factors of vulnerability range from
you don't get, from either high-fidelity rig or limed oak microphonism and hum to uncertain prong-and-socket
jukebox, but in the former small imperfections are more contact. There is evidence also that miniatures have a
important than in the latter, because it is precision equip- shorter reliability-life than their larger cousins. At any
ment. A slight wheel imbalance on an expensive sports car rate, there is small doubt that a developing disorder of one
makes it completely unsatisfactory to operate. On a second- small tube, even while it is still unmeasurable on a tube-
hand station wagon or on Junior's jalopy, the same flaw is checker, can change the sound of a $500 music system
accepted as perfectly normal. from something delightful to something almost intolerable,
and that there is usually no way to find the source of the
TO PROCEED - the question next after what condition a trouble but by trial replacement of a I2AX7 or I2AU7.
piece of audio equipment is in when you buy it is what No one would suggest that manufacturers now revert
condition it's in six months later. More treason? Perhaps, to large tubes. There isn't much consumer demand for
but with a seasoning of hope. Some audio components big, hot, heavy, premium-priced preamplifiers (though
rarely develop malfunction if they were in good condition there certainly would be some buyers - I know of one).
to begin with. Loudspeakers, for instance. Power am- What does present itself as a possible solution, not im-
plifiers, toO, as a rule, stand up well. So do most turn- mediate but eventual, is the transistor as component in
tables, though some require regular replacements of idler early-stage amplification. Transistors embody all the
wheels. Tuners vary, but their symptoms, when something working assets of miniature tubes and few of their liabil-
goes wrong, lend themselves to easy diagnosis. Tape re- ities - there is no microphonism, no hum, little change
corders vary also, and largely in direct proportion to their of functional value under use. The only trouble is, tran-
prices. It is when we come to phono pickups and pream- sistors - at their present stage of development - are
plifiers that we encounter evidence of how subtly and devilishly hard to make standard in functional value when
fiendishly inanimate objects can behave. For the symptoms they are manufactured; they come forth toO wildly varied
of misbehavior, though aurally painful, are almost never to be safely purchased in large job lots by audio manu-
easily traceable, since the two instruments tend to work facturers. This will pass. The same generic trouble
in league with each other, simulating each other's distor- hampered penicillin production in 1945. It doesn't now.
tion (and perhaps stimulating it as well). The moral : for the nonce, buy some spare 12AX7s and
A pickup must be vulnerable to wear, since it operates 12AU7S, but keep your eye peeled for transistor units.
through the opposed mechanical principles of springback There are a few around already. J. M. C.

If Napoleon really had wanted to conquer Moscow, apparently,
he should have gone there disguised as a visiting American tenor.

O Nhaired
MY SECOND DAY in Moscow, I asked the white-
greenroom attendant at Tchaikovsky Hall, .
in Moscow, Leningrad, and Kiev. It was an invitation on
a grand scale: six concerts and six opera appearances in
where I was to make my Russian concert debut, whether three different operas - to be accomplished in four weeks.
the acoustics were good or not. The old man replied in After I had had a talk with State Department officials in
Russian to my "lady" interpreter, his blue eyes twinkling. Washington, who regarded the venture favorably, I aban-
Mme. Alexandra bl.ushed and hesitated but finally came out doned my peaceful summer without a backward glance
with it. "He says," she translated, "where there is a voice- and almost immediately started to struggle with the pack-
there are acoustics! No voice-no acoustics." I asked no ing and to estimate overweight luggage.
further questions. I was joined in my aaricipatory excitement by my wife
Alice, the perfect "tour manager," and my esteemed ac-
This was to be the summer that I had originally planned companist of long standing, W arner Bass. There had been
to devote to vacation only; perhaps interspersed with a so little news coming through the Iron Curtain about the
few concerts at outdoor auditoriums, a few recitals, a musical and artistic life of Russia that we felt we were
record session or two. That was to be all. But the Ministry in a particularly privileged position by being promised a
of Culture of the Soviet Union came forth with another unique opportunity to investigate it for ourselves.
idea. They invited me - via Mr. Sol Hurok - to come True - distinguished instrumentalists such as Gilels and
to Russia and sing in concerts and opera for audiences Oistrakh had recently appeared to great acclaim in the


United States and Ulanova's ballet triumphs had been Leningrad, where I was to appear both in concert and as
hailed loudly enough all over Europe to be heard on this Duke in R igaletta. It was the first time I really met my
side of the Atlantic. In general, however, the musical life Russian colleagues. I was told, wherever I appeared in
of the Russian people was still as unknown to us as ours opera, (two Rigalettas in Leningrad, two Traviatas in
was to them. What were the orchestras like, what kind Moscow, and two M asked Balls in Kiev), that I would be
of concert halls and opera houses would we encounter, singing with all-star casts of these opera companies. Now,
and - of ultimate significance - what sort of a reception looking back, I certainly must agree. Valentina Maskin-
would we have? This was important to me because for rova, Leningrad's prima donna, was Gilda; Konstantin
the first time I felt I was engaged on a professional tour Laptev, a wonderful artist, was Rigoletto; and a young girl,
that had, in addition to the usual accouterments, a semi- Taisiya Sirovatko, was Maddalena. This last named singer
official, semidiplomatic flavor. Singing in Russia as the has one of the most beautiful contralto voices I've ever
first Metropolitan Opera artist since World War II, and heard, and I believe, if the cultural exchange among artists
appearing at Moscow's Bolshoi Theater as the first Ameri- of all countries continues, she will make a name for herself
can ever to stand on its stage, was going to be a highly on an international scale.
gratifying but - I was equally sure - also a highly exposed Mme. Alexandra, our interpreter, accompanied us on all
and vulnerable position. our trips and, of course, was at hand during the first piano
I was soon to find out that every time I stepped on a rehearsal under Maestro Y eltsin' s direction. But the minute
concert platform I would be introduced by an official as we got down to the business at hand, Verdi's Rigaletta,
"Jan Peerce of the United States of America," and the no interpreter was needed. Although I sang my roles in
huge posters which were pointed out to me and which the original Italian and my Russian colleagues sang theirs
announced my operatic appearances carried the same state- in their native tongue, I don't believe - even at that
ment. It all made me feel a little like a member of the very first get-together - that anyone missed even one cue.
American Davis Cup team, except that I was "singing" for What was more, I soon found out that Italian and Russian
my country. I had no illusions; a few sour notes might blend beautifully. Not all languages do. It ' can be a highly
reflect not only on me but on the entire United States. embarrassing and often comic spectacle if a love duet is
{ It was quite a challenge. sung, say, in German and Italian. And I'd hate to think
Before I left on the tour my friends and colleagues of a melange of Czech and French! But Russian and
had continually asked me what I intended to sing in my Italian - two very euphonious languages with open vowels
Russian concerts. And I had answered that I would sing - get along fine.
programs identical with those I prepared for Chicago, I believe I could have asked for and gotten as many
Los Angeles, Rochester, and other such cities in this orchestra rehearsals as I would have liked. As all opera
country. If there was one international language, I rea- companies are State owned, extra rehearsal time is no
soned, it was music; and if the Russians were not able problem. But after our one and only stage and orchestra
to grasp its message - well, that would simply have to rest rehearsal for Rigaletta, I felt we all were completely in
in the lap of the gods. accord, and as the rest of the cast and the conductor felt
I needn't have worried. After the first concert at the same way, we settled for just that.
Tchaikovsky Hall in Moscow, there was no doubt, musi- There was some time to do a little sightseeing in thIS
cally speaking, that Russian audiences understood me. beautiful, spacious city - somewhat reminiscent of our
When - after seven encores - the house manager finally Washington, D. C. The river Neva flows right through
ordered the lights dimmed so people would start for home, its heart and forms many canals, which give it a leisurely,
I felt very, very good indeed. Back in the greenroom, Venice-like feeling. This was also my first experience with
with music lovers and musicians crowding in to shake the "white nights." At one a.m. it was still quite light. On
hands, one question kept popping up. Had I chosen the my first day in Leningrad I went to a performance at the
Bach aria, with which I opened my program, especially for Kirov Theatre of Tchaikovsky's Pique Dame. Leningrad's
my Russian tour? Was Bach "knawn in America? As a
proud and faithful member of New York's Bach Aria
Group, I think I did manage to convince them that Bach
played just as great a part in attr music life as he did 10
that of the rest of the world.
Looking over a rather sketchy diary which I tried to
keep during my Russian sojourn, I find a little note:
"Militia had to clear exit of Tchaikovsky Hall so we could
get to car." I recall the reception I got, leaving the green-
room - autograph books thrust under my chin, shouts of
"Bravo, Pirs, Bravo, Pirs." In Russia, it's true that musi-
cians, and certainly ballet dancers, have acquired the
status in the hearts of their fans enjoyed by our movie
stars and pop singers; this warm affectionate feeling be-
tween audience and performing artist seems to be universal.
Tbe author (second from left) with members of the cast of
Right after my first concert we hopped a plane to Rigoletto and executives of tbe Kirov Theater, Leningrad.

famous opera house, called in Czarist days the Mariensky, During my stay in Leningrad I had a chance to talk
is a beautiful, intimate place, seating about 1800. Its decor to some of the other artists. I found that musicians are the
is white with two shades of blue, and it boasts a wonderful same the world over. They're all friendly, unceremonious,
crystal chandelier. There were mostly young singers in and interested only in music. There is no doubt, from what
the cast of Pique Dame, all of them excellent, but the I have seen in Russia, that its singers - and· I believe
thing that left the strongest impression with me was the all its artists -live well, and, when they achieve great
chorus. Russia~).s are rightly famous for their choirs, and distinction, occupy a "preferred status." They enjoy pen-
there is nothing as thrilling as the sound of those Russian sions, paid vacations, and a guarantee of work. Their pay
bassos - a sound unique, with a vastness and power com- is well above the average Russian income, and in most
parable to that of the singers' huge country itself. cases their living conditions are on a similar level. I
Another highlight of our Leningrad visit was a perform- found, too, that women occupy leading positions in Russian
ance of a puppet show at that city's Summer Park. opera houses as stage directors, artistic directors, scenic
Obrastov, a famous puppeteer, presented a satire which designers, and such. You'll also find many female stage
I shall long remember. The cast consisted of a "coloratura," hands. I discovered that prices of tickets for my appear-
of a "baritone," and a "poet," who sang a cantata in praise ances were scaled very high. The most expensive seats sold
of vitamins A, B, C, and D ("By special permission of the for $ 10.00 each, which - in Russia - is even higher than
Apothecary Society") which had us all in stitches. It was it sounds.
a highly artistic performance and also a reassuring evidence To give you an example of how kind and warm the
that the Russians have a sense of humor and even a entire feeling among artists was, let me relate one incident.
faculty for self-mockery. After our second Rigoletto performance there was a parry
Both Rigolettos went exceedingly well. Though the given in my honor. I returned home at about one a.m.
crowd was obviously bent upon lionizing me - shouts of and had to leave my hotel the next day at seven a.m. to
"Pirs, bravo Pirs" welled up from the auditorium - I catch my plane back to Moscow. When my wife and I
firmly insisted on sharing my bows with the rest of the appeared in the lobby at that unearthly hour, we found
cast. One thing that pleased me especially was that many to our amazement that the entire Rigoletto cast, headed by
of my colleagues came up to me and, without ceremony, Konstantin Laptev and his wife Anna, were waiting for us.
placed their hands on my diaphragm and demanded, They just wanted to see us to the airport for a final au
"Breathe, Pirs. Breathe." They were plainly curious about revoir. Anyone who knows singers and their notorious
my breath control and couldn't believe I had learned my penchant for late rising will understand how deeply
entire technique in the United States. They were sure touched we were.
I had studied in Italy, and I had quite a time contradicting Back we flew to huge, bustling Moscow which - at
this preconceived notion. that time - was crowded with tourists from all over Russia
Between my two Rigoletto appearances I also sang a who had come to see their capital. Finally the day ap-
concert at Leningrad's Philharmonia Hall, one of the most proached when the dress rehearsal for Verdi's Tt'aviata was
beautiful auditoriums I've ever sung in and certainly the scheduled at the Bolshoi Theater. I have an especially
most beautiful concert hall in Russia. White marble pillars warm spOt in my heart for this opera, for it was as Alfredo
line the sides and red velvet arm chairs form the rows that I made my debut at the Metropolitan fifteen years ago.
of seats. Eight enormous, sparkling chandeliers give the Mme. Firsova, an excellent lyric coloratura, was Violetta,
whole building a fairyland quality, and the acoustics (sic!) and the beloved baritone Lisitsian, a great Russian favorite,
are truly magnificent. was the elder Germont. He bears the proud title of
"People's Artist" which is equivalent to the Germanic
honor of K ammersaenger.
The present Bolshoi production of Traviata is set in the
Maupassant era, and the decor and costumes are among
the most beautiful I have ever seen. As is customary dur-
ing dress rehearsals all over the world, I started Out by
singing satta voce.
Although I couldn't see an audience I soon had the
distinct feeling that we, up on stage, were not alone.
This was the understatement of the century. As it soon
turned out, the entire orchestra was packed with colleagues,
members of the drama and various ballet companies. They
all had come, so I was told during the first intermission,
to hear "the tenor from the United States." Well-I
naturally ·let go. I have been very lucky in my career and
I have had, over the years, all kinds of recognition. But
the applause that reached me on stage after my aria was
something that brought tears of gratitude to my eyes.
Maestro Khaikin tried to continue the performance-but
Recital in Philharmonia Hall, Leningrad: "perfect acotlStics." it was no use. Finally, in a Continued on page 144



E VERYBODY has at least one major plaint about high-

fidelity systems. To many, the most infuriating
four reproducer operating ranges and four network out-
puts. When we speak here of two, three, and four-way
thought is that the equipment is always obsolescent: systems we mean those in which separate parts of the
no sooner does a man finish paying for the last improve- frequency range are reproduced by as many individual
ment - goes the wry observation - than something better voice coils, or sets of voice coils. We do not refer to
becomes available, to make canned Philadelphia Orches- multi-cone or "two-way" speakers with mechanical cross-
tra seem yet more garden-fresh. overs in this context.
We could marshal several quite reasonable answers to A better place to accomplish this frequency division
this protest. One that comes to mind immediately, for is before the power amplifier, as shown in Figure 2. The
instance, is that people seem to object far less poignantly high-impedance dividing network following the control
to the far more flagrantly planned and systematized unit breaks up the signal into frequency bands, with the
obsolescence of Detroit products, which are, after all, dividing frequency at or near the normal woofer cross-
even more expensive. But we won't, because this has been over point. Frequency components below that point are
discussed before. Besides, we secretly feel fellowship with directed into the bass power amplifier, which drives the
the frustrated fi-man in his plight. Indeed, we mention woofer only. The rest of the range is handled by the
him primarily to demonstrate that we are aware of him, upper-range power amplifier. (In a three-way system as
sympathize with him, and for that reason hesitate to pictured, a conventional dividing network is used to
urge readers editorially to spend even a little on more separate the remaining frequency components into ranges
sound reproducing equipment unless we're pretty certain appropriate for the middle-range and high-frequency
that it will bring a significant and lasting improvement. reproducers. )
This we are about to do. Conversion of system No. I to system No. 2 requires,
Specifically, we believe that owners of 'two, three, and obviously, a high-impedance dividing network and a
four-way speaker systems are well advised to consider the second power amplifier. Amplifiers, we know as well as
advantages of using a separate power amplifier for the you do, are not bought by economizing on lunch money
bass driver. The conventional method of using a multi- for a few weeks. What, then, are the advantages of
speaker system is illustrated in Figure I: a preamplifier- system No. 2 (a biamplifier system, until someone thinks
control unit is connected to a single power amplifier of a better name) that make it worth the extra expense?
which, of course, amplifies the entire frequency range of There are many; some of the most important are dis-
the control unit's output. A dividing network (or cross- cussed in the following paragraphs. Which is most im-
over network; same thing) then separates the components portant in a given case will depend on the components
of the sound according to frequency, permitting them to in a particular system and on how they are used.
pass only to the appropriate reproducer in the loudspeaker Better woofer damping. A conventional crossover net-
system and blocking them from the other reproducers. work requires a combination of inductors and capacitors
We have used a three-way speaker system for illustration. to accomplish its filtering action. Almost invariably an
In a two-way system there are only two reproducers and inductor is connected in series with the woofer. If the
twO outputs from the network; in a four-way system, recommended woofer crossover frequency is ten times the



NOVEMBER 1956 59
basic resonance frequency - a . normal ratio - the im- by an obsolescent amplifier; rather than buy a 40-watt
pedance of this inductor is about 21;4 ohms at the woofer amplifier to replace a 20-watter, the owner need buy only
resonance frequency in a high-quality I6-ohm network. another 20-watt unit to use with the old one in a biam-
If the amplifier's damping factor is 20, the series inductor plifier setup. With a woofer crossover point somewhere
reduces the effective damping factor to a little more than between 250 and 1,000 cps, a range which covers just
5. The same ratios exist for other system-impedances. about all multi-speaker systems, the average signal power
Degradation of the damping factor may be worse in non- handled by the two amplifiers will be roughly equal. Thus
typical cases, but it is rarely less severe - unless the the probability of signal clipping will be about the same
woofer is connected directly across the amplifier Output in a biamplifier system with twO 20-watt units as in a
terminals and allowed to roll off naturally, as it is in a standard system with a 40-watt amplifier. A bonus ad-
few conventional systems. Most woofers do need electrical vantage, and a most important one, is that if severe clip-
rolloff, however. In a biamplifier system this is obtained ping does occur it will be less objectionable, since it will
with the high-impedance dividing network; thus the probably not affect both channels simultaneously. A heavy
advantages of direct woofer connection to the power am- low-frequency transient will not muddy up the treble.
plifier are retained. Needless to say, the two amplifiers should be as clean and
Smoother crossove-r curves. Because of imperfectly as stable up to their rated power limits as the single high-
damped electrical resonances in the inductance-capacitance power unit; and a pair of high-power amplifiers would be
components of a post-amplifier dividing network, there better yet for desirable power-handling ability.
is a small but significant peak in output just before the Variable crossover frequency . It is desirable to have
. rolloff begins for each driver. Moreover, because loud- precise control of crossover frequency in order to permit
speakers are not resistive but reactive terminations for its optimal adjustment for the particular driver units and
the network, rolloff curves are often not symmetrical. enclosures, personal preferences in tone quality, and even
These difficulties are easily avoided in a high-impedance for listening-room acoustics. When any of these factOrs is
dividing network: resistor-capacitor filters are used, so changed, the most satisfactOry crossover frequency is likely
that peaking can be eliminated; the filter terminations to change also. To vary the crossover frequency of a
are resistive, which makes for smooth, symmetrical rplloff conventional network all the elements must be changed
curves; and the filtef components can be matched without in value simultaneously, which is decidedly impractical.
difficulty to obtain perfect conjunction of the curves. It is possible to use variable resistOrs (potentiometers)
Lower distortion. With complete separation between or inexpensive switched capacitOrs for this purpose in a
amplified bass and treble impulses, there is far less oppor- high-impedance dividing network; and, in fact, all com-
tunity for the occurrence of electrical intermodulation mercially-available high-impedance networks do have con-
distortion. Indeed, for equivalent over-all power levels, trols for changing the crossover frequency.
the probability of formation of audible intermodulation Insensitivity to speaker impedance and efficiency. For
products is reduced by much more than one-half; the exact best operation of a post-amplifier dividing network, the
reduction depends on the crossover point, characteristics woofer should be matched to the other reproducers in
of the amplifiers, efficiency of the speakers, and many both impedance and efficiency, and they don't come this
other factors which cannot be discussed here. way. Elaborate networks can be devised to compensate for
Higher power-handling ability. Recently, the question differences in impedance, and level-control pads can be
of amplifier power requirements has been debated from used to adjust for efficiency mismatch. Both represent
every quarter. There is no simple absolute answer. Power compromises and complications, however, and desir-
requirements depend on so many circumstances that one able to avoid them. In a biamplifier system it is only
user may need twenty or thirty times the power that necessary to connect the woofer to the proper impedance
would be entirely adequate for another. Still, it is certain taps on its amplifier, and the upper-range reproducers
that the increasing dynamic range, and decreasing distor- (via their own standard dividing network, if any) to the
tion, of source materials are gradually raising amplifier appropriate impedance taps on their amplifier. Efficiency
power requirements. If 20 watts were enough three years differences can be adjusted easily by input level controls
ago, for instance, the same system now probably needs on the amplifiers, which do not degrade speaker damping
40 or 50 watts. This situation makes a biamplifier con- nor waste amplifier power as speaker level pads do.
version especially advantageous for a system now limited All these advantages are not merely theoretical. Several
years ago we published an article* on the same subject;
at that time, although biamplifier operation was just as
appealing theoretically, we had to confess that practically
the improvement was slight. Not so today. Working with
the idea again recently, we have obtained immediately
noticeable betterment of several speaker systems with
biamplifier conversions. Perhaps degradation of damping
factor is more apparent with modern ultrastable ampli-
fiers; perhaps the distortion of our former high-impedance

* Roy F. Allison, " The Biamplifier System"; HIGH FIDELITY, II (N ov.-

Dec . 1952), 84-87.


operation was cleaner sound at high power levels - in
itself, perhaps, not a negligible benefit.
There are now available four widely-advertised types of
dividing networks that operate between a preamp-control
unit and two or more power amplifiers. First on the
scene, a few years ago, was the Van-Amp (Variable
Audio Network Amplifier) made by General Apparatus
Company. This has a single continuously-variable control
with which the crossover frequency between the low- and
high-frequency output channels can be adjusted from 90
to 1,100 cps. Level controls are furnished for both Out-
filter, which was deplorable by today's standards, influenced put channels; the maximum voltage gain (relative to the
our findings. Whatever the reason, our previous mild input from the control unit) is 8 on each channel.
approval of the idea must be revised upward substantially. Crossover attenuation rate approaches 12 db per octave.
This is not to say that a biamplifier conversion will The Van-Amp is available as a kit, at $39.95, or com-
make a basically poor system excellent, or even that it pletely assembled and wired for $56.95. A schematic
will make a radical improvement in every case. Rather, diagram, parts list, and assembly instructions are furnished
we believe that anyone who has a good multi-speaker in the Van-Amp instruction book, which can be obtained
system now, or is ready to buy one, can make it better- alone for $ 1.00 (deductible from the kit price if you
perhaps a good deal better - with biamplifier operation. order it later on).
The results we obtained were interestingly varied, as Similar in design, controls, and operating range is the
the following specific examples show. The woofer of a PVC (Powered Variable Crossover) unit sold, in kit
conventional three-way Wharfedale system was installed form, at $39.90 by the Walter M. Jones Apparatus
in a large bass reflex cabinet with sand-filled panels; the Company. The assembly manual only costs $1.00; this
middle-range and tweeter speakers were mounted on a can be applied to subsequent purchase of the kit. Fully
fIat bailie above. Crossover frequencies were 1,000 and assembled and wired, the PVC is available at $59.90. This
5,000 cps. With biamplifier drive this system benefited company also sells (at the same prices) PVC units that
most remarkably from a lowered bass crossover frequency: operate from 900 to 11,000 cps, and custom variations at
it was easy to establish the optimal frequency as 300 cps. slightly higher prices.
Better damping was .obtained over the whole range, be- The Heath Electronic Crossover kit, model XO-I , has
cause the middle range was being reproduced by a smaller, an individual crossover frequency control for each output
crisper speaker and because the woofer was connected channel; switch-selected frequencies are 100, 200, 400,
directly to the amplifier output terminals. This didn't 700, 1,200, and 3,500 cps. It is possible to achieve an
sound like the same speaker system, but it certainly overlap in operating ranges by setting the low-frequency
sounded a lot better. channel cutoff at, say, 700 cps, and the high-frequency
Our second example is that of the Sherwood Forester. channel cutoff at 4~0 cps - or, conversely, to produce
We found that the proper bass crossover frequency in a hole in the over-all electrical response by setting the
biamplifier operation was the same as that provided by bass channel cutoff frequency lower than that of the upper
its single-amplifier dividing network. The improvement channel. Attenuation rate on each channel approaches 12
in bass definition, though, was obvious immediately to all db per octave. Another switch is provided to bypass the
listeners; it was no contest at all. We found this to be filters entirely, routing the entire range to a third Output
generally true of systems having front-loaded bass horn jack. Individual level controls are furnished for the two
drivers. filter channels. Negative feedback is employed in the
In a system which combines infinite-bailie Bozak or XO-l, however, and the maximum voltage gain on each
Acoustic Research woofers with a Janszen electrostatic channel is unity. Price of the kit is $18.95; that of the
tweeter, the woofers are ordinarily connected directly to instruction book only $ I .00.
the amplifier and permitted to roll off naturally; the The most elaborate and versatile of such devices, the
tweeter is also connected to the amplifier output terminals. model 3-CFD Electronic Frequency Divider, is sold by
There is no crossover network at all in such a system except Colbert Laboratory. This can be operated as either a
for a 500-cps high-pass filter built into the tweeter. Ac- two-channel or three-channel filter, with individual con-
cordingly, amplifier dampin·g is already fully effective tinuously-variable low-frequency and high-frequency cross-
on the woofer. When we tried a 500-cps biamplifier overs, and Output level controls for each channel. It has
setup with a Bozak-Janszen system, we found it less been designed for a constant Contimted on page 149
satisfactory than single-amplifier operation - the normal
tweeter-woofer overlap in operating range from 500 to ,INPUT J OUT PUT
8 M
!. I
1,000 cps is, apparently, essential for natural middle-range
reproduction. We adjusted our high-impedance filter to
cut off at 400 cps in the treble channel and 1,200 cps
E. @

in the bass channel, and that restored the middle range.

Still, the only improvement obtained from biamplifier .FROM BASS:===============TO BASS

BBC's Valentine Britten presides over ...

A Half-Million Records
by Harold C. Schonberg

PREAD over two floors in the British

S Broadcasting Corporation's Western
House, on Great Portland Street in Lon-
don, are about a half-million commercial
phonograph records, ranging from jazz
to Masses, worth goodness knows how
many £s and weighing goodness knows
how many lbs. This collection is claimed
by the BBC to be the largest in the world,
and nobody as yet has cared to come
forth with a counterclaim to challenge
the statement. The BBC Gramophone
Library of Commercial Records (to give
it its official name) startS (chronologi-
cally) with wax cylinders containing the
voices of such dignitaries as Robert
Browning and William Ewart GladstOne,
proceeds to the first Berliner flat disks,
covers the British music-hall singers, juts
through the electrical recordings of Miss Britten at W01·k: one record request was for mmic suggestive of silence.
the golden age of the Thirties, and now
in the days of LP it ravenously gobbles up microgroove re- She does not claim to be a philosopher, and she has no
cordings just as soon as they are issued. highfalutin ideas about any such things as sacred missions
Presiding calmly over all this is Miss Valentine Britten, or the importance of one disk over another. She is a
a tall, stately woman with upswept grey hair and a com- gatherer, and she is content to leave it to others to judge
plexion that copywriters automatically refer to as "British." the results of her gatherings. "I don't like people making
Miss Britten is demonstrably British, even unto her speech, judgments on what is art and what isn't," she says. "In a
which is studded with "By Jove's." She is a good talker hundred years let them decide. We merely gather."
and a good laugher, constantly in motion, aware of every- It is symbolic that in her office, under a glass case, sits
thing that happens in her little kingdom. If any biblio- a Berliner hand-driven gramophone and several I896 Ber-
graphic dust had the insolence to come near her - which liner flat disks. She will unpack the machine and enthu-
is hard to imagine - it would instantly be vaporized. siastically crank away so that visitors can hear (if that is
She has a keen sense the word) Berliner himself recite Mat"y H ad a Little Lamb
of histOry and of the or Tbe Lord's Prayer. One of her favorite Berliner items,
importance of docu- also cranked Out by her able right hand, is Listen to the
menting history. The Mocking Bird - Xylophone Solo.
major, daily, bread-and- All of these rarities are housed in the library's Archive
butter part of her job Collection, a varied assortment of about ten thousand disks.
involves supplying the Not all these are acoustic. Whenever it can be established
various BBC units with that original matrices have disappeared, or when special
records and informa- interest of one kind or another attaches to a record, that
tion about records. But record goes into Archives, often with an explanatory nOte
just as important, she attached . Browsing through the Archives card file, the
thinks, is the necessity reader will come across fascinating oddments, such as the
of housing under one note typed on the entry of a disk containing a movement
roof all that has ever of Vaughan Williams' Sixth Symphony : "In July I95 0 ,
been preserved on HMV informed us that the composer had rescored the
disks, so that it may be third movement (scherzo ) of this Symphony and that they
available for future had accordingly rerecorded this movement to replace the
MOl'e room will be needed soon. generations to study. original recording, which was immediately withdrawn. For


musical interest we thought one of the original records do keep them; it's ghastly!") and, on the average, eleven
should be retained for Archives, and this is it. Gramophone thousand disks are in circulation at any given time. They
Librarian." This particular recording is for Archives only; are played for the entertainment and edification of people
it may not be used for broadcast. living in the Scottish Region of the BBC, the Midlands,
In a way, the Archives constitute the romantic side Northern Ireland, the Western Region, or any of the
of the library. The day-by-day work is of course much various Regions that nestle under the BBC parental wings.
more prosaic than the collecting and preserving of historic There is some damage in handling and transport, but very
oddities. Miss Britten's department concerns itself with little breakage. The records most in demand are sympho-
commercial disks (the BBC has separate libraries of tape, nies, light dance material, and present-day pop artists.
acetates, and recorded programs) . Recorded music plays Were it not for microgroove, the record library would
a large part in British radio programing. Yet, while the be bulging out of Western House, and consequently micro-
record library has been in existence ever ~ince the BBC groove has no more voluble admirer than Miss Britten.
was organized about thirty-five years ago, it was not until As it is, she thinks that in ten years all available space will
1933 that it began to be intensively built up; and not be used up. Last year over five thousand disks were issued
until 1938 did the serious business of cataloguing begin. by the British commercial recording companies. The
Miss Britten became librarian in 1942. She now has a library ended up with, on the average, six disks of each.
staff of twenty-six people and says that she can put her Some thirty thousand disks a year absorb considerable
hand on any of the 500,000 records within sixty seconds. storage space. In the present setup, the main floor of the
Miss Britten, who operates on what she calls "a good- library contains the banks of files and collections of cata-
sized budget," decides what to buy, though when she comes logues, starting with HMV in 1901. It is a very rich but
across rare items that demand an outlay of over £ 50 she not complete catalogue collection. Individual copies of
has to get special permission. The record library gets old catalogues can be very expensive. Miss Britten paid
nothing for nothing. It pays wholesale rate for all current about $25 for the few pages of the 1901 copy. Outside
records it receives (unless, of course, collectors want to the file room, on the main floor, begin the rows of metal
donate to the good cause, as has occasionally happened ). record cabinets, all containing HMV s. Downstairs are
Three copies of every disk made in England automatically housed all other labels, and there also are two listening
go to the library, and in many cases Miss Britten, knowing rooms for the staff. The library, in addition, contains a
in advance the degree of popularity the record will achieve, small broadcasting studio and a magnificent file of analyti-
may order an extra three, four, or five. She also scans all cal notes. By now each member of the staff automatically
foreign catalogues and makes many purchases from the brings in program notes of any concert he has attended.
United States and other countries, trying to second-guess Into the file they go.
whether the disks in question will be released in England The "rough classification" file of the record library is
(foreign records cost considerably more). unparalleled. "You can call it ancillary reference, if you
Records, when they arrive, are placed in stamped master want to give it a grand name," says Miss Britten. Here, in
envelopes, called "bags" by the library. One copy goes loose-leaf binders, are lists of records by country of issue,
to the cataloguers, two to the rack. After the bag is biographical notes about composers, and all kinds of mis-
stamped with the make and number - say Folkways FF cellaneous information. Contintted on page 142
8, or HMV ALP I038 - it is entered in the accessories
register by make, prefix number, titl~, composer, artist.
Then starts the actual cataloguing. All records are
entered under three headings- composer, title, and artist.
Most elaborate of these three indexes is the title card,
which also lists all extant and/or extinct recordings of the
same work in the library's collection. This card also contains
make, prefix number, and distribution of movements on
the disk. In addition, all kinds of cross-reference cards are
made, each referring to the main entry. Titles of operatic
arias are listed in many languages. "Un bel di vedremo":
see Madama Btttterfly; "One fine day": see Madama Butter-
flJI; "Sur la mer Calmee": see Madama Btttterfly; "Pines
Tages sehen wir": see Madama Butterfly. Miss Britten has
learned to distrust, on principle, all record-label informa-
tion, and she is especially chary of spellings. Musical
scores are always used in conjunction with the cataloguing
Finally, lists are drawn up and circulated to BBC affiliates
every two "weeks. Over a hundred people are on the
circulation list and are entitled to borrow any disk in the
library's possession. Borrowers are supposed to return
records after a month ("But don't ask me how long they

Harold Rome's Rig Wasn't Built in a Day
No ONE SHOULD BE SURPRISED to find that the living room of the Fifth
Avenue apartment of Mr. and Mrs. Harold Rome, in New York, is
fashioned primarily for listening. It is, of course, a room that music built.
Though Mr. Rome studied law and architecture at Yale, his whole liveli-
hood has been musical. He played the piano in dance bands to pay for his
studies; when he finished these and came to New York - into the thick
of the Depression - he played the piano and wrote music for lack of a
paying job in his profession. Out of this came his first surprise success:
he was asked to write the songs for a benefit revue to be put on by the
International Ladies' Garment Workers' Union. This was Pins and
Needles, which opened in a downtown theater, began at once to pack in
audiences, moved uptown and, finally, ran a full four years on Broadway
and the road. Subsequent musicals which have benefited from Rome
scores include Sing Out the News (remember "Franklin D . Roosevelt
Jones?"), Call Me Mister, Bless Yo u All, Wish YO?t Were Here, and
Fanny. One of Harold Rome's favorite composers, understandably, is
Harold Rome, but the favorite is W. A. Mozart. Bart6k, Ravel, and
Stravinsky also rate high. Rome's interest in good sound reproduction
dates from 1939, when a friend wired for him a broadcast quality ampli-
fier and two-way speaker system. His present setup is the joint production
of an architect, Henry Kann, and George Schimmel, a custom sound
engineer. It consists of Interelectronics Coronation preamplifier and
amplifier; Fisher 70-RT tuner; Garrard RC-80 changer; Rek-O-Kut Ron-
dine BI2-H turntable; speaker units of a Bozak B3 IO system, infinitely
baffled; Telefunken microphone, and Berlant tape recorder. The room
is acoustically treated. Rome has made here three records, for the Heri-
tage label, of Rome performing Rome : A Touch of Rome; Harold Rome
Sings Fanny, and Rome-antics. Happily, Mrs. Rome shares her husband's
enthusiasm for music and good sound. So does three-year-old son Joshua.


Then he announced that he would play a selection by
Buddy Clark. Fitting the disk on an adapter unit, he care-
fully fed the needle into the first groove and ushered in a
new era of the phonograph.
Sometime around nine at night I put my column to bed
and checked out of the World Telegram offices. Under one
arm I had a cardboard carton containing an LP-adapter
unit, in the Other hand a package of the new records
which had been given to me for review. All of the way
home I kept wondering about this new development; some-
thing disturbing was in my mind.
Once in the house I tossed off my coat and hat, plugged
the adapter into the Fisher, and then pulled four or five
sets off my record shelves. For the next twO hours I
listened carefully, to the new LP versions of several recent
recordings and then to the shellac editions of the same
performances. They sounded pretty much the same - if
anything the shellac had the edge. But that could have
been a combination of the high quality pickup on the
regular turntable and the fact that many of the 78-rpm
disks were test pressings, which had been issued to me for
purposes of annotation.
When I had finished I sat there for almost an hour, alone
and quietly, just looking at the patient record library.
There, row upon row, the albums waited : ready now, or
years from now, to be brought to life and sound, to pour
back the breath into stilled voices, to convey again the
charged atmosphere of great performances, to release the
infinite variety of musical forms and moods which genera-
tions of minds had created. Some eighteen thousand
strong the shellac disks waited, ignorant of the gathering
clouds of obsolescence. I wondered what was going to be-
come of them in the still nebulous record future.
During the next decade the microgroove whirlw ind
swept on. It banished the three deadly "B's" of the record

I .rt
business : bulk, bother, and breakage. Tape techniques took
over at the recording sessions, the term "hi-fi" entered the
vernacular, and there appeared a new species of music
listener, who, by the most fervent concentration at forty
wattS, could just detect the ticking of Ormandy's watch.
The IBI2 came forth with the final awful realization of
the composer's full intentions - actual cannon shOts and

Love letter to an old speed the supercharged clangor of real cathedral bells. The Fisher
went back to the factory and was rebuilt with still more
dials, knobs, and tubes to keep it in pace with the tre-
by JOHN BALL, JR. mendous new techniques. And the eighteen thousand
shellacs? Some of them, of course, have melted away. A

T HE ROOM, though large, was crowded and therefore

hot. All of the newsmen, trying to make themselves
few perished in action; some just wore out. Five thousand
or so still remain on the shelves and there - for as far
comfortable on inadequate folding chairs, knew what was ahead as it is now possible to foresee - they are going to
coming; Billboa·rd already had carried the complete story stay in honorable employ.
and most of the New York papers had at least sketched the · There are several reasons why they are going to stay, the
outlines. Behind the speaker's platform there was a stack prime one being that there are no adequate replacements
of record albums at least eight feet high, a criminal arrange- available. I do nor wish to quibble to the point of absurdity
ment that meant sure damage to the items near the bottom about the relative merits of performances, but rather to
of the solid load. make a simple statement of face. To cite an example, there
After necessary preliminaries, a gentleman from Colum- is, to my knowledge, no LP version of the very pleasant
bia Records, Inc., stood up with a bland smile on his face Concerto in G for Piano and Orchestra on Chinese Themes
and a thin disk of vinylite in his hands. Formally he and Rhythms, by Aaron Avshalomoff. My shellac set
delivered a short speech about 33Y3 rpm and microgroove. (Columbia M 286) offers the Shanghai Municipal Orches-


tra conducted by the composer with Gregory Singer as symphony orchestra, of M ai1'Sey Doates and Doasey Doat es.
the soloist. I grant that this is reaching pretty far afield Of both documentary importance and musical value are
from the standard repertOire, but the record offers a most the sets and individual records in the composer edition
listenable and engaging work which I happen to enjoy. section. Here you will find the Falla harpsichord concerto
So the shellac set stays. with Manuel de Falla as soloist, Ralph Vaughan Williams
In the field of vocal music not only do the 78s hold conducting his own symphonies, Maurice Ravel setting the
their own, bur also some ancient mechanical recordings tempo for the Bolero (most other conductors please note),
still merit careful attention. With all respect to the Misses Dohnanyi's delightful Variations on a N ttrsery Tune with
Pons and Munsel and to the kinetic Mme. Callas, I oc- the composer doing a superb job at the piano, and Sir
casionally still like to hear my mad scenes given the kind Edward Elgar presenting his own conception of his violin
of performance possible to Mme. Galli-Curci when that concerto with the W zt1Zde1·k ind of the day, Yehudi Menu-
great lady was in the prime of a magnificent voice. hin, doing a remarkably fine job in the solo part.
Properly reproduced, with equipment designed for the Does such a program begin to sound interesting? All
purpose, some of these venerable disks can be made sur- right, then, here next is Holst conducting The Planets,
prisingly presentable insofar as concerns the vocal part. Debussy at the piano accompanying Mary Garden in some
The sound on many 78s is far better than many present of his own songs, Mascagni supervising 'a performance
listeners realize. Nor is date of recording always a reliable of Cavalle1'ia with Gigli in the cast, and a real treasure,
guide to the merits of what lies in the grooves. There is Sir Henry J. Wood conducting A Serenade to Music. If
a little stunt I like to pull on those occasions when some- you don't happen to know this one, Vaughan Williams
one comes over to hear my sound system. The victim wrote it in Sir Henry's honor; it is a small scale masterpiece
having been made comfortable, the living room suddenly and employs in this recording one of the most distin-
becomes filled with the electrically charged climax of the guished choruses ever to be assembled in a sound studio
"Transformation Scene" from Parsifal. The orchestra rises - sixteen of Britain's tOp singers paying their personal
to a peak of intensity, the brasses cut through in a sunburst respects to the conductor.
of triumph, and then the air is almost shattered by the Having given you a glimpse of the composer section,
crashing impact of tympani thundering Out the majesty and I offer you next a listing of performances on shellac which
power of the knights of the Grail. As the music echoes I will replace if and when I can get their equal or better
away, there is always a startled expression and usually some on LP. Here is my Mahler Second Symphony on shellac,
hushed comments about the tremendous fidelity, near per- in my judgment so superior to the one available LP version
fect but for a barely noticeable tape hiss. A slight hiss (at the time of writing) that I wouldn't dream of parting
there is, but it's not tape: the recording was made at with it. A replacement of the same performance on micro-
Bayreuth circa 1927 by Dr. Karl Muck (Col. 67364-D groove would be most welcome, or a new version complete
in set MM 337). with all the trimmings lavished on the old one. Perhaps
Of more recent date are some 78 recordings whose sonic Mercury will oblige with the same orchestra (Minne-
quality is considerably superior to that of a great many apolis) and follow up the tom' d e fo rce of its I8I2 by
LPs currently tagged "high fidelity" by their manufacturers. giving us real bells in the smashing finale. Since Bruno
The shellac version of Vladimir Horowitz's reading of Walter recently performed this massive Mahler work in
Pictttres at an Ex hibition matches sound to technique to New York, Columbia may have it on tape. But one on
make a highly-charged combination. Still talked about is 78 is worth twO in the vault.
Curzon's Nights in th e Gardens of Spain despite the I admit that there is an enormous selection of Beetho-
appearance of some superlative LP versions. A good per- ven Fifths from which to chose, but in this work per-
centage of London's. "ffrr" series of imported shellac disks, formance is a vital factOr. My choice, to date, is Furt-
particularly those devoted to piano or voice, still offer wangler on Victor 426, and the sound is pretty respectable
a most respectable sound if proper care is given to their too. This same conductor has to his credit a Tchaikovsky
reproduction. Perhaps the best sound on any American Sixth that hasn't been beaten yet, at least not by anything
78 set was that on Ralph Kirkpatrick's Concert Hall re- that I have so far heard. Mengelberg is still the champ
cording of Scarlatti Harpsichord sonatas - at least I have on Les Prelttdes (available on LP), and Gershwin him-
never heard one to surpass it. These albums were and re- self provides the most dynamic RhapsodJ' in BI1'('e. By
main of excellent quality - as do a great many others. the way, this ancient recording sounds a lot better than
Some of the 78s which I retain in the library are pre- do the few bars dubbed from it on that Hem'ing is Be-
served for documentary reasons alone. The prize item is lieving disk - I suspect that the engineers fudged a little
a seven inch acid-etched disk from the hand of Emile on that one to make it appear considerably worse than in
Berliner - one of the first disk records ever produced. actual fact it really is.
Then there are the voices of Sarah Bernhardt, Mahatma By careful intention I have had little to say about vocal
Gandhi, Joseph Jefferson, DeWolf Hopper, and certain records, for that is a special field of its own. Sufficient
other records whose histOrical interest entitles them to to say that while I do not hold that no worthy singer has

permanent respect. Here in this section toO is a more appeared since the Golden Age; I have a long memory for
recent item, a precious disk on which the great Heifetz some magnificently thrilling evenings in the theater; and
raises his shimmering bow and creates for a limited, but my few hundred carefully hoarded old vocal records en-
grateful, posterity his own unique interpretation, with shrine for my lifetime Continued on page I46


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WHATEVER ELSE may be said for recording session, during the edited taping of Joan for the Irish radio
it, the year 1956 has been well ap- playback a few days later, and in the system that had not entirely pleased
pointed with anniversaries. As every- theater itself - I have come to know her. The Dublin tape had captured a
one is by now fully aware, Mozart was it well, and to admire it with increas- wholly theatrical performance, every
born two hundred years ago and ing respect. Radiant is indeed the line projected just as it was on stage.
Schumann died one hundred years ago, word for Siobhan McKenna; she is When she heard it on the radio, Miss
in token of which hundreds of new radiantly forceful with Baudricourt McKenna found it all too overstated,
records have been issued. A third and Dunois in the early, beat-the-Eng- and she began to wonder whether
significant 1956 anniversary, the cen- lish stages of the play; radiantly de- Joan lent itself to a heard-and-not-seen
tenary of Bernard Shaw's birth, has vout when she meets the Archbishop presentation. H er associates in the
so far gone unnoticed by the impre- of Rheims and asks him for his bless- present Cambridge .Festival produc-
sarios of LP; but this month RCA ing; radiantly tender toward the tion were able to allay these mis-
Victor will rectify that neglect with a "gentle little D auphin." Her voice- givings, and for the RCA disks the
complete (well, almost complete) re- as Eric Bentley pointed out in these cast attempted to strike a happy
cording of Saint Joan . in which Siob- pages a few months ago when review- medium between a theatrical perform-
han McKenna, a young Irish actress ing hmo and the Paycock - is by ance and a straight reading of the
already well known on records, plays no means well produced, but despite text. So that discourse would s,eem
the role of The Maid. its hoarseness and occasional stridency free and natural, most of the actors
The production committed to disks she manages to project the hard core performed for the microphone from
is basically that of the Cambridge Fes- of the part with wonderful conviction. memory. As a result this recorded
tival, which opened in New England When she informs the Dauphin that Joan departs from the printed Joan
this summer and arrived at New "I come from God to tell thee to kneel in many small details. Shaw, who had
York's Phoenix Theater in mid-Sep- in the cathedral and solemnly give thy a keen appreciation of English gram-
tember. . Readers who keep au courant kingdom to Him for ever and ever, mar, might well have raised one of
with theatrical doings in the East will and become the greatest king in the his bushy eyebrows at the sound of
know that this production has pro- world as His steward and His bailiff, "I could let . . . the knights and the
voked a wide division of critical His soldier and His servant," the capi- soldiers pass me and leave me behind
opinion. The differences center on tal H 's can be heard unmistakably. like they leave the other women"; the
Miss McKenna's Joan, a character And no one will easily forget the adverbial "like" is Miss McKenna's,
thickly Irish in speech and rudely chilling scorn, the li'v id indignation G. B. S. wrote "as." Neither might he
peasantlike in bearing and deport- with which she addresses her accusers have been pleased with the euphony
ment. In some quarters this approach in the trial scene: "You think that of "even the blessed Michael will say
has made a rather unhappy impres- life is nothing but not being stone things that I cannot foretell before-
sion. Brooks Atkinson found it ap- hand," especially as he had been care-
posite in the early scenes, but spiritu- ful to obviate that redundancy by writ-
ally out of place when tHe play moves ing merely "tell."
into a new dimension in the trial The actress followed the playback
scene and the epilogue. For Wol- text in hand, and at every such slip
cott Gibbs, "her portrayal is conceiv- she winced. "Shaw was always right,
ably arresting, but it is toO much on and we are always wrong when we
the same choked and primitive level." inadvertently change his words," she
On the other hand, Time's critic felt said. "His rhythm suffers at the slight-
that "by subordinating effect to es- est alteration. You know, I think this
sence, what Joan does to what Joan play should be conducted like a piece
is, she makes an audience feel itself of music. It should not be phrased like
in close contact with someone, how- prose. Indeed, it is not prose; it is
ever rare, who is in close communica- poetry, or at least poetic prose, and
tion with something, however intan- it has the most beautiful imagery and
gible." And the Saturday Review's counterpoint." . Despite the few de-
Henry Hewes termed it a "miracle" Siobban McKenna: a radiant loa'rJ. partures from text, Miss McKenna had
that "without make-up and before our no hesitation in approving the record-
eyes we see a plain homely rustic dead." The reverberations of that line ing. "Our memory slips do not change
change into a radiantly beautiful celes- still sound in my ears. the meaning and do not seriously
tial being." Siobhan McKenna was at first dis- break the rhythm. We could have
Having experienced Miss Mc- inclined to record the play for home made it word-perfect by using our
Kenna's Joan three times - at the listening. Previously she had made a Continued on page 73



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scripts, but then the performance grad Philharmonic's tour of Germany cidentally, is not the first German
might have suffered." And did she and Austria, Deutsche Grammophon emigre to lead the Leningrad Phil-
think well of the recorded perform- recorded the orchestra in proper style; harmonic; for several years during the
ance?, I asked. Miss McKenna grace- and having listened to one of the mid-1930s the orchestra's music direc-
fully avoided the opportunity for self- DGG pressings, I am ready to join tor was Fritz Stiedry, formerly of Ber-
admiration. "I don't ever enjoy listen- the chorus of praise-givers. It is a lin and now one of the chief con-
ing to myself," she said, "but I feel large orchestra (106 men) and sounds ductors at the Metropolitan Opera.
that I should." it. The string sections, despite their
size, play with great precision and
produce a solid, mellow tone, not IN THE USSR the still mediocre
LEONARD BERNSTEIN is promi- unlike that of the Philadelphia. The quality of their tapes is apparently
nently represented on Columbia's list woodwinds hwe a nasal quality, which honestly recognized. Michael Stillman,
of November releases, as composer, I happen to like, and there are obvi- of Leeds Music Corporation, was in
conductor, pianist, and analyst. In the Moscow a few months ago to renew
latter role he has done a commentary his company's agreement with the
on the Fifth Symphony that deals fas- Soviet recording bureau, and he had
cinatingly with Beethoven's composi- hardly time to take off his coat before
tional modus operandi. Bernstein has the director began apologizing for the
examined the preliminary sketches for lackluster sound of Russian tapes. In
the Fifth Symphony and reconstructed the same breath, however, his Soviet
them as they might have sounded had host gave assurances of better things
Beethoven gone ahead and used them to come; future recordings, he prom-
in his final orchestral version instead ised, would be made with newly
of discarding them for something bet- manufactured Russian equipment and
ter. Hearing these sketches in full or- tape much superior to what had been
chestral dress is as intriguing as read- used before. Rather mysteriously, Still-
ing the deleted sections of a manu- man was given no opportunity to hear
script by a celebrated author. what this new equipment could do,
Even though this approach to though the apparatus itself was ex-
"music appreciation" will not supplant hibited with evident pride. Since his
formal analysis d la Tovey, it serves return to New York, Michael Stillman
as worthwhile collateral listening. Un- has been expecting a shipment of tape
fortunately, Bernstein barely digs into recordings that would substantiate the
his subject before the record is over. promised Soviet "new sound." As yet,
We are allowed a glimpse into Bee- Soviet conductor Eugene Mravinsky. nothing; but at Leeds they are waiting
thoven's workshop, and then the door hopefully.
slams shut. At any rate, Bernstein has ously some very able instrumentalists In Moscow most recording sessions
demonstrated the potentialities of this among the first-desk men. are held in a newish building called,
avenue of musical exegesis and has Toward the end of November, in literal translation, the House of
shown what could conceivably be ac- Decca will. issue four of the DGG- Writing Down Sound; hardly any tapes
complished on a larger scale. Similar Leningrad records: the Rachmaninoff are recorded on location in opera
ventures applied to other works and Second and Tchaikovsky Fourth sym- houses or concert halls. The chief
composers would be, I should think, phonies conducted by Kurt Sanderling, studio in this building, Stillman re-
of solid value to colleges and conser- and the Tchaikovsky Fifth and Sixth ports, is an ornate room replete with
vatories, but the cost would un- conducted by Eugene Mravinsky. The marble columns and other handsome
doubtedly have to be underwritten by latter at fifty-three is generally con- architectural accouterments, large as
an educational foundation. sidered the Soviet Union's most ac- studios go but nothing like a spacious
complished conductor. He is a gradu- auditorium. This may help to account
ate of the Leningrad Conservatory and for the tight, constricted sound that
THE LENINGRAD Philharmonic served his apprenticeship as a second- afflicts most made-in-Moscow record-
journeyed to Vienna this spring and ary opera and ballet conductor in that ings.
evoked some extremely flattering re- city. Since 1938 he has been at the As a footnote to the above, it is
ports in the press- including a few head of the Leningrad Philharmonic. interesting to note that Walter Legge,
by American critics not normally Kurt Sanderling, the second in com- EMI's director of artists and reper-
given to the bestowal of hyperbolic mand, was born forty-four years ago toire, will be going to Russia this fall
praise. On this side of the ocean the in what was then East Prussia and on an exploratory mission. ''I'm just
rapturous decriptions seemed a little is now Poland. He studied in Berlin curious to hear and judge for myself
hard to credit, for the recordings of and had just started out as an assistant the quality of musical performance
the Leningrad orchestra that had ap- at the Stadtische Oper when the Nazis there," he told me when he was in
peared here were not especially note- took over and forced him to emigrate. New York early in October. Would
worthy. On the Soviet-derived disks He eventually settled in the USSR, he be arranging for EMI's own re-
the orchestra sounded pallid and thin where he was employed at first as a cording team to do some work in the
- a competent body of players, but studio pianist for the Moscow radio ·Bolshoi Opera House? Legge wouldn't
nothing to write home about. These station. Later on, in 1941, he was say yes and he wouldn't say no, but
Russian recordings, it is now clear, called to Leningrad and resumed his I suspect that this eventuality may
bore false witness. During the Lenin- career as conductor. Sanderling, in- come to pass before too long.

Violin. Piano. String Quartet
Taneiev: Suite de Concert (lst recording)
Nicolai MaIko, conductor.
Recorded in London with Philharmonia Orchestra.
One 12" record Angel 35355
Releas~d last month: Oistrakh Encores (35354).


Tchaikovsky: Violin Concerto and
For "Thanksgiving" Saint-Saens: Introduction and Rondo Capriccioso
Alceo GalIiera, conductor.
VERDI: "FALSTAFF" Recorded in London with Philharmonia Orchestra.
From tavern table at the Garter Inn to Herne's Oak in the One 12" record Angel 35388
moonlight at Windsor Park, this is pure enchantment . . the Other Rabin recordings: Paganini D Major Concerto al)d
opera and the recording of it. Glazounov A Minor Concerto (35259); Bach and Ysaye
Falstaff, Tito Gobbi • Alice Ford, Elisabeth Schwarzkopf· Sonatas for Violin Solo (35305).
Ford, Rolando Panerai • Meg Page, Nan Merriman •
Quickly, Fedora Barbieri. Nannetta, Anna Moffo • Fenton, EUGENE MALIN IN plays
Luigi Alva· Conductor: Herbert von Karajan • Recorded in Rachmaninoff Piano Concerto No. 2 in C Minor
London with the Philharmonia Orchestra and Chorus •.. like
Mistress Quickly, we bow low and say "Reverenza"••. Otto Ackermann, conductor.
Three 12" records Angel Album 3552 ell (35391-2-3) Recorded in London with Philharmonia Orchestra. (Also
(illustrated libretto with essay by Francis Toye) contains Chopin Nocturne No.8 in D Flat.)
One 12" record Angel 35396
ELISABETH SCHWARZKOPF in "SONGS YOU LOVE" Malinin has also recorded Moussorgsky's "Pictures at an
The gift you will want to give yourself ... songs includ· Exhibition" (35317).
ing "Drink to me only with thine eyes", "Plaisir d'Amour",
Mendelssohn's "On the Wings of Song", Dvorak's "Songs my QUARTETTO ITALIANO plays
Mother taught me", Tchaikovsky's "None but the lonely Beethoven "Harp" Quartet No. 10 in E Flat, Op. 74
heart~' Grieg's "Ich liebe Dich", Strauss' "Wiegenlied" • .•
also Sibelius, Wolf and a Swiss Folk Song, "0 du liebs Angeli'!. One 12" record Angel 35367
Gerald Moore, pianist One 12" record Angel 35383 The Quartetto Italiano has also recorded the Beethoven
(Factory·Sealed Package includes complete song texts.) Quartet No. 13 in B Flat, Op. 130 (35064).

Orchestras: Starting Your Christmas List?

France. England. Israel ST. PAUL'S CATHEDRAL CHOIR
SCHUBERT: "UNFINISHED" SYMPHONY England's famous choir - "the singing boys of Paul's" as Ben
Jonson named them - in Christmas music, madrigals, an·
MENDELSSOHN: "IT AllAN" SYMPHONY thems, etc. Including "Gabriel's Message", "The Infant King",
Igor Markevitch, conductor. Orchestre National de la Radio "Shepherd's Cradle Song", "Merrily on High", "A Spotless
Diffusion Fran~aise. Rose", "Hodie Christus natus est".
One 12" record Angel 35381
Two favorite symphonies delightfully performed.
One 12" record Angel 35309 BACH on the CATHEDRAL ORGAN
Plzzml: LA PISANELLA .(Suite) The famous organist Edouard Commette plays the Toccata
AIceo GaIliera, conductor. Philharmonia Orchestra. and Fugue in D minor, Fantasias in G minor and C minor,
The Toy Shop ballet is stuffed with musical bonbons- Chorale Prelude "Wachet auf", Chorale Prelude "In Dir ist
waltz, can· can, Tarantella, Cossack Dance . . . A treat for Freude", Preludes in E minor, C minor, A minor.
music·lovers as well as balletomanes ... also 1st recording of One 12" record Angel 35368
Suite Pinetti wrote for D'Annunzio's drama "The Woman of
Pisa, or The Perfumed Death". WITH LOVE FROM PARIS •••
One 12" record Angel 35324 Songs by Piaf, Trenet, Becaud, Cordy and
SCHUMANN: SYMPHONY NO. 2 and Les Compagnons de la Chanson
OVERTURE, SCHERZO & FINALE 12 songs by artists famous in Paris nightclub and music hall,
Paul KIetzki, conductor. Israel Philnarmonic. including "Under Paris Skies". "L'Accordeoniste", "The Poor
People of Paris", "Moulin Rouge", "Au pres de rna Blonde",
2nd of 3 albums dedicated to the Schumann Centenary. "Moi J'aime les Hommes" ...
One 12" record Angel 35313 One 12" record Angel Blue label 65028

A Long Wa" to Tipperar"

Oscar Straus and Robert Stob
Travelled from Moscow to London. For two months at the *
Songs from Vienna, to waltz and love and dream by .••
including "Two Hearts in Time", "My Hero", from "The
Chocolate Soldier", "White Horse Inn", "A Waltz Dream"...
70oo·seat Empress Hall it thrilled Britons with the "tingling,
thundering crescendo of male voices" as "balalaikas strummed One 12" record Angel Blue label 65030
and brasses roared" (Newsweek, July 9) ... Angel recorded it ...
13 stirring nlUDbers-sensational chorus, great solo voices,
rousing orchestra - including "The Volga Boat Song", "Sol·
dier's Chorus", "A Birch Tree in a Field Did Stand",
"Ukrainian Poem" and ( yes, in English!) "No John No"
and "It's a Long Way to Tipperary".
One 12" record Anael 35411

a subsidiary of Electric & Musical Industries Ltd., Hayes, Middlesex, England






Classical Music ..... .... .... . ... ...... ... ..... .............. .... .... .. 75 Dialing Your Disks .. ........ ........ .... ................ .. ...... 100
Building Your Record Library .. ..... ..... .. .... ... ...... .. 83 Spoken Word ... ... .. ..... .... ... .... ....... .. ................ .. .... . 100
Recitals and Miscellany .. .. ... .... .. ... .. ......... ...... .. .. ..... 94 Best of Jazz ..................... .. ..... ...... .......... 102
The Music Between ............................ ..... .... ........... 98 Russian Opera on Microgroove ...... ........... .. ... .. .. 105

alto; Ernst Hafiiger, tenor; Franz Kelch than the others. The German text and an
(Jesus ) , Hans-Olaf Hudemann (Petrus, English translation are provided . ·N. B.
CLASSICAL Pilatus ) , basses; Thomanerchor and
Gewandhausorchester (Leipzig ), Giinther
Ramin , co ndo BEETHOVEN: Gl'Osse Fuge, i1Z B·flat,
ARCHIVE 3045/7. Th ree 12-in. $ 17.94. Op. 133
tMozart: Adagio and Fugue in C
BACH : Bra·n denburg Concertos (Com- The late Giinther Ramin was, like Bach, minor, K. 456; Fantasy and Fugue in
plete) cantor at St. Thomas' in Leipzig. In ad- F minor, K. 608 (arr. string orch.,
Stuttgart Cham ber Orchestra, Karl Miin- dition the fact that the Passion is per- Winograd)
chinger, condo formed complete and in St. T homas' and
LONDON LL 1457/8. Two 12-in. $7 .96. that the exact instrumentation prescribed String Orchestra Arthur Winograd condo
by Bach - includi ng oboi da caccia, viola M-G-M 'E 3382. 12·in. $ 3.98.
These performances were formerly avail- d'amore, viola da gamba, and lute - is
able on three sep arate disks - two twelve- employed, would seem to create the most The conviction declared here before, that
inch and a ten-inch. Their virtues and authentic possi ble atmosphere for a re- the vast Fugue needs more than four
defects have been dealt with in detai l in cord ing of this work. Like Kurt Thomas players to convey the grandeur in its rough
these pages (May 1956). Suffice it to say in the Oiseau-Lyre set, Ramin emphasizes turmoil, is supported by the most effective
now that this is one of the best complete the lyri c qualities of the music; a little of the record ings for string orchestra. In
B·,:andenbttrgs, being surpassed, in m y more pass ion and incisiveness in the pas- several of the Winograd records , including
opinion , on ly by the P rohaska and equa led sages allotted to the crowd would have this one, M-G·M has demonstrated a sound
only by the Sacher. In the course of the broughr out better the bitterness of those of startling and bluff - almost savage ~
transfer to two disks, the highs seem to sections. On the other hand , Ramin is realism. There is no doubt that friction
have become slightly sharpened. N. B. somewhat more im aginative than Thomas: produces this music, and anyone after
his treatment, for example, of the chorus heari ng the Fug ue and the Fantasy (orig-
BACH: Passacaglia and Fugue i1z C in which the soldiers decide to cast lots inally for clockwork organ ) on this recb rd
minm', Blf/ V 582; Toccata, Adagio, for Jesus' raiment (No. 54) is extraor- must recog nize how much more com-
and Fug11e in C, BWV 564 dinarily sensitive and effective. pelling they are th an in more di stant
The soloists are an excellent, though and glossier sonics. The enormous difficul-
Carl Weinrich, organ. this listener would have preferred a some- ties of the Fugue have been met with an
WESTMINSTER W-LAB 7047. 12-in. $7.50. what weightier tone for the soprano and address equal to its roug hness and its sud-
Like the organ works on the other Wein- alto. Even so, H6ffge~'s singing of Es ist den refinements , and the supple bowing
rich disk .in the Westminster Laboratory vollbracht is especially moving, and she is not lost in the reproduction, equally re-
series, these are well performed and is aided by Alwin Bauer's exquisite play- sponsive to large fortes and hushed pianos.
beautifully recorded. The registrations in ing of the gam ba obbligato. Hafl iger, the The Fantasy, always heard in transcrip-
the Passacaglia are sufficiently varied yet Evangelist, sings his taxing role with flex- tion, bristles with too m any shafts of color
not overdone, the voices are clear and ibiliry and intelligence, and does not lapse to be entrusted to strings alone, but the
correctly balanced , and dramatic peaks and into falsetto for the high tones. The first- conductor has played it with persuasion if
valleys are sharply drawn. If the C major class recording maintains clari ty even in not conViction. It is interesting even
the most contrapuntal tutti sections. The ' though it does not sound right to those
Fugue could do with a little more snap,
tone of the ch orus is pure and clean; it who have heard it on organ or transcribed
the difficult p edal part in the Toccata is
is well balanced except in the opening for full orchestra. The sonic advantages
played faultlessly. N . B.
chorus and the R ttht wohl, where the ten- make the shorter Adagio and Fugue pre-
ors are a bit weak. All in all, as fine a ferable in this edition to the old Columbia
BACH: St. John Passion performance of the St. John as is available conducted by Herbert von Karajan.
Agnes Giebel, soprano; Marga H6ffgen, on records, and in some respects better C. G. B.

NOVEMBER 1956 75

BEETHOVEN: Sonatas for Piano: No. the most varied of tonal unction. Par- The G mlUor 1S not scored to make
14, in C-sharp minor (UMoonlight"), ticularly admirable is the way the brilliance an orchestral effect like Beethoven's Fifth,
Op. 27, No.2,' No. 23, in F minor of the Beethoven is held in classic meas- but Mr. Ormandy, resisting the tempta-
(UAppassionata"), Op. 57 ure, while the darker shades of the tion now so fashionable to reduce his
Brahms are glinted with a welcome pal- strings by three-fourths their strength, has
Harold Bauer, piano. liating light. The pianist, whose part is given substance to the bitter music, while
RCA CAMDEN CAL 311. 12-in. $1.98. not secondary, jibes to perfection, and it protecting its intensity by decision of ac-
is too bad that he was assigned , by judg- cent and careful pointing of phrase, de-
Has the additional title of The Art of
ment of the recording supervisor or by livered at a measured and telling pace.
Hamid Bat,er, Vol. I, and it is not a
an encroachment of celebrity, a promin- Unfortunately, echo again intrudes
bad idea to make available for today's
ence a little - not offensively - inade- roughly into the rich orchestral fabric.
music lovers a piano style beloved by
quate. Close and living sound for the Collectors to whom this defect is minor
yesterday's. Not that the two sonatas pre-
violin, not a whit shrill. C. G. B. are advised to hear the record before
sented on this disk are ideally character-
buying, in spite of their tolerance, for their
istic of the warmth of Bauer's playing:
BEETHOVEN: Symphony NO.5, in C reproducers may not be able to do justice
some of that warmth is dissipated in
minor, Op. 67 to the wide sweep of frequencies. On two
hurry, presumably dictated by an injunc-
tMozart: Symphony No . 40, in G apparatus used here the sound of the treble
tion to compress the music to a specified
minOt·, K. 550 was uncomfortably shrill, while on a third,
number of 78-rpm sides. Nevertheless,
and the best, instrument, it was smoothly
enough of the warmth and the clean-cut Philadelphia Orchestra, Eugene Ormandy,
decision in favor of this mood or that bright just where it had been worst. The
condo record is too eloquent to be rejected in
remain to show that the more det~ched COLUMBIA ML 5098. 12-in. $3.98.
style of today is not necessarily always advance because its eloquence is precarious.
Two stunning finales, and a G minor of C. G. B.
better. The sound was originally engraved
more than twenty-five years ago, and the high appeal from beginning to end. The
Fifth, in sumptuous texture, is hurt by BRAHMS: Concerto for Violin and Or-
Appassionata will clatter with strong vol-
ume, but the Moonlight has long stretches several startling blots of seepage and by chestt'a, in D, Op. 77
of entirely acceptable piano. Two of the a few passages in the first and second Zino Francescatti, violin; Philadelphia Or-
best short pieces by Franz Liszt are more movements where the stroke is too com- chestra, Eugene Ormandy, condo
brilliantly played than the record, boosting fortable or the tone is overripe - oc- COLUMBIA ML 5Il4. 12-in. $3.98.
treble a little awkwardly, is now able to cupational ailments of ' the great virtuoso
reveal. orchestras. But the big, enveloping sound, When a work has been recorded as often
Collectors to whom surface hiss is unified by reverberation but retaining bril- as this one we expect to find, and usually
particularly odious ought to know that it liance even during its loudest roars, has do find, half a dozen versions of lofty
is an unlucky but inevitable concomitant a high glory perhaps capable of obliterat- merit, and the hard rhing to determine
of LPs made from 78s as old as these. ing the memory of its faults. The texture is not which one is the absolute best-
C. G. B. is at its best when at full strength, and since that often is quite indeterminable-
thus the Finale, with its added wind in- but what the qualities are that make one
BEETHOVEN: Sonatas for Piano: No. struments and progressive vehemence, has different from another when both are
15, in D (UPastoral"), Op. 28,' No. a richness and grandeur not paralleled on good. The beautiful perfo rmance here is
17, in D minor (UThe Tempest"), another record. not easy to characterize, for the only stable
Op. 31, No.2 quality seems to be the relaxed orchestral
Paul Badura-Skoda, piano. presentation, favorable to a grave richness
WESTMINSTER 18210. 12-in. $3.98.
These are studies in immaculacy - of pi-
ADVERTISING INDEX of deeply glowing tone. The soloist be-
gins with a nervous pulse and strong,
bright voice, which would permit some
Acta Corporation 106
ano sound and piano technique. The full Amertest Products Corp. 118 words on the excitement of contrasts if
resonance of the bass and unblurred clarity Angel Records ... ........ .. . 74 the violinist did not disoblige by imitating
of the treble are just about as good as we Audiophile Records, Inc. lI5 the orchestral relaxation, a special kind
have obtained from disks, and seldom have Bradley Mfg. Co. lI8 like the long surge of a slow ocean swell.
they been united on one record as they Capitol Records ...... .... . 81, 85, ro8 Then he departs again in a lighter way,
are here. In technique, Mr. Badura-Skoda Chambers Radio Corp. lI8 making use of the orchestra as a dark
Colosseum Records, Inc. lI6
has developed a graduated scale of force background before returning to merge
Columbia Records ... 82
from the most delicate pianissimo to Concert Hall Society .. .. ..... .. ....... 94 with it. Contrast of course, but coalescence
hearty fortissimo in imperceptible incre- Cook Laboratories, Inc. 102 too, both effective.
ments; and he has added to a good Dauntless International ...... 99, 101 Sonically this is a spacious, unitary ex-
cantabile a spotless staccato - insisted on Decca Records, Inc. .. .... .. .......... 91 hibition of the Philadelphia Orchestra,
too much in an otherwise excellent Elektra Records .. .. ....... ... ......... lI8 with a solo violin just a trifle too for-
Tempest, and much too much in a Pastoral Epic Records .. .. .... ....................... 89 ward to be in parallel with concert-hall
rich in finesse and penurious with the Esoteric Records .... ...... lI8 proportion. This is not oppressive at any
spirit of fresh contentment that ought Ficker Recording Service I I 3
time, and is discernible only when the
House of England 114
to sparkle from it. C. G. B. accompaniment is thin. It may actually
Leslie Creations ... ........... ... II2, II8
London Records .. .. .... .. ... .. 79 be the result of a softness of the winds
BEETHOVEN: Sonata for Violin and
Louisville Philharmonic Society lI2 blended and not prominent in a sweepin~
Piano, NO.3, in E-f/at, Op. 12, NO.3 Mercury Record Corp. 104 luxury of strings with a bass like dark
tBrahms: Sonata for Violin and Piano, Music Box .... .. .. ........... II7 fleece. For a full complement of this
NO.3, in D minor, Op. ro8 Norpine Corp. ...... .. ............... II7 richness the record should be played loud.
David Oistrakh, violin; Vladimir Yampol- Nuclear Products CO. II5 The solo violin will show edge on some
sky, piano. Phonotapes, Inc . .. .. ... ....... . 110, III
reproducers but none on reproducers in
RCA Custom Division .... ....... .. .. . 97
ANGEL 35331. 12-in. $4.98. RCA Victor Division ...... ............ 87 good adjustment. C. G. B.
The most ingratiating Russian of our day Record Broadcaster Corp. .......... II4
Record Market .. .. .. ... ....... ,..... ... II8 BRAHMS: Sonata for Violin and Piano,
here recalls Joseph Szigeti at his best. Record Review Index .. 9S
The judicious care given to the shape of
NO.3, in D minor, Op. ro8 - See
Robins Industries Corp. ... IIS Beethoven: Sonata for Violin and Pi-
every phrase and the subordination of Smith, H. Royer Co. .. .... . IIS
detail to a dominating plan, in unshowy
ano, NO.3.
Stereophonic Music Society ...... 96
works so diverse in mood, underline a Summit Sound Systems Co. .. .... II6
basic musicianship often and naturally Vanguard Recording Corp. .. .... 95 BRAHMS: Symphony No. I, in C
overlooked in the violinist's records of Vox Productions, Inc. 109 minor, Op. 68
more spectacular music. This is chaste Waleo (Electrovox Co., Inc.).. II3
Westminster Recording Co... 93 Pittsburgh Symphony Orchestra, William
playing, of quiet intensity and of course Steinberg, condo



CAPITOL P 8340. 12-in. $3 .98. best when played loud .) It is hard to is a brightly composed bit of an opera -
say more. An exposition like Bruno WaI- and an anomalous one.
No conductor can make a new revelation, ter's for Columbia, electrifying in the D one complete, Let's A'1ake an Opera!-
at this date, of music like Beethoven's eloquence of special traits, probably ought called "an entertainm ent for young people"
Fifth, Schubert's Unfinished, or Brahms's to be, and no doubt is, preferred by - is in three acts. In Act I, a group of
First Symphony, unless he misp lays them. music lovers; but it cannot successfully English children and grownups decide to
Misplaying perpetrated by a refined taste be imitated by anyone except Bruno Wal- turn an old family story into a h oli day
can produce exalted results, one time in ter. Of the more ob jective editions the entertainment. Since one of them (called,
a hundred trials, and the ri skiness of the Steinberg must be considered with the pleasantly, Norman Chaffinch) is a com-
process curbs the instinct in all but the best. C. G. B. poser, they determine to make it an opera.
most fl am boyan t conductors. The talented Act II is preparation, including audience
conductor of th e Pi rrsburgb Orchestra is BRITTEN: T 1Je Little Sweep ensnarement and rehearsal of their songs.
not a flamboyant man , and for several Act III is The Little Sweep itself - about
Jennifer Vyvyan (s), Rowan; April Can-
years he has been record ing for Capitol a how children at a nineteenth-century coun-
telo (s), Juliet Brook; Marilyn Baker (s),
parade of the most stalwart protagonists try place in Suffolk rescue a poor little boy
Sophie Brook; Gabrielle Soskin (s), Tina
in the symphonic repertory. Almost wi th- from his brutal chimney-sweep master, with
Crome; David Hemmings ( treble ), Sam;
out exception these records are imposing the aid of their sympathetic nurserymaid,
Lyn Vaughan ( treble) , Hugh Crome;
in a strong, honorable way, but they have Rowan; hide him from the snappish house-
Michael Ingram ( treble) , Gay Brook;
no memorable irregularities to project, no keeper, Miss Baggott; and smuggle him
Robin Fairhurst ( treble) , Joh nny Crome;
eccentricities to excite discussion. The best to safety. All this is accomplished in
Nancy Thomas (c), Miss Baggott; Peter
of them may be called complete state- some variably arch verse set to music
Pears ( t ), Clem, Alfred; Trevor Anthony
ments, and give deep satisfaction. (scored for string quartet, piano four
(bs), Black Bob, Tom. Choir of Alleyn's
So it is with the Brahms First. Power- School and English Opera Group Orches- hands , and percussion) that is skillful and ,
ful, regular, and calculated, but without tra, Benjamin Britten, condo in the best numbers, rather charmingly
calulated deviations toward personal spe- piquant.
LONDON XLL 1439. 12-in. $4.98 .
cialties of effectiveness, the performance is Of the London set, one thing is sure:
lofty but standard, the reproduction deep- If not one of Benjamin Britten's biggest No one, certainly not in a live theater
glowing and substantial but clear. (It is or profoundest scores, The Little Sweep performance, is likely to have heard the

Beethoven's Ninth: eeEnlisted in a Service of Purification."

T H IS RECORDING has acquired an ex- When the chorus enters with the clari-
traordinary fame in Europe. Only one fying word , one reviewer finds the spell
other performance - the Scherchen - of broken. The eccentricities of tempo no
the Ninth Symphony is even remotely longer bring magic with them. Instead
like this one, whose amazing intensity they seem indubitably eccentricities. The
of personal expression must unquestion- tenor's alia marcia, at its best solid deter-
ably have been influenced by its environ- mination becoming an ecstasy of resolve,
ment and the memories attending that is a flipper excitement here, and it is
environment. impossible not to feel a striving for
Richard Wagner conducted the Ninth novelty in the times and stresses repeatedly
in ceremonial dedication of the corner- enforced upon the chorus, even if we
stone of the Bayreuth Theater in I ~7 2. grant that noveltY was not sought, but
The great composer had at last found a instead a supremacy of jubilation that the
capital for his realm, in a new Germany Festspielhaus, and Germany, and mankind,
triumphant in unprecedented military glory have been cleansed. The truth probably
and infinite in her impatient expectations KES S L E R , BERLIN is that the evangelism of Beethoven at-
of a future that would dare deny her Wilhelm Fm·twangle1· tained its own supremacy in this Finale,
nothing. and is not to be improved by tampering.
Furtwangler conducted the Ninth as fierce conflict of the first movement into The records were made during public
these records have it, in ceremonial re- a confession and an appeal, the storminess performance but are little vexed by back-
dedication of the Wag ner theater when organ ized into a rebuke of bitterness and ground noise, while the sonic production
the Festivals were resumed in 1951. The an exhortation to forgive. Inflection is for the mos t part is commendable, here
intoxication of German hope, at this per- softened, the proportions of the essential and there admirable. The distinction of
form ance, was another dead ,thing rotting notes in the essential phrases are altered, the strings is constantly apparent and the
under the ruins ingeniously contrived by the tempos are crawled ( to be sudd enly wind timbres are well realized although
the most preposterous of demagogues. speeded in affi rmati ons) , and terminal not with the pungency of several other
Furtwangler in his way had opposed the notes are held in long suspension. editions. The timpani, used both broadly
demagogue; and while he revived Wagner's The Scherzo in complete duration and subtly by the conductor, are notably
house, the knowledge must have been matches th at in many other versio ns , but clean no matter their force. It is not
strong within him that Wagner's line was the impression here is of speed , because acoustic values that will determine the
tainted with a fawni ng on the scurvy it starts fast, and in its many trans- reception of this album.
contriver of Germany's devastation. He fo~mations repeatedly alters pace. Al- Musically not easy to defend, emotion-
used the Ninth Symphony to cleanse the though forceful and animated, the scowl ally hard to resist, the Furtwangler pro-
premises. He enlisted the cosmic evan- is removed from this movement wi th the jection is both revelation and obscuration.
gelist - but a German - Beethoven, in breathless urgency, in favor of more N o one should buy it until he knows
a service of purification. equ able pleasure, an effect obtained by which it is for him, but it lays an obliga-
If the Ninth Symphony as Furtwangler mellowing the distribution of orchestral tion upon everyone to hear it.
has molded it is considered apart from vOIces. C. G. BURKE
his attribution of it to ' devout penitential The slow movement is a long, long,
recommencement, it wi ll exci te an angered long benediction. It is almost incredible BEETHOVEN: Symphony NO.9, in D
impatience fifty times justified. A special that music can be dragged so and retain m inor, Op. 125
emotional receptivity must be ready for so serene a beauty. It is hard to give
it, founded on a knowledge of events too much praise to the wonderful violins Elisabeth Schwarzkopf, soprano; Elisabeth
remote from music. That is a lot for that have kept the line even, even when Hongen, contralto; Hans Hopf, tenor; Otto
a conductor to ask. Once in a while stretched to the limit before breaking. Edelmann, bass; Orchestra and Chorus of
it may be asked with propriety. Furtwangler perverts the pace" have no the Bayreuth Festival, 1951; Wilhelm Furt-
With what skill and patience can be doubt of it; and makes of the perversion wangler, condo
imagined, Furtwangler has transformed the a spellbinding bliss. RCA VICTOR LM 6043. Two I2-in: $7.9 6 .

NOVEMBER 1956 77

whole score so well done - if for no other uel Recassens , cello (in rhe Lef ons) .
reason than that the Alleyn's School chil- Alarie; Leopold Simoneau, tenor; Georges
dren manage the songs (in which, in the Abdoun, bass; Ensemble Vocal de Paris;
theater, the audience acruall y parrici pates Orchestre de Chamber Gerard Carrigny,
and which are not easy, especially the 5/4- Ernest Bour, cond o (in the motet).
meter introduction and the birdcalls of rhe LONDON DTL 93077. 12-in. $4.98.
third one) with an experrness that could
not be hoped for from ticket buyers. The In the first two Lessons the solo parr is
cast is quite elite, with Peter Pears and sung by Miss Alarie, whose voice is sweet
Trevor Anthony, as the sweep masters, and round and silvery; in addition she has
in relatively small parrs; they sing and rhat rare thing among modern singers, a
read very well, but come a bit shorr of real trill. The tempos are brisk, the line
the mark when called on to "laugh hor- never sags, and justice is done to the
ribly. " As Juliet, the oldest of the Chil- combination of strength, 'sensitivity, and
dren, April Cantelo is winningly sweet, pathos that characterizes these fine works.
and Jennifer Vyvyan is a nice-seeming In the third Lesson, Miss Alarie is joined
Rowan. As Miss Baggott, Nancy Thomas BLACKSTONE by Miss Retchitzka, whose voice is not
sings well enough but does not project so Howm·d Hanson remedies a neglect. quite as pure, flexible, or secure. Here the
well as a personality. In the title role of tempos are a little too snappy; it seems to
Sammy, David Hemmings, who sang Miles bane, vivacious, and rhoroughly delectable me that the poig nancy of this expressive
in The Turn of the Screw, is in good work. work is better brought out in the Haydn
form. The other children do well most of The four Symphonic Sketches are brief Society recording. The motet is a more
the time, in parrs that are really harder; tone poems which add up to a symphony cheerful and open composition, happily
my pet of the lot is Michael Ingram; rhe of considerable size and unfailing interest. affirmati ve in character. The soloists here
rest sing well, but he sounds parricularly The first movement, ''Jubilee,'' is the best are somewhat stronger than those in the
like a small boy who is really terribly known of the four. David Hall hits it Oiseau-Lyre version of this work, but the
concerned that things turn out well. Brit- off perfectly when, in his jacket notes, he chorus there is firmer and clearer. Clean
ten conducts at breathless tempos, whisk- calls this "a spirited blend of the Brahms- and spacious recording. N. B.
ing the cast along much as the Red Queen Dvorak manner wi th Americanistic over-
whisked Alice. They cope, but Lord help tones." One does not have to look far DEBUSSY: Le Martyre de Saint-Sebas-
any less accomplished cast whose con- for the influence that shaped the English tie1z
ductor copies this pacing. The spoken horn solo over sofd y divided strings in the Claudine Collarr, soprano; Janine Collard ,
lines have been changed, sometimes rad- second movement, entitled "Noel," but this mezzo-soprano; Christiane Gayraud, mezzo-
ically, to make unseen action clear. The observation simply places the work and is soprano; Choruses of Radiodiffusion Fran-
engineering is good. Off-the-beaten track not in any sense an adverse criticism of it. ~aise; Orchestra of the Theatre des Champs-
and amusing to hear, at least from time The third movement is a brilliant scherzo Elysees ( Paris ); Andre Falcon, narrator;
to time. ]. H ., JR. called "Hobgoblin." Perhaps the most re- D. E. Inghelbrecht, condo
markable sketch of all is the last, "A Vag- LONDON DTL 93041/42. Two 12-in.
BRUCKNER: Quintet for St1'ings, in P; rom Ballad ," wherein Chadwick kicks over
Intermezzo for String Quintet, Op. the traces of professo rial respectability,
posth. caricarures Bach on the xy lophone, and Phyllis Currin, soprano; Florence Kopleff,
has himself a wonderful time. The per- contralto; Catherine Akos, contralto; New
Vienna Konzerrhaus Quarret; Ferdinand formance is superb, and so is the recording. England Conservatory Chorus; Boston Sym-
Stangler, second viola. A. F. phony Orchestra; Charles Munch, conduc-
VANGUARD VRS 480. 12-in. $4.98 . tor and narrator.
RCA VICTOR LM 2030. 12-in. $3.98.
These two compositions are Anton Bruck- COPLAND: Music for the Theater;
ner's only chamber works. The Intermezzo Music for Radio; Mmic for Movies There are three ways to present Le j\IIartyre.
was originally intended as rhe second The music can be heard in conjunctiGm
M-G-M Chamber and Symphony Orches-
movement of the larger work; the Scherzo tras, Izler Solomon ( in i\lImic for the with D 'Annunzio's play, which is how
was substiruted later. In this recording, Theater) and Arrhur Winograd, conds. Debussy originally conceived it in 19II;
the Intermezzo has ben placed immediately or it can be heard as a kind of oratorio,
M-G-M E 3367. I2 -in. ? 3.98.
after the Scherzo, so the Quintet may be with sections of the text voiced by a
heard with either as its second movement. Mt~sic for the Th eater is one of Copland's narrator, which is how Andre Caplet re-
Historically the Quintet falls between earliest works , but it remains one of his vised it in 1922, after Debussy's death;
the Fifth and Sixth Symphonies; musically, best, and it is the outstanding piece in or it can be heard without any spoken
it sounds rather as if it, too, should have this collection. It has been recorded several words at all, as incidental music pure and
been a symphony. Neverrheless, it has times before, but never with such affection- simple. The play-and-music version has
some pleasantly intimate moments, espe- ate concern for one of its principal qual- been recorded by Pathe-Marconi but the
cially in the Adagio. In too many places, ities - the manner in which Copland makes disks have been issued so far only in
however, it is heavy-footed. The Vienna piquant chamber music out of the sound France. The Caplet-oratorio version is
Konzerrhaus Quarret's performance and of a pit orchestra. Something of the same heard on the London (Ducretet-Thomson)
the Vanguard recording have more bright- chamber music quality suffuses Music for LPs above. The incidental music sans
ness than the competing version by rhe Movies, but this miscellany ( derived from parler has been conducted for records by
Koeckerr Quarret for Decca. This is a several different fi lm scores) lacks the Victor Allessandro (Allegro) and Ernest
work to be approached with caution by all unity of conception that distinguishes Ansermet ( London). The new RCA
save Brucknerites. P . A. Mtuic for the Theater. j\tImic /o·r Radio, record under Munch is an abbreviation of
which here makes its debut on disks, is the Caplet approach; it has some spoken
CHADWICK: Symphonic Sketches a pleasant piece for full orchestra some- text, but in considerably more moderate
what reminiscent of the Wild West music quantity.
Eastman-Rochester Symphony Orchestra, Copland wrote for his celebrated ballets D 'Annunzio's redolent French prose,
Howard Hanson, condo Billy the Kid and Rodeo. The recorded with its self-consciously mystical aspua-
MERCURY MG 50104. 12-in. $3 .98. sound of the symphony orchestra IS tions, is not at all my cup of tea, but I
The elder statesmen of modern American markedly inferior to that of rhe chamber must concede that it bolsters and gives
music are perhaps the most sinfully neg- ensemble. A. F. continuity to Debussy's score. Heard alone,
lected composers in history. Hanson has the music seems too episod ic and dis-
done a great deal to remedy that siruation, COUPERIN: Trois Lefons de Teneb"esj jointed. The words, whatever their literary
however, and he could scarcely have chosen Motet de Sainte Suzanne value, help bind it together. It would
anything better calculated to exhi bi t one of Pierrette Alarie, Basia Retchitzka, sopranos; have been nice if Messrs. London and
them in a favorable light than this ur- Antoine Geoffroy-Dechaume, organ; Man- Continued on page 80


L~".r F:S".r
Anton Dermota, Lisa della Casa, Erich Kunz, Christa POLICE PIPE BAND LL-1484 $3.98
Ludwig, Paul Schoeffler, Emmy Loose, The Vienna State
Opera Chorus (Dir.: Richard Rossmayer) and The VOCAL
Vienna Philharmonic Orchestra. Conductor: Karl Bohm. SECHS MONOLOGE AUS "JEDERMANN"
Free Libretto, [talian-English. XLLA-32 $14.94 (Frank Martin)
BORIS GODOUNOV -Complete Recording Heinz Rehfuss (baritone) and Frank Martin (piano)
(Mussorgsky) LL-1405 $3.98
Miro Changolovich as Boris. Chorus of the National ON WENLOCK EDGE-Cycle from a Shropshire Lad
Opera House, Belgrade and the Orchestra of the Na- (Vaughan. Williams)
tional Opera House, Belgrade. Conductor: Kreshimir FAMOUS LOVE SONGS
Baranovich. Free libretto, Russian-English. George Maran (tenor) and Ivor Newton (piano) with
XLLA-31 $14.94 The London String Quartet. LL-1406 $3.98
OEDIPUS REX-Complete Recording (Strawinsky)
Paul Pasquier, Ernest Hafiiger, Helene Bouvier, Andre MELODIES POPULARIES GRECQUES
Vessieres, Hughes Cuenod, James Loomis. Societe Cho- CHANSONS MADECASSES (Ravel)
rale du Brassus (Dir.: Andre Charlet) and 1'0rchestre RECIT AL OF ARIE ANTICHE
Irma Kolassi (mezzo-soprano) and Jacqueline Bonneau
de la Suisse Romande. Conductor : Ernest Ansermet.
Free libretto, Latin-French-English . XLL-1273 $4.98
(piano) LL-1425 $3.98
THE LITTLE SWEEP-Complete Recording (Britten) POPULAR
Jennifer Vyvyan, Peter Pears, and others . The English MANTO VANI PLAYS MUSIC FROM THE FILMS
Opera Group Orchestra and the Choir of Alleyn's Warsaw Concerto; Serenata d'Amore; The Dream of
School. Conductor: Benjamin Britten. Free /ibre/lo. Olwen; Legend of the Glass Mountain; Story of Three
XLL-1439 $4.98 Loves; Cornish Rhapsody. Mantovani and his Orchestra
with Rawicz and Landauer. LL-1513 $3.98
PETITE SYMPHONIE IN B MINOR FOR WIND The Italian Theme; Tango Mambo; Gabrielle; The Ele-
INSTRUMENTS (Gounod) phant's Tango; Mexican Madness; Eleanora; Strings on
EINE KLEINE TRAUERMUSIK (Schubert) Parade ; The Waltz of Love; Ava; For Always; Theme
MINUET AND FINALE IN F MAJOR (Schubert) from The Man Between; Carnavalito. Cyril Stapleton
and his Orchestra. LL-1487 $3.98
L'ensemble d'Instruments a vent Pierre Poulteau , Con-
ductor: Pierre Poulteau. LL-1407 $3.98 TED HEATH SWINGS IN HI·FI
Kings Cross Climax; Boomerang; When a Bodgie Meets
THREE PIECES FOR HARPSICHORD A Widgie; Dance of the Dingoes; Malaguena; Ballyhoo;
(Scarlatti-arr. Pierne); SCHERZO (Schumann); AN· Barber Shop Jump; Lullaby of Birdland; Walking Shoes;
DANTE (Tchaikoysky); SEV.ILLA (Albeniz); QUA. Dig Deep ; Peg 0' My Heart; Bell Bell Boogie; Siboney;
TOUR (Glazounov); PRELUDE AND CHORAL Cloudburst. Ted Heath and his Music LL-1475 $3.98
VARIE (Borsari); Quatour de Saxophones Marcel
QUARTET IN A MAJOR (Boccherini) (Opus 39, No. Tenderly; On the Sunny Side of the Street; S'Wonderful;
8); LA TIRANNA (Boccherini) (Opus 44, No.5); Yes! We Have No Bananas; Softly in a Morning Sun-
TRIO IN G MINOR (Boccherini) (Opus 9, No.5); rise; Ma (He's Making Eyes at Me); Alice Blue Go.wn;
TRIO IN G MAJOR (Boccherini) (Opus 39, No.2) Without A Word of Warning; Together; You'll Never
Quartetto Carmirelli. 11-1454 $3.98 Know; What is this Thing Called Love; I'm Just Wild
NATIONAL AIRS OF SCOTLAND About Harry. Edmundo Ros and his Orchestra.
The New Symphony Orchestra of London. Conductor: SONGS OF HARRY LAUDER
Trevor Harvey. LL-1459 $3.98 It's Nice to get Up in the Morning; Roamin' in the
NATIONAL AIRS OF ENGLAND Gloamin'; When I was Twenty-one; Just a Wee peoch
NATIONAL AIRS OF WALES and Doris' It's Nice When You Love A Wee LaSSie ; We
The New Symphony Orchestra of London. Conductor: Parted on'the Shore ; Waggle 0' the Kilt; Breakfast in
Trevor Harvey. . LL-1460 $3 .98 Bed on Sunday Morning; I Love A Lassie; She is Ma
Daisy; Stop Your Tickling Jock ; Keep Right on the End
CAMPOLI PLAYS VIOLIN ENCORES of the Road. George Elrick with the Stargazers and Or-
Campoli (violin) and Eric Gritton (piano) chestra under Cliff Adams. LL-1468 $3.98
LL-1461 $3.98
Peter Katin (piano) with The London Symphony Or-
chestra. Conductor: Anthony Collins. LL-1453 $3.98 RECORDS

NOVEMBER 1956 79

RCA had provided a text-cttm-translation ninery-two minds instead of only one the listener to play it as loud as his
with their records. They have not, and mind. There is also the matter of balance; equipment will permit. J. M. C.
their niggardliness can either be defended here brasses and tympani often override
as a compliment to the linguistic abiliry other sections of the orchestra. The idea FRANCK: Grande piece symphoniqtte,
of the record-buying public or excoriated behind the record is a noble one: the Op. 17; Final, Op. 2I; P"iere, Op. 20
as an example of misdirected parsimony. promotion of the orchestra and its ideals.
Jean Lang lais, organ (St. Clotilde, Paris).
I lean to the latter interpretation. As a musical souvenir of a valiant body
LONDON DTL 93071. 12-in. $4.98.
There is little to choose between of men trying desperately to survive (and,
Inghelbrecht's and Munch's interpretations. thus far, succeeding quite well), it is The principal attraction of this record is
Both conduct this music with obvious heartily recommended. the instrument on which the music was
sympathy. The Boston instrumentalists, Ormandy presents the symphony in a performed - the same organ that Franck
however, play with more finesse , the RCA warm, admirably thought-out interpreta- himself used. This lends an atmosphere
engineers have provided sound of greater tion, ravishingly performed. Attention of authenticiry to the altogether commend-
glint and glow, and Munch delivers the must be called, however, to an unusual able performances by Langlais of three
spoken text with quiet eloquence and with flaw in the processing of the recording. of Franck's Six Pieces pottr Org1te, Opp.
a surprisingly adept sense of timing- Under the opening English horn solo of I6-2I, his first important organ works.
making a far better job of it than the second movement can be heard the If there is any heaviness in portions of
Andre Falcon, of the Comedie-Franc;aise, faint echo of the closing measures of the the end movements of the Grande Piece
whose overstated histrionics become more first movement. There must have been Symphoniq1te, a verirable three-movement
than 'a little wearing. All told, Victor's some SOrt of a leak in the tape during the symphony for organ, or in the Final,
is the preferable version of this work, transfer to disks. The matter has been it may be attributed to the acoustics
whose appeal increases the more it is called to Columbia's attention, and un- of the church. Emphasis in the recording
heard. R. G. doubtedly will be rectified in future press- is on the lower and middle registers, but
ings, but look out for this spot. P. A. there are ample highs. Altogether, a
DVORAK: Symphony NO.5, in E reverent tribute to a. reverent composer.
(Dissent) - - Harold Schonberg has
minor ("F1'om the New World"), Op. P. A.
voiced the opinion that Dvorak was at his
95 very best when writing in folk meters, FRANCK: Psyche
RIAS Symphony Orchestra, Ferenc Fricsay, and I agree. This faci liry extended into
condo dealings with folk meters other than Sla-
tSaint-Saens : Car1zi'v al 0/ the Animals
DECCA DL 9845. 12-in. $3 .98. vonic (just as Beethoven was able effort- Orchestre Symphonique da la Radiodif-
lessly to adopt an Irish idiom), and one fusion Nationale Beige, Franz Andre, condo
Fricsay is usually such a dependable con- result is the New World Symphony. The (Jeanne Visele and Frank Vanbulck, pi-
ductor that this curiously uneven readi!lg melodic idiom here is very largely and anists, in the Saint-Saens).
of the popular New 1'V' orld comes as some- truly American (critics who dispute this, TELEFUNKEN LGX 66028. 12-in. $4.98.
thing of a surprise. I judge him to be as it has been lately fashionable to do, I
much attached to this score, as attested by suspect of not knowing enough American Franz Andre seems to be one of those
his treatment of the first two movements; folk music to recognize it when they meet conductors who believe in letting music
in both he seems reluctant to let the it; for instance, I have never known any speak for itself, presenting it unadorned,
music move along its natural course, of them to comment on the patent kinship clear, and forthright. This he does in
holding on to phrases, or slowing them of the mid-portion of the scherzo to sundry the two works recorded here. True, he
down, to an excessive degree. Oddly American sleighing songs) and truly folk. allows a certain degree of interpretative
enough, the reverse procedure is in opera- Of such music, the best performances may poetry in the Franck - the usual four-
tion in the scherzo and the finale, where be those incorporating ( I ) the most movement suite extracted from the com-
things are hurried along in very quick rhythmic spirit, and (2) the least arbi- plete work - but he is too straightfor-
tempo. The result is a disappointing, un- trary interpretati ve control. This IS what ward and too much in a hurry in the final
balanced performance. The now defunct we find in the Symphony of the Air ver- movement, Psyche and Eros. I still prefer
RIAS Orchestra of Berlin responds well sion of the New World, and what to my Van Beinum's reading of the suite for
to the conductor's every fancy; throughout, taste makes it the most desirable ver- London or, if you want the full work,
the playing is exceptionally good, par- sion available. There is a little metronomic Van Otterloo's for Epic. As for the
ticularly in the strings. Better than average pacing at the start of the first and last amusing Saint-Saens parody, one could
Decca sound, especially for a recording movements, but elsewhere the co-operative ask for nothing better - fine tonal solidiry
which was probably made at least two rhythmic spirit makes up for the lack of and plenry of humor. Good, clean re-
years ago. J. F. I. a conductor, and the absence of a conductor production too. P. A.
guarantees an absence of unwanted dis-
DVORAK: Symphony NO.5, in E tinguishing interpretative touches. The GESENWAY: Four Squares of Philadel-
minor ("From the New l'V'orld"), Op. phia-See Persichetti: Symphony No.
95 4·
Philadelphia Orchestra, Eugene Ormandy, GOTTSCHALK: Piano Music
COLUMBIA ML 5II5. 12-in. $ 3.98. The Bania and other Creole Ballads; C1tban
Dances; Negro Songs; Caprices.
Symphony of the Air, playing without
conductor. Eugene List, piano.
12-in. (Available only by $ 12.00 sub- VANGUARD VRS 485. 12-in. $4.98.
scription to The Symphony Foundation of
America, Inc., Room 1101, Carnegie Hall, Louis Moreau Gottschalk is a figure who
New York, N. Y.) looms large in every history of American
music. In modern terms, he was a cross
These two disks, I'm afraid, demonstrate between Horowitz and Liberace, as my
the value and necessiry of a conductor. As friend R. H. Hagan has pur it. He was
O"mandy: admirably thoughtful.
a promotion stunt the Symphony of the one of the most brilliant piano virtuosos
Air (formerly the NBC Symphony) recording was made at an actual con- of the nineteenth-century, and his appea l
recorded the New World without a con- cert performance, apparently, which may to the ladies was at least as great as
ductor. The general spirit of Arturo Tos- account for the microphoning, which is Liszt's. His music sounds today like a
canini's direction may still be heard, but closer-to than David Sarser, who engi- popularization of Chopin; actually it rep-
the necessi ry for precision of attack and neered it, usually attempts. The only ill resents the general salon sryle of which
the absence of a guiding hand have given' effect of this is that the violins sizzle Chopin is a refinement; but we have for-
this performance a certain stiffness, with a bit in some passages; otherwise this is gotten all about Chopin's background, and
few retards and practically no warmth or an exemplary and extremely exciting or- so when music of this kind is brought to
subtlery of phrasing. It is the product of chestral recording, of the kind that tempts Continued on page 84


Mr. Slatkin's cup of tea
Conducting is an art requiring a combination of talents Toscanini, Stokowski and Reiner. But he indicated a
seldom found in the same human being. Toscanini main- greater talent when he created the famed Hollywood
tained conductors were "born," not made. Rodzinski String Quartet and molded it into the world's foremost
called conducting "unteachable" by formal means. sb'ing ensemble. Now, conducting a IOO-piece sym-
Result: only 21 first-rank conductors in the world. phony orchesb'a, his genius is most clearly heard.
For a conductor needs the sensitivity of a poet and Enjoy the thrill of discovery inside the jacket of any
the iron discipline of a top sergeant. Above all, he of Mr. Slatkin's wide-ranging Capitol albums. Recorded
should be able to "hear" an entire work in his mind, and in "Full Dimensional Sound," they represent the highest
then communicate it to a hundred different musicians. fidelity known to the recorder's art.
Obviously, this isn't every man's cup of tea. It is They also introduce a major American conductor.
Mr. Felix Slatkin's, though. Recorded by Mr. Slatkin: With the Hollywood Bowl Symphony
A superb violinist, Slatkin has performed under the arch.: G ershwin's Rhapsody in Blue, Grieg's Peer Gynt, Grofe's Grand
Canyon Suite. With the Concert Arts arch.: St.-Saens' Carnival of the
baton of a dozen of the greatest maestros, including Animals, Hindemith's FourTemperam ents, Debussy's Children's Corner.

FREE! "From Bach to G ershtvin"-a handsom ely illustrated musical calendar depicting
all maior composers, their works, dates, and other data. Suitable fOT framing. Write:
Capitol Records, 1754 No. Vine Street, Hollywood 28, Calif. (Offer expires Jan. 1,1957.)

NOVEMBER 1956 81

QlCllC3ll" COllUUCCCU OJ GUllO , . . aua =nnrm ,n"5"' JJLZ V 7'-"--~==-""'

- '~~'~~~~ _-'J~'~_""--"-'---____ '_' ~ _ _ _ __ __ __ _ _ __ _


our attention we tend to think of it venir de Porto Rico , and Oios Criollos. HANDEL: Concel'tos for Organ and
wrong end to. He also gives us Gottschalk's most cele- Orcbest.'a: No.2, in B-flat, Op. 4,
Following the lead of Chopin, Gott- brated concert pieces in the European tra- No . 2; NO . 5, in F, Op. 4, NO.5 ; No.
schalk based piano pieces on the folk dition: The Dying Poet, Th e iVIaiden's 7, in B-flat, Op. 7, No. I; No. I I , i,l
themes of his native New Orleans, and Blttsh, and Th e Last H ope. For all their G min01', Op. 7, No. 5
he is said to be the first composer in datedness, obviousness, and sentimentality, Lawrence Moe, organ; orchestra, Klaus
history to make use of American folk these things are still full of music, and the Liepmann, condo
material in the larger forms. This is an vitality of a very remarkable spirit shines UNICORN 1°32. 12-in. $3.98.
important record because it is the first through them. This is by no means a
to present a collection of Gottschalk's pi- tongue-in-cheek excursion into Americana; Slipping into the catalogue as shyly as
ano pieces in their original versions; up old Gottschalk is worth all the skill and any disk bearing Handel can , this may
insight which List and Vanguard 's re- well prove to be a sleeper. Hall acoustics
to now one could hear this music on
have not often permitted a suavity of string
records only in Hershey Kay's orchestral cording engineers have lavished on him.
tone nearly so caressing as that here, and
transcription for the ballet Cakewalk. At I should like to add a comment to the
the bright little organ in the Saarinen-
least one of these pieces, The Banjo, is a excellent jacket notes by List and Sidney designed chapel at M. I. T. has been
little masterpiece; it is as fine as anything Finkelstein. It is that Gottschalk's pi- caught expertly with its tinseled colors
that has ever been done in tJ:at vein, and anistic figuration , like the treatment of in engaging contrast with the smooth hues
as one hears Eugene List play it with the rheme of Th e Bania in rapidly re- of the band. Mr. Moe communicates en-
such brilliance and fire as he displays here, peated notes in octaves high in the right joyment with his lively kind of scholar-
one begins to wonder if Debussy's Golli- hand , directly predicts the fi guration which ship, and the orchestra gives out a tonal
wogg's Ca,eewalk isn't indebted to it. is characteristic of the mechanical pianos glow very uncommon from so small a
List provides other folklore pieces of of the 1890S and early 1900S. There is group. Still, other players have been as
Gottschalk, including the famous Bam- a continuous great tradition here to which persuasive in this music - other recording
batt/a, La Savane (which uses the tune of American musicologists might very well supervisors have not. C. G . B.
Skip to My Lott) , Le Bananier, the Sou- pay some heed. A. F. Contintted on page 86

Solomon's Glory - and Solomon's Love and Landscapes, Too

COMPOSED when Handel was sixty- ami ned its episodes and noted that almost and show it particularly in the fine-drawn
three and in the fullness of his powers, any could be cut Out without damage to Beecham line and in the contrapuntal
Solomon even more than most long ora- dramatic continuity, he has worked happily clarity, while the soloists are able to
torios on a religious theme has been set at re-establishing the oratorio in a form bestow a becoming and 'comfortable nat-
to a sprawling text. But no more than palatable to modern tastes. uralness on hig hly contrived vocalizations
the opera Boris GOdUIZOV has it been He will be damned for his emenda- conceived for singers in Handel's time
silenced by the episodic nature of its tions by the diehards of "authenticity," trained to their style and to no other.
book, and criticism probably would be as Rimsky-Korsakov is damned for smooth- What we hear is not what Handel would
satisfied if less pretentious, more accurate, ing Boris for production; and perhaps an have heard, but something which seems
titles were substituted: Some Exciting integral Solomon, unchanged where it is not foreign to his music and which is
Events in Old , Muscovy (]udaea) ttnder possible not to change it, would more not damaged by' excessive strain.
Czar Boris (King Solomon). Admittedly truly satisfy higher tastes. We have no The responsi veness of these musicians
these are a little wanting in flame, but way of knowing. We have these records, to the contraries in a varied score is nicely
they are oh, so accurate. and they give a happy experience. illustrated by the tender emanation of the
Sir Thomas Beecham, presumably the A number of episodes have been sup- "Nightingale" chorus followed on the next
world's foremost exponent of this oratorio, pressed by Sir Thomas, and others di- (third) side by the martial brag of the
who years ago recorded parts of it for verted from their original succession. The air and chorus beginning "Now a diff'rent
Columbia, and who is a very astute fellow male parts are sung by men intact. The measure try." We are not likely to hear
knowing in theatrical ways, is of course orchestra is modern although it includes either better done if we hear them at all.
aware that a pristine Solomon is too long a harpsichord. The woodwind choir con- In sound the purely instrumental partS
and too slow and dramatically too obscure tains cor anglais, bass clarinet, and contra are the best, consistently excellent in bulk
for widespread appeal; and having ex- bassoon besides its customary members, and detail, with the shading well ca,ught
and a tuba plays with the horns , trumpets, and the violins easy, little distention any-
and trombones. The conductor did the where. The male voices emerge clearly
scoring for these and the fifty strings, and and the female less clearly, according to
it is admirable how little clash there is the usual experience. The recording of
between the old music and the new in- large groups of voices still lags in quality,
struments. The new orchestration is large, how much we shall only realize when the
but it is discreet, and often illumines be- first perfect record appears. By our pres-
yond the capability of the Handelian or- ent standards it is satisfactory here, but
chestra. If we bear in mind the designa- noticeably less assured than the orchestral
tions /lute d t'ravers, hautboys , flageolet, sound. That we shall have a Solomoll with
and sack but instead of their modern bener choral reproducrion within a decade
equivalents, any sense of anachronism will is to be doubted·. A more brilliant per-
be reduced nearly to nullity. formance is to be expected even less.
This recorded Solomon retains a great Album, notes (by Sir T. B. ), and text
deal of the most effective music, espe- are supplied with the factory-sealed edi-
cially of the most lyrical music. Several tion.
mighty choruses sing the g lory of the C. G. BURKE
king as only imperial. Handel could pre-
sent grandeur, but Solomon's queen and
Solomon's love, Solomon's landscapes and HANDEL: Solomon
flora and rapturous climate, are in Sir Elsie Morison and Lois Marshall, sopranos,
Thomas' edition accorded greater meas- Alexander Young, tenor, and John Cam-
ure. eron, baritone; Royal Philharmonic Orches-
The conductor sturdily protects the in- tra and Beecham Choral Society, Sir
terests of editor and orchestrator. This Thomas Beecham, condo
is good Handel and good Beecham. Chorus ANGEL 3546. Two 12-in. $9.98 (or
Beecbam : exponent of oratorio. and orchestra have been thoroughly trained $6·96) .


Mr. Slatkin's cup of tea
Conducting is an art requiring a combination of talents Toscanini, Stokowski and Reiner. But he indicated a
seldom found in the same human being. Toscanini main- greater talent when he created the famed Hollywood
tained conductors were "born," not made. Rodzinski String Quartet and molded it into the world's foremost
called conducting "unteachable" by formal means. string ensemble. Now, conducting a IOO-piece sym-
Result: only 21 first-rank conductors in the world. phony orchesb'a, his genius is most clearly heard.
For a conductor needs the sensitivity of a poet and Enjoy the till·ill of discovery inside the jacket of any
the iron discipline of a top sergeant. Above all, he of Mr. Slatkin's wide-ranging Capitol albums. Recorded
should be able to "hear" an entire work in his mind, and in "Full Dimensional Sound," they represent the highest
then communicate it to a hundred different musicians. fidelity known to the recorder's art.
Obviously, this isn't every man's cup of tea. It is They also introduce a major American conductor.
Mr. Felix Slatkin's, though. R ecorded by Mr. Slatkin: With the Hollywood Bowl Symphony
A superb violinist, Slatkin has performed under the Orch .: Gershwin s Rhapsody in Blu.e, Grieg's Peer Gynt, Grafe's Grand

Canyon Suite. With the Concert Arts Orch. : St.-S aens' Carnival of the
baton of a dozen of the greatest maestros, including Animals, Hindemith's Four Temperaments, Debussy's Children's Comer.

FREE! "From Bach to Gershtvin"-a lwndsomely illustrated musical calendar depicting

all maior composers, their works, dates, and other data . Suitable faT fTam'ing. Write:
Capitol Recorcls, 1754 No. Vine Street, Hollywood 28, Calif. (Offer expires Jan. 1,1957.)

As Composer-Conductor-
BERNSTEIN: Serenade/or Violin Solo, Strings and Percussion-Isaac Stern, Symphony Orchestra. ML 5145 $3.98
violin, with Leonard Bernstein conducting the Symphony of the Air. ML As Music Analyst-
5144 $3.98
BEETHOVEN: Symphony No.5 in C Minor - Leonard Bernstein looks at
BERNSTEIN: Fancy Free; COPLAND: EI Salon Mexico; MILHAUD: La Crea- Beethoven's original sketches for the first movement. The entire work is
tion du Monde-Leonard Bernstein conducting the Columbia Symphony performed by Bruno Walter and the Philharmonic-Symphony Orchestra of
Orchestra. CL 920 $3.98 New York. ("Omnibus" series) CL 918 $3.98
As Conductor-Pianist- WHAT IS JAzz?- Leonard Bernstein looks at Jazz aSSisted by Buck Clayton'~
MOZART: Piano Concerti No. 17. in G Major, K . 453 and No. 15 in B-Flat Jazz Band and illustrations from Columbia'S Jazz Catalog. ("Omnibus"
Major, K. 450--Leonard Bernstein, piano, and conducting the Columbia series) CL 919 $3.98 @ "Co lumbla" @ ~ All prices ,resugges ted list



building your record library

number thirty-three



THE three-quarters of a century from about 167 5 to about 1750 Next, one might choose one or more of the four disks of
Vivaldi concertos recorded by the Virtuosi di R oma on Decca
saw a remarkable flowering of instrumental ensemble music in
Italy. Important developments took place ' in variolls parts of (Vol. I: DL 9575; Vol. 2: DL 9679; Vol. 3: DL 9684; Vol.
the peninsula. Rome, Naples, Bologna, and Venice became 4: DL 9729 - thi s last includes three concertos from L'Estro
ce nters of experimentation. Composers in those cities explored, armonico). Each disk contains four nicely assorted works, and
among other things, the exciting possibilities offered by the dis- all are performed wi th the warmth and polish characteristic of
covery of the effectiveness of juxtaposing one or more instruments this fin e ensemble. A third Vivaldi single that belongs in a
against a larger group of instruments. Out of this ferment came basic list is the group of five first-class co ncertos very well played
the concerto grosso, the double concerto, the vio lin co ncerto, and by an ensem ble under Louis de Froment on Oiseau-Lyre OL
the concerto for other solo instruments - the cello, the oboe, 500 73.
the bassoon, the viola d'amore, even the trumpet. The works of Tomaso Albinoni (167 4 -1745), another Veneti an master, was
the great masters of this peri od, particularly those of Corelli, and nOt only a skillful violinist but also a singer. Very little is
in some instances the composers themselves crossed the borders known of the some forty operas that he wrote, but his instru-
of Italy, to France, to Germany, to England. H andel knew some mental m usic shows him to have been a composer of consider-
of this music. So did Bach, who made a close study of it, and able attain ments. Of hi s Twelve Concerti , Op. 9 ( Vox DL 193),
p rofited thereby. fo ur are for solo violin, four for 'a solo oboe, and four for two
Until recen tly, this rich and abundant period was represented oboes - all with string orchestra. The slow movements are
in the record catalogues only by a few scattered pieces by Corelli rather ligh tweight, but th e fast ones have an appealing mellif-
and Vi valdi. In the last th ree or four years, however, there luousness and a sunny g race. T o listeners who would p refer to
has been a great spurt of interest in this m usic, with the resu lt sample Albinoni on a single disk rather th an in an album, I
that there are enough recordings available now to make the can recommend the two orchestral concertos from his Op. 5 and
task of choosing only ten of the outstanding ones rather com- the four oboe concertos from his Op. 7 on Oiseau-Lyre OL
p licated. 5004 1. While the oboe co ncertos are not as highly developed
From the standpoint of musical values, the mos t important as those in hi s Op. 9, all of these works di splay the same
Itali an composers of instrumental music in the period we are vivacity and smoo th elegance as the later ones. '
dea ling with are Arcangelo Corelli (1653 -17 13) and Antonio Of about the same age as Corelli but active mos tly in Bologna
Vivaldi (c. 1675-1741). Corelli was a violinist who spent some was Giuseppe Torelli ( c. 1650-1708) . H e is important his-
years as chief m us ician in the palace of Cardinal Ottoboni at torically because his T welve Concerti , Op. 8, include perhaps
Rome. He was not a prolific composer, and published only six the earliest violin concertos ever wri tten; and the same set is
groups of works. But they are all beautifully polished pieces, said to contai n the first concerti gl'ossi ever p ublished ( Corelli 's
noble and eloquent music; their mellow sweetness makes it Op. 6 may have been written earlier but was published later ). Of
easy to understand the enormous popularity they achieved in the two avail able record ings of the complete Gp. 8, the Vox
their day. They still wear well. Three of the g roups are avail- ( DL I I 3 ) is preferred. Fi ve of these concertos are very nicely
able in good performances - the T welve Church Sonatas, Op. performed by I Musici on a sing le Epic di sk ( LC 3217 ) .
3, and T welve Chamber Sonatas, Op. 4 (all in Vox DL 163), D elightful examp les of the late-baroque concerto grosso are
and the T wel ve Concerti Grossi , Op. 6. Of the two available re- the Six Concertini for strings attributed to Giovanni Battista
cordings of the complete Op. 6 , the W es tminster ( WN Pergolesi (1710-1736) . Whether they were actually written by
3301) is the superior. Either of these albums would that N eapolitan composer is doubtful; but their lively and often
make an excellent introduction to Corelli . If a single gay fas t movements, an d slow sections th at sometimes probe
disk is preferred , the five concertos from Op. 6 played by the deeply, still give much p leasure ( Angel 3538B, together with
Societa Corelli on RCA Victor LM 1776 are recommended. a violin concerto and a sonata for cello and continuo definitely
Vivaldi is represented on records far more generously than by Pergolesi ).
any of his Italian contemporaries - and yet not nearly generously One of the m ost interesting of the Itali an composers of this
enough. It will be remembered that he was not o nly a traveling period is the teacher of Pergolesi ( and of many other celebrated
virtuoso but was for years music director of a girls' conservatory composers of the time ) , Francesco Durante (1 684-1 7 55 ) . A
in Venice. T here he had many sortS of instrum ents at his dis- Neapolitan, he was famous mostly for his church music, but
posal and trained their players into a highly competent orchestra if the few available examples of his instrumental music are
whose fame attracted forei gn visitors. Like H aydn in Eszterhaza, representative of his work in that field, we ought to have
he could tryout whatever he wrote for it. He left more than more of it. A good sample is the Divertimento, in F minor,
400 instrumental concertos alone. T o judge by those available performed by a chamber orchestra conducted by Gerard Cartigny
on disks, his batting average was high ; more recordings from on London DTL 93044. This disk also contains one of the
the store of his unfamiliar works would be welcome. Already six concertini by Pergolesi and a concerto for two cellos by
in the catalogues are four collecti ve works: V Estro armonico, Vivaldi ( the latter, h owever, is better performed in Decca's Vol.
Op. 3 ( Vox PL 7423); La Stra'vaganza, Op. 4 (Vox DL 103 ) ; 3.) Or you m ight try the two concerti grossi by Durante
It Cimento dell 'Armonia e dell 'l nvenzione, Op. 8 (Vox DL played by the Scarlatti Orchestra under Thom as Schippers on
17 3); and La Cetra, Op. 9 (Vox DL 203) . They are all con- Angel 35335, along with a masterly Si nfonia by Vivaldi, a
certos for one or more violins with string orches tra. All of concerto grosso by him, and an overture by Antonio Salieri
them display their composer's remarkable m elodic inventiveness, (wh o is, of course, of a later period ) .
his harmonic boldness, and hi s occasional emotional p rofundity. Finally, mention should be m ade of one of the important
Listeners who are u nfami liar with Vivaldi mig ht wish to begin links in the chain of g rea~ Italian violinist-composers that
with II Cimento, which includes the famous group of four con- stretched from Corelli to Paganini. This link is Pietro Locatelli
certos known as T he Seasons. But anyone of the four sets - ( 1693- 17 64 ) , who studied with Corelli in Rome and then
the performances are all acceptable or better - would make a settled in Amsterdam . H e is represented by two 'concertos in an
good beginning. unusually engrossing group of four on Haydn Society HSL
Most popular of all of Vivaldi 's concertos, duri ng hi s life- 147. The group comprises, in addition to the very fine work
time as well as today, is of course T he Seasons. Several excellent written by Vivaldi for the Dresden Orchestra and a cleverly
perform ances of this charming work are available on sing le disks. constructed trumpet concerto by Torelli, a highly developed
My own choice for all-around merit is that by the Philharmonia violin concerto by Locatelli and the same composer's p rogram-
Orchestra conducted by Carlo-Maria G iulini ( Angel 35216) , m atic orchestral work, T he Plaint of Ariadne.



our attention we tend to think of it venir de Porto Rico, and Ojos eriollos. HANDEL: Concertos for O"gan a'n d
wrong end to. He also gives us Gottschalk's most cele- O"cbest,-a: No, 2, in B-flat, Op. 4,
Following the lead of Chopin, Gott- brated concert pieces in the European tra- No.2; NO.5, in F, Op. 4, NO . 5; No.
schalk based piano pieces on the folk dition: Th e Dying Poet, The Maiden's 7, in B-f/at, Op. 7, No. T; No. TT , in
themes of his native New Orleans, and Blmh, and The Last Hope. For all their G mi1zor, Op. 7, NO.5
he is said to be the first composer in dated ness, obviousness, and sentimentality, Lawrence Moe, organ; orchestra, Klaus
history to make use of American folk these things are still full of music, and the Liepmann, condo
material in the larger form s. This is an vitality of a very remarkable spirit shines UNICORN I032. 12-in. $3 .98.
important record because it is the first through them. This is by no means a
tongue-in-cheek excursion into Americana; Slipping into the catalogue as shyly as
to present a collection of Gottschalk's pi-
old Gottschalk is worth all the ski ll and any disk bearing Handel can, this may
ano pieces in their original versio ns; up
insight which List and Vanguard 's re- well prove to be a sleeper. Hall acoustics
to now one could hear this music on
have not often permitted a suavity of string
records only in Hershey Kay's orchestra!" cording engineers have lavished on him.
tone nearly so caressing as that here, and
transcription for the ballet Cakewalk. At I should like to add a comment to the
the bright little organ in the Saarinen-
least one of these pieces, The Banjo, is a excellent jacket notes by List and Sidney designed cl1apel at M. 1. T. has been
little masterpiece; it is as fine as anything Finkelstein. It is that Gottschalk's pi- caught expertly with its tinseled colors
that has ever been done in t~at vein , and anistic figuration , like the treatment of in engaging contrast with the smooth hues
as one hears Eugene List play it with the theme of Th e Banjo in rapidly re- of the band. Mr. Moe communicates en-
such brilliance and fire as he displays here , peated notes in octaves high in the right joyment with his lively kind of schola t-
one begins to wonder if Debussy's Golli- hand, directly predicts the figuration which ship, and the orchestra gives out a tonal
wogg's Ca.kewalk isn't indebted to it. is characteristic of the mechanical pianos glow very uncommon from so small a
List provides other folklore pieces of of the 1890S and early 1900s. There is group. Still, other players have been as
Gottschalk, including the famous Bam- a continuous great tradition here to which persuasive in this music - other recording
boula, La Savane (which uses the tune of American musicologists might very well supervisors have not. C. G. B.
Skip to AIy L01t), Le Bananier, the SOtt- pay some heed. A. F. C01Ztinzted 01Z page 86

Sololllon's Glory - and Solomon's Love and Landscapes, Too

COMPOSED when H andel was sixty- amined its episodes and noted that alm ost and show it particularly in the fine-drawn
three and in the fullness of his powers, any could be cut Out without damage to Beecham line and in the contrapuntal
Solom on even more than most long ora- dramatic contin uity , he has worked happily clarity, whi le the soloists are able to
torios on a religious theme has been set at re-establishing the oratorio in a form bestow a becoming and ' comfortable nat-
to a sprawling text. But no more than palatable to modern tastes. uralness on highly contrived vocalizations
the opera Boris Godttnov has it been He will be damned for his emenda- conceived for singers in Handel's time
silenced by the episodic nature of its tions by the diehards of "authenticity; ' trained to their sty Ie and to no other.
book, and criticism probably would be as Rimsky-Korsakov is damned for smooth- What we hear is not what Handel wou ld
satisfied if less pretentious, more accurate, ing Boris for production; and perhaps an have heard , but something which seems
titles were substituted: Some Exciting integral Solomon , unchanged where it is not foreign to his music and which is
Events in Old . Mmcovy (Judaea) ttnder possible not to change it, would more not damaged by excessive strain.
Czar Boris (King Solomon). Admittedly truly satisfy higher tastes. We have no The responsiveness of these musicians
these are a little wanting in flame, but way of knowing. We have these records, to the contraries in a varied score is nicely
they are oh, so accurate. and they give a happy experience. illustrated by the tender emanation of the
Sir Thomas Beecham, presumably the A number of episode,s have been sup- "Nightingale" chorus followed on the next
world's foremost exponent of this oratorio, pressed by Sir Thomas, and others di- (third) side by the martial brag of the
who years ago recorded parts of it for verted from their original succession. The air and chorus beginning "Now a diff'rent
Columbia, and who is a very astute fellow male parts are sung by men intact. The measure try. " We are not likely to hear
knowing in theatrical ways, is of course orchestra is modern although it includes either better done if we hear them at all.
aware that a pristine Solomon is too long a harpsichord. The woodwind choir con- In sound the purely instrumental parts
and too slow and dramatically too obscure tains cor anglais, bass clarinet, and contra are the best, consistently excellent in bulk
for widespread appeal; and having ex- bassoon besides its customary members, and detail, with the shad ing well ca-ught
and a tuba plays with the horns, trumpets, and the violins easy, little distention any-
and trombones. The conductor did the where. The male voices emerge clearly
scoring for these and the fifty strings, and and the female less clearly, according to
it is admirable how little clash there is the usual experience. The recording of
between the old music and the new in- large groups of voices still lags in quality,
struments. The new orchestration is large, how much we shall only realize when the
but it is discreet, and often illumines be- first perfect record appears. By our pres-
yond the capability of the Handelian or- ent standards it is satisfactory here, but
chestra. If we bear in mind the designa- noticeably less assured than the orchestral
tions Illite d t'ravers, hautboys, flageolet, sound. That we shall have a Solomon with
and sackbut instead of their modern better choral reproduction within a decade
equi valenrs, any sense of anachronism will is to be doubted·. A more brilliant per-
be reduced nearly to nullity. formance is to be expected even less.
This recorded Solomon retains a great Album, notes ( by Sir T. B. ), and text
deal of the most effective music, espe- are supplied with the factory-sealed edi-
cially of the most lyrical music. Several tion.
mighty choruses sing the glory of the C. G. BURKE
king as on ly imperial, Handel could pre-
sent grandeur, but Solomon's queen and
Solomon's love, Solomon's landscapes and HANDEL: Solomo1z
flora and rapturous climate, are in Sir Elsie Morison and Lois Marshall, sopranos,
Thomas' edition accorded greater meas- Alexander Young, tenor, and John Cam-
ure. eron, baritone; Royal Philharmonic Orches-
The conductor sturdi ly protects the in- tra and Beecham Choral Society, Sir
terests of editor and orchestrator. This Thomas Beecham, condo
is good Handel and good Beecham. Chorus ANGEL 3546. Two 12-in. $9.98 (or
Beecbam: exponent of oratorio. and orchestra have been thoroughly trained $6·96) .


Leonard Pen nario; Concert Arts Orch estra;
Feli x Slatkin, cond uctor 8349


A gi Jambor 8344


CORNER, ESTAMPES. Rudo lf Firku sny 8350


Yankoff; New Symphony Orchestra of London;.
Rud olf Schwarz. cond uctor 18007


Strauss, Debussy, Schubert, Rachmaninoff, Schumann,
Brahms, Liszt), Leonard Penna rio 8338


Dimitri Shostakovich 18013

A1dropolitan ll if1LU1WL of Art, New York BEETHOVEN: " MOONLIGH T" AND "PATHETIQUE"
SONATAS, Rudo lf Fi rkusny 8322


Cristofori's •
Victor Aller, w ith members of th e Hollywood
Stri ng Quartet



contraption Leonard Pennario

MOZART: CONCERTOS Nos. 12 and 14


Deni s Matthews; Festi va l Orchestra;

Ru dolf Sc hwarz. co nductor 18015


The ungainly contraption above was invented in 1706 by an Italian SYMPH ONIC ETUDES, Rudolf Firkusny 8337

gentleman named Bartolomeo Cristofori. BEETHOVEN: SONATAS Nos. 3, 10,25

Georges Solcha ny 18011
Could Bart have patented his invention, his heirs would be
billionaires. For it was soon recognized as an instrument of fantastic ( & AN AM ERICAN IN PARIS) Leo nard Pennario;
range. It w as then, and still is today , as challenging a medium as Hol lywood Bowl Symphony Orches tra;
Fel ix Slatkin, cond ucto r 8343
man has ever concocted to plague himself with.
We refer, of course, to the piano. AND OTHER WORKS, Ag i Jambor 8348

Since Mozart, almost every great composer has written with and BEETHOVEN: CONCER TO No.3
for the piano, only afterwards scoring his work for full orchestra. Vents islav Yankoff; N.W. D.R. Orchestral
Hans Schm idt.lsserstedt, conductor t8002
Because of this, many hold that the piano is the truest voice of the
composer, w hether he uses it as a solo instrument, in chamber ALBENIZ: CANTOS DE ESPANA
music or in concerto form. Leonard Pennario 8319

Capitol R ecords has captured in flawless high fidelity the sound

of these voices as recorded by some of the world's finest pianists.
A selection of the newer albums fr om Capitol's library of works
for the piano is listed here.
Possibly some of these albums are already in your collection.
But they all make superb gifts - and especially to yourself!


HAYDN : Sym phony, in B-flat cepti ve; the typically French orchestral its propriety here, where it is unmistakable
tMichael Haydn : Concerto for Clavier, sound is apropos, and D aniel Wayenberg but nowhere an obstacle to the customary
Viola, and Orchestra, in C does expertly with the piano solo in the course of the music, in tempo and ex-
latter work. P . A. ternal shape not essentially different from
Vienna Orchestral Society (with Marjorie
the splendid version recorded by Dr.
Mitchell, piano, and Paul Angerer, viola,
Walter years ago, which displays no grief.
in the Concerto), F. Charles Adler, condo McP HEE: Concerto for Piano and Wind
Symphony No. 39, that extraordinary
UNICORN IOI9. I2-in. $3.98. Octet - See Sessions: Quartet No.2.
work which can be a bullet or a bouquet
Both are early works of the Haydn according to its playing, is diverted from
brothers, both recorded for the first time. MOZART : Adagio and Fttgue in C commitment to either by its first move-
The symphony, with its horn and oboe minor, K . 546; Fantasy and Fugtte in ment in this version, alternating lags and
parts removed, was published as the fifth F minor, K. 608 - See Beethoven: little sped-up gushes, as if its mainspring
quartet of Haydn 's Op. 1. It has a mild Grosse Fttge, in B-flat, Op. 133. were failing and being rewound. This
appeal and was worth recording. The seems unnecessarily unattractive, and the
performance is bald but satisfactory" and music as a whole is not redeemed by the
MOZART : Sonatas for Organ and Or-
the close seizure of sound of the small splendid vigor of the Minuet 'and Finale.
chestra (complete)
orchestra gives reproduction of bluff vital- The ability with which the New York
ity. The Haydn to whom we must give Richard Ellsasser, organ; Hamburg Cham- Philharmonic responds to nonroutine di-
an ini tial surpasses his g reat brother here ber Orchestra, Arthur Winograd, condo rections, in both works, ought to arouse
in distinction of ideas but drives them M·G-M E 3363/64. Two I2-in. $3.98 particular admiration.
beyond their capacity for exploitation. In each. Comprehensive sound, strong in the
full transition from expiring baroque to bass and calculated to project every high
Fourteen of these blandly secular interludes
incipient rococo, the Concerto in C (o rig- instrument out of the mass. Beneficial
which Mozart composed for the Salzburg
inally for organ or harpsichord instead of to detail, and indeed in its power very
Cathedral are scored for organ and strings.
the piano used ) is too long by a third. effective, the very abundance of detail
Nos. I2, I4, and I6 are enriched by lively
The difficult viola part is conscientiously necessarily involves some harshness in the
wind parts. This is the first recording of
handled by a rather dry instrument, and t1Jttis. At several points the seeped "echo"
all seventeen, whose composition extended
the direction is carefully sober. Close, is an obtrusive blemish; but better freckled
over thirteen years of Mozart's life. The
hard, and effective sound. C. G . B. power than lily-white impotence.
hearer will be struck here by the modest
The lttpiter is not one that may be
role taken by the you ng organist noted for
HAYDN, Michael: C01zce1·to f01' Clavier, ignored. C. G. B.
his brilliance, content to coalesce with the
Viola, and 01'chestra, in C - See orchestra as if his instrument were no
Haydn: Symphony, in B-flat. more than a part of the ensemble. He sup-
MOZART: Symph01zy No . 40, in G
plies a pungent color and a conversa-
HINDEMITH: Nobilissima Visione; tional commentary without pointing direc- minot·, K. 550 - See Beethoven: Sym-
Symphonic Metam01·phosis on tion or implying opposition. phony NO. 5, in C minor, Op. 67.
Themes by Cat·l Maria v on lVeber In general the small orchestra is led
Hamburg Philharmonic Orchestra, Joseph with spirit and plays brightly, finesse be-
ing supplied by the organist. Unluckily, OFFENBACH: Offenbach in America
Keilberth , condo
TELEFUNKEN LGX 66055. I2-in. $4.98. Mr. Winograd, upon whose work with Boston "Pops" Orchestra, Arthur Fiedler,
string or.chestras the M-G-M engineers had condo
A superb recording which, on its two previously bestowed a sound of compelling RCA VICTOR LM I990. I2-in. $3.98.
faces , presents two different faces of Hinde- strength and realism , has chanced upon a
mith, His mystical and medieval side in- day or place or other circumstances of Possibly the g reatest compliment ever
spires N obilissima Visione ( the score for tetchy acoustics, and his violins remain a paid to Offenbach's genius as a com-
a ballet about St. Francis of Assisi), while little acid in reproduction even after sym- poser of light music came, oddly enough,
his didactic, academic, manipulative side pathetic adjustment of a sensitive repro- from Richard Wag ner. Writing to Felix
is to the fore in the Metamorphosis. Un- ducer. Mottl in I882, two years after Offenbach's
fortunate ly, both these works have been The seventeen lirtle pieces last a minute death, Wagner expressed the opinion that
recorded several times before, and pre- more than an hour, and cou ld have been "Offenbach could have been a Mozart."
existing recorded interpretations are su- fitted in easy comfort within three sides While Wagner had littie cause to like
perior to Keilberth's. For my taste, at instead of the four in fact occupied. Bal- Offenbach, who had so often satirized his
least, the best N obilissima Visione is the ancing this is the convenience of a chron- music, he may have been overgenerous in
one by Klemperer on Angel and the best ological ordination, especially commendable this appraisal of his critic. It seems to me
Metamorphosis is the one by Hindemith in view of the temptation to endow the that Rossini was much nearer the mark in
himself on D ecca. A. F. first record with more appeal than it has, dubbing the composer "The Mozart of the
by arbitrari ly removing some of the best Champs Elysees." The celebration of the
sonatas - which are the later ones - from bicentenary of Mozart's birth coincides with
INDY: Jom' d'ete a la m01ztagne, Op. the eig htieth anniversary of the Parisian
61; Symphonie sur 1t1Z chant mont- their namral place on the second disk, and
putting them as bait on the first. C. G. B. Mozart's short, but enormously successful ,
agnard f1'anfais, Op. 25 visit to America. To commemorate the
Orchesrre Radio·Symphonique (Paris), latter occasion, Victor offers this hand -
Ernest Bour, condo (in jottr d'ete); Daniel MOZART: Sympb01zies: No. 39, in E- somely produced album of Offen bach
Wayenberg, piano; Orchestre du Theatre flat, K. 543; No. 41, i1z C ("]ttpite1'''), music.
des Champs-Elysees, Ernest Bour, condo K. 551 While some of the contents will be
(in the Symphonie ) . New York Philharmonic-Symphony Or- familiar to many listeners by way of Gaite
LONDON DTL 93069· I2-in. $4.98. chestra, Bruno Walter, condo Parisienne, most of the selections are con-
COLUMBIA ML 5014. I2 -in. $3 .98. siderably rarer. Two items have probably
This is the first LP recording of j Ott1' never been recorded before, the charming
d'ete a la montagne, a work in which This j ttpitel' is charged wi th grief. The little ballet excerpt for cello and orchestra,
d'Indy, despite his musical antagonism to hearer suspects that the conductor, a M1tSette, and the Jilting, almost Straussian
Debussy, almost forsakes the Franckian highly charged man, led under the domin- waltz, Les Belles Americai1~es, probably
school for the impressionist camp. It may ation of knowledge that I9 56 is Mozart's composed in New York, as a tribute to
be heresy so to say, but there is nor a year, and that after the lttpiter there were the American girl, whom Offenbach found
little in the atmosphere of its three move- no more symphonies from that incalculable intriguing. A dashing galop from Gene-
ments - Dawn, Day, and Evening - that mind. Every phrase that can be mrned vieve de BI'abant capers along, unti l sud-
reminds me of portions of Debussy's Iberia. towards sorrow is helped in dlat direction, denly, one hears phrases that surely served
Bour's readings of this and the familiar and the held note gives a lament. Grief as the basis for Th e Marine's Hynm
- and more likable - Symphony on a has not been called inherent in this
French Mountain Ai'r are forceful and per- grand symphony, but no one tries to resist Continued 01Z page 88


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A historic collection of all the Beethoven Piano Sonatas, packaged in a leather bound album, it contains a biogra.
superbly interpreted and performed by Artur Schnabel. It phy of Schnabel, analysis of the sonatas, and a 2·volume
ha s been acclaimed nationally as "the most notable con· edition of the piano music edited by Mr. Schnabel.
tribution ever made to recorded music." Handsomely Thirteen Long Play records, $80.

This limited edition is a tribute to Mozart, commemo· cond uctors of our time. In an exquisite, leather bound
rating the 200th anniversary of his birth. It represents a album, it contains rare photographs and portraits of
magnificent cross· section of his genius and features some places associated with Mozart and his works. Three Long
of the greatest singers, instrumentalists and orchestral Play records, $50.

and other great performances by some of the world's greatest artists

Gershwin: Rhapsody In Blue;
Concerto in F.Morton Gould and
his Orch. Long Play $3.98* ; 45
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("From the halls of Montezuma"), and it Philadelphia Orchestra, Eugene Ormandy, years ago; it has more buoyancy, particu-
is a joy to hear the grand tunes from The condo larly in the frothier moments, and is much
Grand Duchess 0/ Gerolstein set forth COLUMBIA KL s069. 12-in. $S·98. closer to the French sryle of playing this
with such brilliance. My own favorite is music. The orchestra instrumentalists ap-
You would hardly suspect from a hurried pear to be thoroughly enjoying themselves,
the charming selection from Offenbach's
glance at the record sleeve or at its title, playing with wonderful spirit and elan.
wonderful score for La Perich ole, a score
The Pleamres of Paris, that here is our The sound is full of presence, not over-
that has Mozartean overtones and is full
old friend Gaite Parisienne in its entirery. robust, and therefore entirely appropriate.
of truly delightful melodies.
Not a cancan dancer adrons its cover, no This is one of Columbia's plushest pack·
Fiedler and the Boston "Pops" play these
lace, no frills, merely the Eiffel Tower ages, a cannily integrated mixture of eye
enchanting pieces with tremendous verve
and finesse, and I would not hesitate to standing starkly against a deep blue Pari- and ear appeal, and is most highly rec-
call this one of the best recordings this sian sky. And within the sleeve one finds ommended. J. F. I.
group has ever made. A lightish Victor Fred Grunfeld's fascinating booklet, with
sound is most appropriate to the occasion, its pages of photographs, drawings, and
sketches of figures (and what figures!) PERSICHETTI: Symphony NO.4
and the record is highly recommended on tGesensway: Pour Squares of Philade~
all counts. Interesting liner notes by of the Paris of yesterday, so vividly re-
created in Offenbach's gay music. Ormandy phia
George R. Marek, and some amusing and
pertinent caricatures by Alajalov add a cer- gives a refreshing and lively reading of Philadelphia Orchestra, Eugene Ormandy,
tain fillip to the excellence of the album. the complete Manuel Rosenthal·arranged condo
J. F. I. score. It seems to me to be even better COLUMBIA ML S108. 12-in. $3·98.
than the abridged version by this orches-
OFFENBACH: Gaite Pa1·isienne tra, on Columbia CL 741, made about cwo Continued on page 90

Die Kluge's Equivocal Fascination Expertly Displayed

SINCE the first impact here, a couple pestle after all." But she tells her kid- to a lyric mood is called for. All in all,
of years past, of his Carmina Burana, napped king the real point: Her wisdom it is a score that ought to please those
Carl Orff has drawn more and more at- was no more than acting; " no one in this who admire the Trion/i for the music and
tention, until now, with five titles on LP, world can both be wise and love." As not for the outspoken sophistication of
he is by way of becoming almost a cult Orff has said, his concern in composing some of the texts; how well they will cope
among those who pay attention at all to for the theater is solely with inner spir- with the spoken sections is, well, less sure.
contemporary music. In a sense, this is The Angel performance is a completely
odd, since Orff is one of the few com- expert and attractive one, and superbly
posers with an exclusively theatrical out- recorded , although with not much aural
put. The explanation, perhaps, is that sense of a stage and something occurring
although the Trion/i - Carm ina Bm·ana, on it. In the theater, the wise woman
Cattdli Carmina, and Trio nfo di A/rodite of the title would seem to have long
- are meant to be staged (and are staged, periods of just being on hand and looking
together or singly, in various German enigmatic; but she also has somewhat to
opera houses) they are not plotted and sing, including a lovely little lullaby as
do not even have suggested scenarios. Thus the king dozes off from the effects of his
the record listener can create his own im- drugged wine, and Elisabeth Schwarzkopf
aginative regie for their brawling, tender, does it all with lovely tone. As the King,
lasci vious poetry. Marcel Cordes is excellent in his projec-
Although Die Kluge relates to T rion/i tion of shifting tempers backed by not
musically, it has a plot - or, rather, a The Jailer and Three Vagabonds. overmuch brains, and Rudolf Christ is
very specific scheme of action that the easily as good as the indig nant little man
score is designed to support and that has itual values. The listener is free to infer whose donkey's foal is assigned to mule-
to be imagined from stage directions when his own moral- if there is one. parenthood by royal decree. In fact, the
it cannot be seen. Like the other Orff This is told in a form that (insofar as cast are consistently first-class all down the
theater pieces, D ie Kluge's only designa- it relates to conventional theater) is as line, with more special credit due to
tion is an explanatory gloss of its title- much like Singspiel as anything - with Gottlob Frick as the Peasant and to Paul
"Die Geschichte von dem Konig und der long passages of spoken dialogue, espe- Kuen, Hermann Prey, and Gustav Neid-
klugen Frau" C"The story of the king and cially for the three vagabonds who serve linger as the Vagabonds. Wolfgang
the wise woman"). Taken from a Marchen as a sort of chorus to the main story. But Sawallisch conducts with firm control of
retold by the Grimms, it tells the story of the music, when it comes, is purest Orff. the rhythms , and the Philharmonia players
a peasant who digs up a golden mortar In all basic ways very like that of Carmilla are in admirable form. Full text, with an
and pestle, and is about to take it to Burana in its materials and usages, it excellent translation by William Mann,
the king when his daughter warns him not makes a satisfactorily loud noise in spite and good notes by Henry Pleasants. All
to - all the king will do is accuse him of of the absence of a chorus. The orchestra told, a fascinating little work in its
stealing the vessel and have him locked is of Trion/i size, with augmented winds equivocal way and decidedly worth the
up. As the piece begins, the peasant is and the rypically Orffian battery of drums hearing. JAMES HINTON, JR.
sitting in prison bewailing his fate and and special percussive instruments to give
moaning that he should have taken his an almost gamelan or African effect in
ORFF: Die Kluge
daughter's advice. The king hears him, the rhythmic ostinatos on which the music
questions him, and demands to have the is built - or over which the text is set Elisabeth Schwarzkopf (s), The Peasant's
daughter brought. He asks her three rid- forward. The treatment of the voices is Daughter (Die Kluge); Rudolf Christ
dles (much tougher than those in T ttran- much the same: The same SOrt of rapid (t), The Man with the Donkey; Paul
dot), and when she answers all correctly a tempo declamation on single notes or Kuen ( t), First Vagabond; Marcel Cordes
makes her his queen. But when she proves simple triads; the same insistent repetition (b), The King; Hermann Prey ( b ) , Sec-
herself much cleverer than he in dealing of words . and groups of words over har- ond Vagabond; Gottlob Frick (bs), The
with the great question of whether a monically inert but rhythmically very Peasant; Benno Kusche ( bs ), The Man
donkey or a mule has given birth to a vigorous figurations; the same coloration of with the Mule; Georg Wieter (bs), The
colt, he tells her to go; she, still cleverer, the texture by manipulation of instru- Jailer; Gustav Neidlinger ( bs ) , Third
drugs his wine, then puts him in her mental resources and by endlessly per- Vagabond. Philharmonia Orchestra (Lon-
trunk and takes him along. As her father mutating metrics in the accompaniment; don), Wolfgang Sawallisch, condo
remarks at the end, "So she found the the same modality when something close ANGEL 3SS1. Two 12-in. $10.98.



I renowned for the brilliant virtuosity of its members!

I DVORAK: Slavonic Dances, Op. 46 & 72 ; SMETANA : From
My Life (transcribed for orchestra by Dr. Szell) . SC 6015

a (2 12") $7.96

world-famous for the warmth and rich color of its playing!

STRAVINSKY: Firebird Suite ; KODALY : Hary Janos Suite.
LC 3290 $3.98


Vincent Persichettl's Fourth Symphony is managed to maintain it. While being able Societe des Concerts du Conservatoire de
an essentially blithe affair; it erupts now to turn out something as universally Paris, Andre Cluytens, condo
and then with a brassy, Sibelian blare to popular as the score for Spellboltnd, he ANGEL 35336. I2-in. $4·98.
remind us that it is a symphony, but these has found time for something as important
As I noted here recently, there just are
outbursts do not seriously affect the tonic, as his new violin concerto.
Important it certainly is, so important no bad disk versions of this work. Bour,
zestful, effervescent flow of Persichetti's
Munch, Toscanini, and Van Otterloo have
ideas. It is the kind of music that is writ- that, although it was only first performed
each had their eloquent say on this power-
ten by composers who delight in technical last January by Jascha Heifetz (for whom
ful, melodic, and atrractive symphony, and
problems and who manage to convey in it was written) wi th Walter Hendl and
now along comes Cluytens with an equally
their music the intellectual and emotional the Dallas Symphony, a first recording of
fine interpretation. Pick anyone of the
pleasure they derive from finding their the work by these same artists is already
five; you can't go wrong. P. A.
solution. on the market. John Rosenfield, who
The jacket notes quote Max de Schauen- wrote the enthusiastic jacket notes , thinks
see as saying that Louis Gesensway's Four it is as significant a composition as the SESSIONS: Quartet No.2
Sqttares of Philadelphia does for the City Sibelius, Bart6k, and Prokofiev concertos, New Music Quartet.
of Brotherly Love what Respighi did for and he may very well be right. It is
Rome in the Fountains and Pines. This logically constructed , thematically sound, tMcPhee: Concerto for Piano and Wind
is an apt and adequate description. Record- with vigorous, alive end movements sep- Octet
ings and performances are first class. A. F. arated by a beautifully songful slow move- Grant Johannesen, piano; wind octet,
ment. Perhaps because he had the close Carlos Surinach, cond o
collaboration of Heifetz, the composer has COLUMBIA ML 5105. 12-in. $3.98.
RAVEL: Ma Mere l'Oye; Rapsodie written brilliantly and aptly for the violin,
espagnole; Une Barque sur l;ocean yet he has made the orchestra an integral Roger Sessions' Second String Quartet is
Orchestre du Theatre des Champs-Elysees, part of the concerto. Since the perform- one of the most important musical com-
D. E. Inghelbrecht, condo ance and recording are all one could hope positions of modern times. In structure it
LONDON DTL 93087. I2-in. $4.98. for, R6zsa may consider himself fortunate reminds one a little of Beethoven's Opus
that his work has had such a gratifying 131 - opening slow fugue, scherzo, varia-
The competition is heavy, but it is dif- presentation. So may the music-loving tions - and the whole work is suffused .
ficult to imagine a more beautiful re- public, for this is a work not to be over- with an Olympian serenity quite similar
cording of Ravel's subtle, transparent or- looked. to that which is so characteristic of Bee-
chestral fabric than is provided here or Beside the R6zsa, the Spohr Concerto thoven's last quartets as a whole. Colum-
more authoritative interpretations in all in A minor seems rather pale. Written bia's Modern American Music Series, to
respects. A. F. in one continuous movement of three sec- which the recording belongs, will have
tions, it was intended as the instrumental justified itself completely through the re-
RIMSKY-KORSAKOV: Scheherazade counterpart of an extended bravura operatic lease of this one profound and magnificent
aria in the Italian style. As such, it is score, especially since it is so beautifully
Miriam Solovieff, violin; Vienna Staatsoper somewhat old-fashioned, though it does played and recorded.
Orchestra, Mario Rossi, condo possess some appealing melodies. The Colin McPhee's piano concerto, on the
VANGUARD SRV I03. I2-in. $1.98. piece benefits greatly from Heifetz's pol- other side, is a peppery, neoclassical, ath-
Just how long Vanguard plans to make ished treatment. As for the Tchaikovsky letic affair, written before its composer fell
this , their third demonstration record , Serenade melancoliqfte, here is an unduly under the spell of Indonesian music and
available at $1.98 is not known . At this neglected little lyrical movement that may began to write his well-known works on
price it is certainly a good buy, though very well have been a preliminary study Balinese themes. It is a good piece as far
not the definitive version of Rimsky- for the Violin Concerto. as it goes, which is not very far. The
Korsakov's brilliant fairy tale. Musically This disk offers a wide and unusual exuberant virtuosity of the performance is
I consider it inferior to the Steinberg, on variety of fare that should appeal to an delightful. A. F.
Capitol P 8305 . However, it does offer equally wide segment of the listening
a healthy, sometimes robustious reading by public. P. A. SIBELIUS: Symphony No.2, i'n D , Op.
Rossi, well played, and recorded in pos- 43
itively glitrering sound. The conductor SAINT-SAENS: Carnival of the Ani-
mals - See Franck: Pysche. ~rDR Symphony Orchestra, Hans
seems to me to have far more success
Schmidt-Isserstedt, cona,
with the lyrical sections than with the
SAINT-SAENS: Symphony NO.3, in C CAPITOL P 18009. 12-in. $ 3-98.
Festival or Storm episodes, in which , ap-
parently eager to make every point, he mino'r, Op. 78
This is an essentially Germanic concep-
permits things to become slightly raddled. Henrietre Roget, organ; Orchestre de la tion of the Sibelius Second, exceptionally
It is here, too, that a slight edginess seems clear and analytical in its treatment and
to creep into the orchestral tone, where accorded appropriately clean-cut, very real-
before it had been remarkably clean and istic reproduction. Sometimes clarity is
warm. Otherwise the playing seems to achieved at the expense of forward motion,
me to be first class, from solo violin all but much of . the excitement and dramatic
the way down. J. F. I. content of the symphony are retained in
this always interesting reading. Not the
ROZSA: Concerto fm' Violin and Or- ideal version, yet one to be admired and
chestra heard. p , A.
tSpohr: Concerto for Violin and Or-
chestra, No.8, in A minor, Op. 47 SPOHR: Concerto for Violin and Or-
tTcharkovsky: Serenade melancolique, chestra, No.8, in A minor, Op. 47 -
Op. 26 See R6zsa: Concerto for Violin and
Jascha Heifetz, violin; Dallas Symphony
Orchestra, Walter Hendl, condo (in the
R6zsa ) ; RCA Victor Orchestra, Izler STRAUSS: Elektra: excerpts; Salome:
Solomon, cond o (in the Spohr); Los excerpts
Angeles Philharmonic Orchestra, Alfred Le Bourgeois gentilhomme, Suite, Op. 60
Wallenstein, condo (in the Tchaikovsky). Elektra: from Allein! Weh, ganz altein
RCA VICTOR LM 2027. I2-in. $3.98. to entrance of Chrysothemis ( I;:lektra) ;
from 117as willst du, /remder Mensch? to
Hungarian-born Miklos R6zsa came to end of duet (Elektra, Orest); from Elekt·ra!
Hollywood with an established reputation
as a serious creative musician - and has Heifetz collaborates with the composer. Continued on page 92


.....•••• ~ ••.I'..
• • •4 : ".to

.., .•... ...
.... •
, \

There were nights when the amiable and sprightly
symphonies rushed from his pen: he was 'Papa' Haydn,
the musical darling of his age.
But there were also nights when Haydn heard the
celestial 'music of the spheres.' At such times were
born the inspired and radiant oratorios-The Creation
and The Seasons-that make him a giant for all ages.
D ecca, too, has lavished care and inspiration on
the 'live' high fidelity Gold Label recordings of these
masterpieces. Listen, and you walk with Haydn among
the stars ....

The Creation: Soloists ....

Seefried , Holm, Borg,
Choir of St. Hedwig's Ca-
thedral, Berlin Philhar-
monic Orches tra, Igor
Markevitch, Conductor.
D eLux e set. Complete
German-English libretto.
2 Long Play Records.

The Seasons: Soloists-

Trotschel, Ludwig,
Greindl, Choir of St. Hed-
Wig's Cathedral, RIAS
Chamber Choir, RIAS
Symphony Orchestra,
Ferenc Fricsay, Conduc-
tor. DeLuxe set. Complete
German -English libretto.
3 Lmig Play Records.

ll.ecorded in Europe by Deutsche Grammophon G esellschaft.

Availa ble at fine R ecord Stores everywhere.
~ ®
, r~~'~

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I;/'~:~r,;t:\..-. ..-;\ }
, a NelN World or Sound ~
l ~~~~4 I "You Can Hear The Difference!"
f" In the studio, great musical. performances are captured, using the most
, ':->.~¢: ':;" ': . advanced sound engineering techniques. In the factory, white-gloved
, craftsmen compression mould each Long Play record of silent poly-
,,~ ,\ styrenepb Y aflrevolutionhary new procesds. The lrecord is infserted in a pro-
f • f~ "- tective 0 ly ex case. T e Decca recor you pay, is a per ect marriage 0 f
i , \~:. .' ~ __" musical artistry and recording techniques, truly a New World of Sound.
~. ':i ~~1~. , .~:.,. 1. .";,",
~~,~ \~~..' .. ~,' 1tlt.~.l~ ..

Schwester! komm mit 1tnS! to end. Salome: Cetra set - blazingly conducted by Dimitri and balance, this is much the closest any-
Ach! Du wolltest mich nicht dein M1tnd Mitropoulos, bur taken down at the 1950 one has come to recording the total effect
kiissen, Jochanaan (Salome) . Florence Maggio Musicale and subject to of the score, from its psychotic quavering
the failings of audience-present conditions strings to the giant tam-tam strokes at
Inge Borkh (s), Elektra, Salome; Frances - only excerpts, by Decca and RCA Victor rhe end; and if the voices are sometimes
Yeend (s), Chrysothemis; Paul Schoeffler and now RCA Victor again, have been almost overwhelmed, as they are in live
( b) , Orest. Chorus from Lyric Theater released. Under the circumstances, the performance, they are never qui te lost.
of Chicago and Chicago Symphony Or- newest issue is almost more a frustration As Elektra, Inge Borkh is extraordinary
chestra; Fritz Reiner, condo than a welcome addition. without seeming the ultimate in interpre-
RCA VICTOR LM 6407. Two 12-in. $7.96. tation. The voice is big and quite clear.
Although late last seaso n the Chicago
First heard in 1909, the bloody pande- Symphony assembled a cast ( including with a free and unproblematic top that has
monium of Strauss's symphonic score and Julius Patzak as Aegisth ) for two full con- edge enough to cut rhroug h in almos t all
the spectral horror of Hofmannsthal's late- cerr performances of the tragedy, at the contexts, but with a certain lack of core
romantic Sophoclean tragedy combined in last minute RCA Victor decided to record in the middle and a tendency (scarcely,
the final engulfment of Wag nerian music- only excerpts - a piry in any case, and in this music, disqualifying) to develop a
drama. Beside Elektra, Salome seems additionally so because this album turned wide waver when under extreme pres-
musky naughtiness. And, two years later, our to be such a sorry botch , in spite of its sure - especially in the scene with Chtyso-
D er Rosenkavalier, for all its hundred- merits. In place of an Elektra, the listener themis (not otherwise excerpted on
piece orchestra, began a withdrawal towards has offered him two disks that contain a records ), in which Frances Yeend obliges
the relative classic purity of the music for swatch of three sections - in nonsensical her by singing with very similar tone and
the Hofmannsthal gloss of Moliere's Le order, with the finale in rhe middle- a waver of the same frequency, if not in
Bottrgeois Gentilhomme, which is to say, packaged with the mos t usual excerpt as good German. In the recognition-scene
towards Ariadne auf Naxos. Yet in spite from Salome ( presented concerr style; no duet with Orest, and in her monologue,
of its notoriety, Elektra makes such g reat Herod or Herodias), and the suite from she is somewhat less demoniacally intense
demands - orchestral and hence vocal- Le Bottrgeois gentilhomme with two of as a character than Christel Goltz, in the
rhat it is relatively little performed. And the nine movements ( the Lully minuet Decca excerpts (where the balances place
for similar reasons, it was for long not and the COltrante) crowded out. the voices much more considerately, and
to be heard at all on records . The most impressive feature of the set, less authentically, in the foreground of the
By the same token , Elektra, so nearly and parricularly of the Elektra porrions, mass ), or than Erna Schliiter, in the old
self-sufficing aurally, would seem to be an is the power and glow of the orchestral Victor recording ( now out of Schwann,
ideal subject for the best modern micro- sound obtained by Fritz Reiner and caught but findable ) led by Sir Thomas Beecham;
groove attention. Yet, other th an the by the RCA engineers. In depth, color, Continued on page 94

Delicacy and Flexihility Distinguish Non-Danuhian Strauss

THE VIENNESE have long cherished the adding pleasure to an orchestral texture certain amount of wistfulness that is ex-
proposition that the music of J ohann hard to fault. The over-all sound is big, tremely attractive. Occasionally he seems to
Strauss can be played properly only by with plenry of "room" around it, not ac permit the tension to droop slightly, an
one of their own orchestras. There are, all empry, but suggestive of a well-filled effect that may be intentional, since it
they aver, cerrain matters of musical style and very large ballroom. I can't imag ine doesn 't detract from rhe performance. Kara-
absolutely indispensable - and absolutely a sound more appropriate for this music. jan's tempos are rhe merest shade faster,
unexporrable. Hesitations, antIcipations, Bruno Walter is, of course, an old hand and they seem to brighten rhe orchestra color
the lightest accent on the second beat with Strauss, and though it must be nearly somewhat. Where delicacy and flexibility
after an almost imperceptible pause, and twenty years since he made those memo- of phrasing are concerned, I think things
the all-important question of correct em- rable records with the Vienna Philhar- are about equal between them. The playing
phasis are some of the intangibles that are monic, for Victor, the delicacy, the touch, of Walter's New York orchestra, while
supposed to elude all but the orchestras of the mastery is as pronounced today as ever. not quite the peer of the Philharmoni a's,
true Austrian heritage. Well, certainly As three works by Johann Strauss are com- is always excellent, full of verve and very
there are some non-Viennese recordings mon to each record, it is instructive to ob- much in the true Viennese spirit. Colum-
in the catalogue so rigidly controlled and serve how each conductor treats them. bia's sound is appropriately warm and mel-
so unyielding in tempos as to suppOrt this Walter seems a little more tender in his low, but considerably more enclosed than
contention; but it was merely a matter of handling of this music, treating it with a that of the Angel disk. Wherher this
time before a disk appeared that would lessens the effectiveness of the performance
prove the fallaciousness of such a chau- will be a matter of personal taste. I hap-
vinistic musical claim. This month we pen to think that it does, if only slightly.
find not one, but two excellent recordings Even so, I would be very happy with
of Strauss music - the first made in either, or both, of these records , which
London, rhe second in New York - that are herewi th reco=ended without any
can easily hold their own with any reservations. J. F. INDCOX
emanating from the Danube.
The Angel, appropriately entitled Cham- STRAUSS: Waltzes and Overtures
pagne for Orchestra, is a heady brew of
Johann Strauss: D er Zigettnerbaron, Over-
music by rhe brothers Strauss, Johann and
ture; Bltte Danttbe Waltz; Artist's Life;
J osef, brilliantly directed by Karajan and
Empero,' Walcz; Pizzicato-Polka. Josef
wonderfully played by the Philharmonia.
Strauss: Deli"i1tm Waltz.
N o doubt, the conductor's affiliation with
Vienna has much to do with the sunny Philharmonia Orchestra, H erbert von
and idiomatic performances, though it Karajan , co ndo
must be said that the English instru- ANGEL 35342. 12-in. $4.98.
mentalists play with such enthusiasm and
nuance that the Prater might easily be Johann Strauss : Emperor Waltz; Tales
thought of as their operating base, rather from the Vienna Woods; Die FledermattS,
chan London's sober West End . They have Overture; D er Zigettne·rbaron, Overture;
been exceptionally well served by Angel's Wiener Blltt; Bltte Danube Waltz.
engineers in the matter of sound. Strings Columbia Symphony Orchestra, Bruno
and woodwinds have a silvery sheen to Walter, condo
them, the brass a glowing warm tone, both Strauss, bt'othel' Johann. COLUMBIA ML 5II3. 12-in. $3.98.


No gift gives more than music - to receiver
and giver, alike. No record gives more music than
WESTMINSTER - the only records with "Natural Balance".

Gift Albums The London Symphonies (Nos. 93 through 104). Vienna State
BACH Opera Orch. and Vienna Symph. Orch.; Hennann Scherchen condo
(6 records) WN 6601
Mass in B Minor. Loose, Ceska, Burgsthaler-Schuster, Dennota, Poell,
Heiller (organ), Vienna Symph. Orch. and Akademie Kammerchor; RAMEAU
Hennann Scherchen condo (3 records) XWN 3305 Complete Harpsichord Works. Veyron-Lacroix.
St. Matthew Passion, Laszlo, Roessel-Maidan, Munteanu, Standen, (3 records) WN 3303
Cuenod, Rehfuss, Symph. Orch. and Chorus; Hennann Scherchen
condo (4 r ecords) XWN 4402
Christmas Records
Well.tempered Clavier (Books I and II). Demus, piano. (5 r ecords) Adventure in Carols. Ferrante & Teicher, duo-pianos. WP 6021
WN 5501 A Festival of Lessons and Carols. Choir of King's College Chapel,
BEETHOVEN Cambridge, McLean (organ); Boris Ord directing. WP 6036
Symphonies (Nos, I through 9). Vienna State Opera Orch. and American Children Sing Christmas Carols. WP 6025
Philhannonic Symphony Orch. of London; Hennann Scherchen condo Carillon for Christmas. Rohert Lock<mith. Rohert Owen, organs.
(7 records) WN 7701 WP 6020
String Quartets Op. 18 (Nos. 1-6). Baryill Quartet Choral Evensong at King's College Chapel. Choir of King's College
(3 records) WN 3302 Chapel, Cambridge ; Boris Ord condo WP 6026
BRAHMS Christmas at Home (Let's All Sing Carols). Westminster Choraleers.
Symphonies (1-4), Alto Rhapsody, Haydn Variations, Academic WP 6027
Festival and Tragic Overtures. Philhannonic Promenade Orch.; Sir Christmas at Radio City. Dick Leibert, organ. WP 6035
Adrian Boult condo (4 records) WN 4401 Christmas Carols. Deutschmeister Band; Julius Hennann condo
WP 6024
CORELLI Christmas Carols. Conducted by Frederick Jackson. WP 6033
12 Concerti Grossi (Op. 6 complete). English Baroque Orch.; Argeo Christmas Carols. The Randolph Singers; David Randolph condo
Quadri condo (3 records) WN 3301 Vol. I WP 6022
Concerti Grossi - Op. 6, No.8, G min. ("Christmas"); Op. 6. No. Vol. II WP 6023
11, B Bat maj. English Baroque Orch.; Argeo Quadri condo Chrisbnas Carols from Austria. Vienna Akademie Kammerchor;
(l r ecord) W-LAB 7015 Gunther Theuring condo WP 6019
HANDEL The Christmas Story in Carols. Scriptures read by Basil Rathbone.
The Messiah. Ritchie, Shacldock, Herbert, Standen, London Syrnph. music by Randolph Singers, Choir of King's College Chapel, Vienna
Orch. and London Philh. Choir; Hennann Scherchen cond o Akademie Kammerchor, others. WP 6034
(3 r ecords) XWN 3306
Beloved Choruses from "Messiah". London Symph. Orch., London For the Collector with "Everything"
Philh. Choir; Hennann Scherchen condo (1 record) WN 18099 TRC: Check and Double Check. "It's a tool, not a record' '' 'Test and
Concerti Grossi for String Orch., Op. 6. English Baroque Orch.; demonstra tion material with lucid commentary by John Conly. Editor,
Hennann Scherchen condo (4 r ecords) XWN 4403 High Fidelit y. The fin est available check-up of an audio system!

YOUR DEALER, or write WESTMINSTER RECORDS, 275 Seventh Ave., New York City 1, N. Y., for information.

NOVEMBER 1956 93

but she is more on the mark as to notes, He has a keen ear for harmonies and ef-
and accomplishes a good deal dramatically. RECITALS AND fects , timing his punctuating percussive
As in the old RCA, Paul Schoeffler is a devices with the utmOSt accuracy and deli -
strong, authoritative Orest, although the
MISCELLANY cacy. Sometimes, a bizarre sense of humor
dessicated sound of his voice does make appears , as when he beg ins This Can't Be
it seem even odder than before for Elekrra RAY BOHR: The Big Sound Love with the toccata figura tion from
to address him as "mein armes Kind." Widor's Fiftb Organ Symphony. The
In the Salome concert-finale, Miss Borkh I've Got Rings o'n M" Fing ers; This Can't heavy-handed cuteness of T eddy Bears'
is - rightly, in my book - on the pure Be Love; Melody of Love; T eddy Bears' Picnic should bring a wave of nostalgia
1mgehetterische side and, apart from odd- Picnic; Hernando's Hidea:raw As Time to anyone who ever watched two-reel silent
ities about her efforts to get pJano tones, Goes By; F1tnic1tli-F1tnic1tla; Laura; March comedy films as they were accompanied
on the best level vocally. The incidental of the Marionettes; Attttt1nll Leaves; Pa- by an organ. Mr. Bohr 's instrument is
music for the comedy that was acted be- rade of the 11700den Soldiers; Me and My unspecified, but with all its fa!1CY accouter-
fore the first version of Ariadne aftf Naxos Shadow. ments it must be one of th e g iant Wur-
is quite well played, but better heard in Ray Bohr, organ. litzers. An eminently satisfactOry record
other company and itl toto. Texts for the RCA VICTOR LPM 1306. 12-in. $3 .98. of its kind. R. E.
excerpts given, but no really adequate notes
to explain how the pieces of Elekt·ra ought Associate organist at Radio City Music
to fit with each other. J . H., JR. Hall in New York, Ray Bohr upholds the
Variations for Two Pianos
highest traditions of the movie-palace or-
TCHAIKOVSKY: Shbzade mela1t- gani st. Like George Wright, he never Brahms : Variations on a Th eme by Haydn,
colique, Op. 26 - See Rozsa: Con- loses his sense of rhythm , even in the most Op. 56b. Schumann: Andante and Varia-
certo for Violin and 01'chest1'a, saccharine versions of sentimental pieces. tions, Op. 46. Saint-Saens : Varia/ions on
a Theme b" Beethoven, Op. 35.
- - - - - - - - - - - - - - - -

, brilliant NEW

The 'initial release of Concen Hall
Binaural Tapes was a huge success~
you gave them a terrific reception! 'W;e
Arthur Ferrante and Louis Teicher, two
WESTMINSTER XWN 18I69· I 2-10. $3.98.
releases of the sensational promised more on schedule and here Ferrante and Teicher, a pair of young
they ar~seven more beautifully re- ' American-born and trained pianists who
corded, high-fidelity binaural releases, have successfully invaded the concert field
BINAURAL Fsted .belew. thll"". as a team, tackle here three worthy, if
PLUS an unbelievable first standard, thrice-recorded works. The play-
stereophonic ing has the scrubbed, impeccable quality
one expects from the younger generation of
pianists, but these two artists bring an

by Concert Hall Society only $4 extra warmth and intimacy to the Brahms
generous excerpts from F.IRE8IRD, EL AMO~ and Schumann that give this disk its
NUTCRACKER SUITE, FINLANDIA, DOWN THE distinction. On the other hand , the Saint-
MIDDLE WITH JIMMIE McPARTLAND Saens is somewhat lacking in elan . The
BINAURAL Pull 1200', 7" 1'eel+ 7V2 ips stacked or piano tOne, limpid and mellow, is a pleas-
TAPE SAMPLER staggered, Bound 'to please, a1~d it's ure to hear. For those who are interested
yours for the manufactm'ing cost~ in this grouping of works, it should be
jllSt, $4! See Y01tr dealer soon! • noted that Luboshutz and Nemenoff play
them (plus a Mendelssohn Allegro Bril-
liant) on an inexpensive Camden disk;
BN-14 Handel: Water Music their performances are more brilliant than
(complete) " ' .. those on the present release, but the sound
BN-1S* Tschaikovsky: N~tcract(' is outmoded. In the long run, I think the
Ferrante and Teicher record will prove the
Suite-Sibelius:A Finla
' A preferred version, R. E.
BN-16 Barrelhouse an'tt .Blues
BN-l7- Lehar: The Merry' Wid0'Y* THE KING OF INSTRUMENTS: Vol,
IX: The Mother Cburch, Boston
BN·l8 Verdi: Requiem »
BN-l$" Rachm~ninoff: $~nop~4.' Buxtehude: Prelude and Fugue in G
minor. Bach: Chorale Prelude, ill dir ist
Concerto .#2 in; C minoi ' Frettde (BWV 6 I 5); Fantasie and Fugue
BN·20..; Brahms: Violin ' Concerto',. in G minor (BWV 542 ) . Franck: Piece
$ in D Major 1. Hero1.qtte. Purvis: Chorale Prelude, Tallis'
Canon. Widor: Adagio from Symphony
No. 6 for Organ. Brahms: Chorale Pre-
Additional tapes will be released by lude, Es ist ein' Ros' entspl'ltllgelt,
the time you read this advertisement! Ruth Barrett Phelps, organ.
Keep up to date-write for your free
copy of the latest Concert Hall AEOLIAN-SKINNER. 12-in. $5.95.
Ruth Barrett Phelps is organ ist of the First
Concert Hall Binaural Stereophonic Church of Christ, Scientist, in Boston-
Tapes are available at record dealers the Mother Church - where Aeolian-
mzd hi-fi· audio centers, 01' write f01- Skinner has installed the largest church
the name of your' nearest dealer. organ, with 13,389 pipes, in the Western
Hemisphere. The specification was de-
sig ned by Lawrence I. Phelps in conjunc-
ti on with the late G. Donald Harrison,
and the organ was comp leted in 1952.
This is ' one of the less distinctive records
," '--- - - -11 in the ad mirable King of Instruments
series, although Mrs. Phelps is a con-
________________ 1I
45 23, N.V.

Contimtecl 012 page 96


PURCELL: Ode for St. Cecilia's Day
Soloists. chorus. orchestra. Tippett condo BG·559
COlmter·teno r
accompanied by lute. recorders and viols THE AGE OF WILLIAM BYRD: Songs for Voice and Viols BG·557

and the ALFRED DELLER CONSORT, a capella TAVERN SONGS: Catches and Glees of Merrie England BG·561
<On Deller} \\This music is of incredible beauty and the performances
are flawless." Musical America. (On the Deller Consort) "Beyond ques-
And don', miss
tion, the loveliest madrigal singing this listener has ever heard on THE THREE RAVENS: Songs of Folk and Minstrelsy of Elizabethan England VRS·479
records." Parmenter, N. Y. Times. THE ENGLISH MADRIGAL SCHOOL, Vol. 1 and 2 BG·5H and BG·554

~OLlI~liJflI IO)lI ~.AG~~1B

VIV ALDI: Two Oboe Concertos, Bassoon Concerto, Concerto "Alia Rustlca,"

and two Symphonies BG·560
1I J. S. BACH: Double Concerto (oboe and violin) and Triple Concerto (flute,
conducted by ANTONIO JANIGRO
"The homogeneity of the sound, the unity of the strings, the perfection violin and harpsichord). BG·562
of detail, places this ensemble among the finest of its kind." Le Guide And don', miss
du Concert, Paris. ROSSINI: Four Sonatas for Strings VRS·488
MOZART: Divertimenti K. 136, K. 137, K. 138, and Serenata Notturno VRS·482

conducting the Vol. l-Legends and Sagas - En Saga, Swan of Tuonela, Pohjola's Daughter,
"A sincere '!Iusician, intent only on dOing justice to the music he Vol. 2-Patriotic and Nature Pieces - Finlandia, Oceanides, Nightride and Sunrise.
prese nts." 0110 Downes, N. Y. Times. Tempest Prelude. TaplOla VRS.490

A~IiJf@~ ~A1UI'lLm~ JOHANN STRAUSS: The Gypsy Baron (complete)

conducting featuring ERICH KUN Z, EMMY LOOSE, and Vienna State Opera stars
"Some of the most delightful performances of music by the Strauss And don', miss
femily to appear in recent years have come from the baton of Anton MILLiiCKER: The Beggar Student
Paulik, leading conductor of the Volksoper for 15 years . . . The (complete) featuring Wilma Lipp 2·12" VRS·474/5
spirit of Vienna pervades these performances." American Record Guide.
"Notable for the elegance and authentic sty le of the orchestral playing and Paulik's six glorious reevrds of Strauss woltzes, Polkas, and Marches
and the excellence of Vanguard's sound." High Fidelity. VRS·438, VRS·443, VRS·4H, VRS·458, VRS·4~9, VRS·476

GERMAN UNIVERSITY SONGS, of Wenching, Wining and other
"One of the most thoroughly musical and light·hearted disks to come
along in quite some time . . . Kunz has never been in better voice or
more joyfully recorded," N, Y. Herald Tribune,

MAmK«i> If,?.(lj)~~1I
Irreverent Pastimes
(wi th m a le chorus. orchestra. litschauer conducting)
And don" miss
ERICH KUNZ'S performance in The Gypsy Baron

DVORAK: Slavonic Dances, Op. 46 and Op. 72 (complete)

RIMSKY-KORSAKOV: Scheherazade, Op. 35


conducting the THE VIENNA STATE OPERA ORCHESTRA Special High Fidelity Demonstration Release SRV·I03
"Rossi interprets music with a finely baJanced combination of skill, And don', miss
feeling, imaginatio n and' taste that is nearly flawless . • . Some details HAYDN: Lord Nelson Mass VRS·470
of nuance, rh)'thm and phrase are so cunningly wrought as to raise your PERGOLESI: Stab at Mater BG·5 49
hackles in the delight of recognition," Boston Globe. PROKOFIEV: Alexander Nevsky VRS·451
BRAHMS: Hungarian Dances (complete) VRS·473
ROSSINI: Seven Great Overtures VRS·456

HAYDN: "London" Symphonies No. 99 and No. 102 VRS·49 1

MOGBN~ W<OlLm>lI~B "London" Symphonies No. 100, "Military," and No. 101, "Clock"
conducting the THE VIENNA STATE OPERA ORCHESTRA "London" Symphonies No.1 03, Drum Roll and No.1 04 VRS·493
"One of the world's most distinguished conductors of classic and baroque
mUSiC, Woldike is now responsible for the finest performance and re- And don', miss
cording of The Creation . • . This is a tremendous set." Paul Hume, HAYDN: The Creation
Washington Post. (with Stich·Randall. Dermota, Felbermayer, Guthrie and Schoeffler) 2·12" VRS·471/2
MOZART: Haffner Serenade, K. 250 and IntroductorY ,March, K. 249 VRS·483

Great Artists Bring You Christmas Cheer

'lrlmlE: E@lLLY .A~m> IiJflmlE lIVY
Christmas Carols of Old England
Alfred Deller, counter· tenor, ace. by lute ond recorder, and the Deller Consort VRS·499

The Welch Chora le and Music Boxes from the Bornand Collection VRS·428
List price-ali 12"-$4.98 Special Demonstration Record {SRV·103J-$1.98 ;!I~

NOVEMBER 1956 95

scientious, first-rate organist; the instru- With the Wind; Washington and Lee The instrument displayed here is in the
ment, for all its size, is a model of clarity; SUJing. Byrd Theater in Richmond, Virginia, and
and the engineering is impeccable. While a fine mammoth toy it is - you should
Dick Leibert, organ.
using appropriate stops for the various hear what goes on in the Little Clock Shop.
WESTMINSTER XWN 18245. 12-in. $3.98.
musical styles she handles here, Mrs. The specifications are listed, and just
Phelps seems to favor conservative regis- Westminster has gotten on the "Mighty reading them is entertainment enough.
trations, of a quiet, cool order, and the Wurlitzer Pipe Organ" bandwagon and There are short articles on the instrument,
instrument's notable point is its transparent done it in wholehearted, splendid fashion: the theater, and the recording technique,
sound when some fairly heavy, non-bright this might be Carl Weinrich playing the and a four-page, highly satisfying hymn to
stops are used. The organist's playing is complete works of Bach, for aU the elab- the Mighty Wurlitzer by Ben Hall, whose
outstanding in the Widor Adagio, where orate presentation. Mr. Leibert, organist purple prose does appropriate justice to
her dignified and serene style makes its of Radio City Music Hall since its opening, the subject.
greatest effect. R. E. has become a familiar name to many As is often the case with Westminster,
people, and rightly so. Not as showy the engineering is almost too intimate.
a technician as, say, George Wright, Mr. Most theater organs sound, however clearly,
DICK LEIBERT: Leibert Takes Rich- Leibert creates through various contra- as if they were at the other end of a
mond puntal devices some effects that are seem- cavern. But it is ungenerous co cavil about
Dixie; In the Still 0/ the Night; In a ingly improbable coming from one player. this kind of immaculate reproduction of
Little Clock Shop; St. Louis Blues; No It is these devices and his subtle rhythmic a notoriously difficult instrument. Highly
Other Love; Old Man River; Greensleeves; changes in a piece that make his playing recommended to the Mighty Wurlitzer
Holiday /01' Strings; Autumn Leaves; Vir- richer, more musically complex than that buffs. R. E.
ginia Hoe·Down; Tara Theme /-rom Gone of his colleagues.
Edited by Curt Sachs.
FOLKWAYS P 525. Two 12-in. $11.90.
A brilliantly conceived and executed aural
history of the evolution of musical in-
struments. The material is so organized
as to give a comprehensive picture not
only of the logical progression from one
basic means of musical expression to
the next higher, but also of the relation-
ships between individual instruments and
families of instruments.
The musical examples - which run
Here'S the most exciting news since from foot stamping through jew's-harps
you first discovered the listening pleasures to hurdy-gurdies - have all been selected
HERE ARE A FEW from the Ethnic Folkways Library. While
MEMBERSHIP BENEFITS of recorded tapel necessarily spotty, the engineering has
been improved wherever possible. An ex-
20% SAVINGS ON AT LAST ... you can stop wearisome shopping cellent illustrated booklet with text by
RCA, HMV, Omega, Hi-Fidelity, Liv. tours hunting for the recorded tapes you want. Curt Sachs accompanies the album. H. 1.
ing5ton, AV, Concert Hall.
The Stereophonic Music Society has been
20% SAVINGS ED McCURDY: When Dalliance Was
ON MONAURAL TAPE created to serve the needs of every music lover
in Flower
(Complete listings in " Harrison Cata-
logue of Recorded Tapes',' or "Tape who appreciates the true fidelity and Ed McCurdy, baritone; accompanied by
Reel." You receive a copy of onc upon
receipt of membe~hi'p application.) convenience of this ultimate music medium. Erik Darling, banjo, and Alan Arkin, re-
This unique plan offers you one central· source corder.
UP TO 50% SAVINGS ELEKTRA EKL IIO. 12-in. $4.98.
ON RECORDING TAPE for evety fine Tecorded tape on the market,
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FREE MUSIC -passes on tremendous savings to you! guaranteed to curl the vicar's hair. Most
MAGAZINE SUBSCRIPTION seem to have been culled from D 'Urfey's
You get 1 year subscription (regular magnificent, lusty, and lamentably neg-
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age of tape, records and FM, reviews, Your entire cost for participation in the Society Purchase lected Songs of Wit and Mi'rth. McCurdy
articles, etc. .
Plan· and all tbe privileges described for a period of has done an outstanding job of setting the
FREE CATALOGUE 6 Months ..... ...$6.00 1 Full year ........ $9.00 ballads to traditional tunes, all of which
OF RECORDED TAPES The Stereophonic Music Society opens the door to yOll seem to reflect the precise spirit of the
Complete-up-to-date tally distributed to the finest recorded tapes in the world-oDered to you song in question.
quarterly. as soon as it is made available by all labels-at prices As for the actual vocal work, McCurdy
you can't beat anywhere. Send in this application b/an.k
NO MINIMUM PURCHASE today, and enjoy the benefits 0/ membership immediately! is, as ever, a pleasure to hear; and, . as
REQUIREMENT ever, his interpretations are both lively
Order as few or as many tapes you .------. MEMBERSHIP APPLICATION FORM .------
and intelligent. Erik: Darling and Alan
, 303 Grand Avenue, Palisades. Park, N. I. Arkin furnish inspired support wi th banjo
I GENTLEMEN: Please enroll me for a B~ ;e~~th period as a member in the and recorder respectively. Complete texts
I.Stereophonic Music Society. I understand that I am under no obligation to and well-written jackets notes by Nina
• purchase any specified minimum of stereophonic, monaural or recording Merrick round out a thoroughly pleasur-
, tapes under the Society's discount purchase plan. As part of my membership
I I am entitled to a free one-year subscription to Hi·Fi Music Magazine, as able and superbly engineered release. But
~ well as the quarterly listings of all· recorded stereophonic and monaural remember, the songs are really earthy.
I tapes available. H. 1.
, M D Check f D $6.00 is enclosed herewith (payable to Stereo·
I y D Money Order or D $9.00· phonic Music Society, Inc.!.
I NAML ............... .................... ,.... .
I· ADDRESS .. ,.. .. ,.. ,.. ,....... ,.. ZONE ....CITY,....... . ...,STATE, MADO ROBIN: Arias from Bellini
I MAKE OF TAPE RECORDER ...,.. Operas; Songs
I D Stereophonic D Stacked Bellini: La Sonnambttla : Come per me ser-




eno . . . . Sovra il sen; Ah! n o·n credea When he made his debut, in 19II, well into his seventies, like Mariano Stabile
mu-arti ... . Ah! non giunge. I PU"itani: Schipa was likened to Alessandro Bonci- today, Schipa knows his resources and
Son vergin vezzosa (Polacca); Qui la voce then at his peak. In turn, numerous tenors manages them with consummate poise,
... . Vien, diletto (Mad Scene). Eva dell have been likened to Schipa - and still seldom going for an effect that might
'Acqua: Vilanelle. Heinrich Proch: Theme are. Now he is all but retired at sixty- not come off. Thus there is no flourish-
and Variations. Luigi Arditi: Il Bacio. seven, yet still a symbol of perfection and ing turn at the end of Passione, but the
Alexander Alabiev: Rossignol. purity of vocal style. song makes its point. For the defining
Basically a leggero tenor with a voice qualities are all here: the precision of
Mado Robin , soprano; London Symphony
pleasant but not imposing, Schipa found line; the shaping of each syllable co its
Orchestra, Anatole Fistoulari, condo
his best metier in such operas as La note; and, above all, the tact, the cotal
LONDON LL 1403. 12-in. $3 .98.
Sonnambttla and UElisi·r d'Amo·re, and he absence of mannerism with which each
The reigning coloratura of a not-great never, to my knowledge, attempted any- song is made co seem a direct personal
generation in French opera singing, Mado thing heavier than, Rigoletto or Lucia di communication, offered as an honorable
Robin has appeared in this country only Lamm ermoor. Here, in music of modest confidence to some one person sure to
for one San Francisco Opera engagement, demands, he sounds much as he did ca. understand and protect it.
and then her success was at best ambiguous. 1948 - the tone not as fine-spun, darker, No texts, but fascinating biographical
However, her London recordings have won and momentarily unsteady under stress, but notes. Who knew that Schipa made his
her a following, based in good part on the the voice intact and generally well kept. real debut in opera as the child who sings
fact that she can , and does, produce high Like the late Giuseppe de Luca, who sang Continued on page roo
tones of the same general tropospheric in-
credibility that earned such singers as, say,
Ellen Beach Yaw and Erna Sack earlier HONY ' OPERA' JAZZ' DANCE ' FOLK · POPULAR· M
notoriety. Whether the tone is properly a
cone or merely a zinging noise is perhaps ODD -CHILDREN'S ' SY/J;1PHONY' OPERA' JA ZZ ' DAN
debatable. But it is high.
Apart from such space-flight phenomena, CE' FOLK ' POPULAR ' IvtOOD . CHILDREN'S' SYA1P/7
the singing is rather ordinary, even if con-
sidered purely as technical display. The
coloratura is variable - best when the
music is fast and stabbing, least satisfactory


when contours matter more. Miss Robin
can spin out a pleasant line, but not, it
seems, a communicative one, and her treat-
ment of slow turn figurations in Bellini is HONY' OPERA' JAZZ ' DANCE' FOLK' POPULAR· M
square and mechanical. Thus she shines
most brightly in such bits of young-girl DOD' CHIL4(lNDy,8FoMUStCJAZZ' DAN
high spirits as "Sovra il sen" and "Son
vergin vezzosa," where a blank vocal per- , CE · FOLK' POPULAR' A100D' CHILDREN'S' SY/V/P/7
sonality makes at least some sense. The
Bellini excerpts are done in "concert form,"
which means that they are pruned down
to display essentials. The songs on the OOD ' CHILDREN'S' SYIII/PHON Y ' OPERA· JAZZ' DAN
reverse are all of the kind that used to be
interpolated in the lesson scene of Il
Barbiere di Siviglia before it became the
fashion to use the music Rossini wrote;
CE' FJflfoBl8 .NAM ft /PRtClf 14PH

they are sung with a good deal of surface only $1.98 for each 12" Long Play; only 79~ for each 45 EP
brilliance. No texts; notes. The sound is
quite good. J. H ., JR.

TITO SCHIPA: Canzoni napoletane

Pisano; Cioffi : 'Na sera 'e maggio. Bar-
thelmy; Marvasi: Chi se nne scorda cchiu'.
Turco; Denza: Funiculi' funiclda'. Tagli-
aferri; Bovio: Passione. Manlio; Caslar:
Te sto' aspettanno. Manlio; Gigante: Des-
iderio 'e sole. Murolo; Oliviero: 0'
ciucciariello. Schi pa; De Giacomo: Pian- Toscanini and The New York 13 all· time greats, including America's beloved folk.singer
nefJorte 'e twtte. Philharmonic in work s by Oscar Peterson, Waller, Tatum brings you 13 of his finest
Brahms, Rossini, Mozart and and Garner, bring you an un- performances. 12" Long Play
Tito Schipa, tenor; orchestra, Mino Cam- Mendelssohn . 12" Long Play equalled jazz concert. 12" Long (CAL·330) 51.98
panino, cond o ( CAL·326) $1.98 Play (CAL·328) $1.98
DURIUM DLU 96020. ro-in. $2.98.
For a singer so esteemed, Tito Schipa is Dance With Me. Vaughn Monroe and his Orch. An Hour of Favorite Stories For Children. Paul Wing
play 12 hit s by Victor Herb ert and Cole Porter in narrat.. 9 popular children's tales. 12" Long
decidedly not well represented on LP. So,
dance tempo. 12" Long Play (CAL·329) 51.98, Play (CAL·364) S1.98; .included in 3·45 EP's
for want of a microg roove drawn from 4·selec ti on 45 EP's (CAE·364, 365) 79¢ ea.
Victor archives and a reissue (Camden?) (CAE·291 , 366 , 297) 79¢ ea.
Favorite Operatic Arias Transcribed For String Johnny Stranger. Ray Middleton with the Russ
of the fine old D on Pasqltale, Schipa ad- Orchestra. Orches tral arran gement s of 16 favorite Case Orch. tells th e story of a little boy's quest
mirers have had either to ferret for his arias perform ed by David Whitehall and his Orch. for "Uncle Sam." Plays 16 minutes. 45 EP
prewar 7 8s or do without. No change 12" Long Play (CAL·327) 51.98; 4·selcction 45 (CAE·367) 79¢
is in view on that front. Meanwhile, this EP (CAE.363) 79¢ The Unsuccessful Elf. Anoth er enticing children's
release by Durium adds something new- Today-'s Hits. J ohnn y Guarnieri and The Townsmen : record , narrated by Paul Wing with the Joseph
performances of Neapolitan songs, well Friendly P ersuasion, The Bus Stop Song, Just Le Mair e Orch . Plays 16 minutes. 45 EP
recorded, and seemingly of recent date. It
repairs no old neglects, and the music
qua music is on the candy-apple level of
Walking in the Rain, Blucberry HilI. 45 EP
(CAE·337) 79¢
(CAE·368) 79¢
~~~~~ ......
nutritional value; but the singing is fre- See your nearest record dealer for these great values I
quently of remarkable quality. Nationally Advertised· Prices-Optional

NOVEMBER 1956 97

Recently The Music Between by Murray Schumach

THE MUSE of the record business, a spells on In Love Again (CA L 3 I 2). Mr.
pracrical hussy who always keeps at Rene seems to strive for the romance that

1955 least one ear attuned to the merry tinkle

of the cash register, is very busy these
days spreading the gospel of "mood music."
What used to be considered not so long
excites without embarrassment. For him
Cole Porrer is what Gustav Mahler is for
Bruno Walter. He warms up 117 ere Th i1l-e
that Special Pace with tambourines , and
ago as just dance rhythms are now being to 1l71mderbar he brings a sauciness that

HitJk 1idelifIJ hawked as indispensable atmospheric ac-

companiments for eating, drinking, ro-
mancing, and , above all, talking. These
might, I think, suit even the fasti dious
Mr. Porrer.
This gay approach can be carried too
records , presumably, ca n transform liver- far. Personally, I'd rather spend an eve-
RECORD REVIEW wurst into caviar and make any small-town ning crying in my beer than depend for
matron think her Sarurday night get-to- effervescence on Lawrence Welk, who is
gether nothing less than a Parisian salon. starring for Epic on The Champagne
Because this sorr of music, seemingly Magic (LN 3247). Mr. Welk takes off

INDEX tailored to every need but listening, can

easi ly change a mood from tolerance to
aversion, the masters in thi s field have
worked in among their musical p latitudes
in his bouncy video-bound style for a
song such as My Man as though he'd
never heard the lyrics. At the other ex-
treme, he seems anemic in trying to at-
a high order of crafstmanship - and of tack Beer Barrel Polka. For me, Mr.
guile. For instance, the upper echelons Welk's special magic lies in transforming
of mood makers use only established runes , either vintage champagne or srurdy ale
A complete index to all clas- such as those of Kern, Gershwin, Berlin, into county-fair root beer.
sical, semiclassical, jazz, and Rodgers , Porrer. Nor do they take chances I suppose, though, it is foolhardy to
spoken word record reviews on inferior musicians. Very imporrant too pick on the bucolic style. Guy Lombardo,
which appeared in HIGH in their scheme, as I discovered in listening for instance, has been growing musical
FIDELITY Magazine in 1955. to a score or so of these records, is the corn so long I've come to think his Royal
work of the sound engineers. In point Canadians sired the Mounties. Yet here
Arranged alphabetically by of sonic fidelity , the mood-music reperroire he is once again, sponsored by Capitol
is almost invariably first-class. for Gtt" Lombardo in H i-Fi ( w 738 ) .
composer or by collection-
Curiously, for all their apparent casual- His millions of fans will probably find
title with the issue and page ness these men are careful never to be nothing wrong with the Vaselined brass
on which you will find the moody. Gaiety - generally blatant, but in Sweethearts on Parade and they will
review you wish. For in- sometimes unobtrusive - is the road to think it quite right that his Frankie and
stance, if you are curious as the home-style cocktail lounge. Beyond Johnny should seem, with a well-behaved
to what was said about that, each of these maestros seems to ad - honky-tonk piano, all good, clean fun .
Haydn's Nelson Mass, the in- here to his own formula. With high fidelity highlighting his won·
dex will refer you to page 58 An excellent example of music to talk derfully disciplined musicians and his sure
of the November '55 issue of to - either over or under - is Andre dance beat, it does no good to complain
HIGH FIDELITY. Kostelanetz's recent Columbia recording that he treats St. Louis Blttes as though it
The Thottght of YOtt (CL 843) . Mr. were written for a college prom.
A "must" reference aid. Kostelanetz , long established as a model Like Mr. Lombardo, Frankie Carle has
of pleasant meaning lessness in the mu- withstood a number of jazz styles without
sical world , is just right for chatter about change and sees no reason to risk jarring
ONLY 50~ EACH fashion, baseball, politics, or even for his sizable following. Through courtesy
quiet drinking. His musicians g lide with- of RCA Victor his piano is conservatively
Send for your copy NOW out fear of collision through Foggy Day, congenial and his violins still restrained
and for Sweet and Lovely the marvels of as ever in Fl'ankie Carle's Finest ( LPM
1954 INDEX also available sound engineering can make his horde of I I 53). Mr. Carle's orchestra is the same

at 50¢ per copy. violins reek of honey. Mr. Kostelanetz whether the song is Blue iV/oon or My
shows the decorous concern of the fine Silent Love. His atmosphere of the good
waiter - not to mention the aplomb of hotel ballroom seems indestructible.
the maitre d' hotel. And now I'd like to rum to s~me records
HIGH FIDELITY Magazine A rival with a more sophisticated va- made for listeners. For those who yearn
Dept. R22, Publishing House
riety of hearrburn music is the orchestra to recaprure the joyous moments of Sun-
of Frank Chacksfield, working for London day band music in the park, I strongly
Great Barrington, Mass.
on a record called Close Yottr E,'es (LL recommend H ere's That Band Again,
Enclosed find .. . . . ...... . .. • Please 1440 ). Mr. Chacksfield goes in for the featuring the Deutschmeister Band at
send · me .. .. .. . .... ... copies of the
subdued manner with the steady dance work for Westminster (wP 6013). The
beat, letting his trumpeter, Bobby Pratt, waltzes, galops, folk music of this Viennese
1955 Record Review Index. get just a mite salacious in solos for oudit are mag nificent and so is the fidel-
L1dlaby of the Leaves or Love is the Sweet- ity. Special audiences may like to hear
Name ....... . .•. . ....... . .. .... est Th ing. His, I assume, is the suave another lusty recording from Europe called
Address .. .. . . . . . . . . ..... ...... . touch to make the suburban hostess Erich Ktt1ZZ Sings German Univer.rit"
properly enjoy that Bloody Mary after Songs (Vanguard VRS 477). Mr. Kunz,
the kids are in bed. in customary fine voice, is supported by
Some mood merchants now try to peddle the male chorus and orchestra of the
a more bubbly sort of relaxation. For Vienna Volksoper, conducted by Franz
No CO.D.s or charge orders please. this chore RCA Camden has brought Litschauer. Mr. Kunz, happily, can really
forth Henri Rene's orchestra to weave create moods.


y CHA-CHA-CHA I . La Fiesta Bravo, Vol. 2 I Music of Advent and Christmas
I Pearl Chertok, harpIst on the Arthur Music of t he Bullfight Ring l Young women, from all parts of the
The scintillating tropical rhythm's of I Godfrey Show plays a rare combina· Agair. the "Banda Taurina," of the Plaza I world, studying at Grailville Catholic
a 6 man Marimba plus orchestra. A : tion of the sophisticated and the Mexico, presents, in brilliant Hi·Fidelity, I Community College, blend their voices
Total Frequency Range Recording of I primitive with the drum rhythms of traditional music of another afternoon I in traditional and spiritual music. Spe·
· d at the bullfights. Complete with port· I cially chosen selections, recorded in Hi·
th e Ia t es t and grea t es t La t In ance I J~hn~y Rodrigu~z. ~n a~s~lut~ly cap· folio of .ful.1·color reproductions of ~ull· I F!de!ity, for Listening . . . for Group
tunes. I tlvatlng recording In HI·Fldellty. fight paintings by world·famous artIsts, I Singing. Full text of songs inside jacket.
12-in. $5.95 I $5.95 -In. • 5


ordinary recordings - but guaranteed
total frequency range recordings with absolute m.usical
range ... perfect pitch ... perfect tempo - this is high
fidelity as you always want it to sound! These are the rec-
ords audio manufacturers themselves use to demonstrate
their electronic equipment and hi-fi components!
Here then, is the Most in Sound, brought to you by AUDIO
LORD INVADER: CALYPSO I FIDELITY, in some of the most delightful and unusual music
The "Rum and Coca Cola" man from The exciting, throbbing rhythms of
ever heard on records ...
Trinidad in a recording of new calyp· I the Steel Band, trademark of the
so songs. Trinidad 's foremost calypso West Indies, in a modern high
artist singing his latest and his I fidelity tropical treatment. Oil Drums
greatest songs in brilliant Hi·Fidelity. : in Hi.Fi, a 20th Century phenomenon.
12-in. $5.95: 12-in. $5.95
'--"".c:-_:: + -- -- - -- -- - - ---- - - --,


Oscar Brand, noted balladeer
sings Folk·Americana often
heard but never recorded. Rol·
licking songs for people with
lusty appetites and strong mu· THE TALBOT BROTHERS ,
sical tastes . OF BERMUDA : For the First Time!
Vol. I-AUDIO FIDELITY . : The most exciting, original and pow·
AFLP 1906 12·;n. $5.95 Calypso . rhy~hms a~d pop f?vorrtes I erful percussion work yet.
Vol. 2-AUDIO FIDELITY 10 an Idyll~c. tropical settrng, reo I • Toccata and Fugue in 0 Minor
AFLP 1806 12·in. $5.95
Vol. 3-AUDIO FIDELITY corded In HI.Fldellty. l• "Great" Fugue in G Minor
AFLP 1824 12·in. $5.95 VOL. 2-AUDIO FIDELITY AFLP 903 I • Toccata in F Major
10-in $4.00 I• Fugue in C Major
studies in HIGH FIDELITY sound
• TROMBONE, Concerto with Orch. AFLP 1811 "1 2 In. $5.95 CIRCUS CALLIOPE MUSIC AFLP 904 10·in. 4.00
• CHA CHA CHA Salamanca Orch. AFLP 1813 12 in,. 5.95 TRINIDAD STEEL BAND AFLP 1809 12.;n. 5.9$
• TORERO La Fiesta Brava Vol. 3 Banda Taurina KATH~RINE DUNHAM, DRUMS OF CUBA·HAITI·BRAZIL AFLP 1803 12·;n. 5.9$
AFLP 1818 12 in. 5.95
Th ese recOI'c/s are at your favorite Audio or
• FIESTA EN ESPANA Flamenco Cuitar' AFLP 1819 12 in. 5.95 WRITE FOR FREE CATALOGUE
AFLP 1820 12 in. 5.95
• ROME ••. WITH LOVE! Italian Accordion AFLP 1822 12 in. 5.95 750 TENTH AVENUE NEW YORK 19, N. Y.

NOV EMBER 1956 99


"V0' la tromba e il cavallin" In Act II of New York Philharmonic-Symphony Or- ferences as to funrre Camden aCClVlty, but
La Boheme? J. H ., JR. chestra, Arturo Toscanini, condo the move also brings its immediate re-
RCA CAMDEN CAL 309. 12-in. $1.98. wards. For the performances restored to
ARTURO TOSCANINI: New York currency by this releruje are in the main
Here, for the first time, RCA allows its
Philharmonic-Symphony Program - apart from their historical status-
low-priced Camden label the distinction extremely fine measured by any standards,
Dukas: L'Apprenti sorcier. Verdi : La Tra- of the name of Arturo Toscanini - and and at best still remarkably good in sound.
via:a: Prelude; Prelude, Act Ill. Rossini : of the New York Philharmonic-Symphony And if the selection is a hotchpotch of
Semiramide: Overture. Wagner: Siegfried as he shapt:d its style for a decade. This
Idyll. styles, so are most such.
m ove stirs up a swarm of possible in- Toscanini first conducted the New York
Philharmonic, as a guest, in 1926, and
shared the next season with Mengelberg.
Dialing Your Disks When the Philharmonic and the New
York Symphony coalesced in 1928, he
AU LP disks are recorded wi th treble boost following values in the table below: ROLL- chose men from both orchestras and
and bass cut, the amount of which often OFF-IO.S: LON, FRRR. 12: AES, RCA , trained the new ensemble. He remained
vanes from one manufacturer to another. Old RCA. 13·7: RIAA , RCA, New RCA , its main conductor until 1936. Of the
To play a disk, the bass below a certain New AES, NARTB, ORTHOphonic. 16: recordings issued on this LP ( all CUt in
turnover frequency must be boosted, and NAB, LP, COL, COL LP, ORTHOcoustic. Carnegie Hall) the D ukas and the Verdi
the treble must be rolled off a certain Ilum- TURNOVER - 400: AES, RCA. sooC: were ma:le in March 1929 - that is,
ber of decibels at 10,000 cycles. Recom- LP, COL, COL LP, Mod NAB, LON, near the end of the first Philharmonic-
mended control settings to accomplish this FFRR. sooR. RIAA, ORTHOphonic, Symphony season. The Rossi ni and
are listed for each manufacturer. Equalizer NARTB, New AES. 500 : NAB: 630: Wag ner were done in April 1936, shortly
control panel markings correspond to the BRS. 800: Old RCA . before his official "farewell."
Technically, they are of their times, bur
A ll records prod u,ced u.nckr the fol lowing labels are recorded w ith the 1"lld uslry - standard Rl A A curve (500R
t um auer; 13.7 rolloJf): Angel; tAt!antic; Bethlehem; Classic Editions; Clef; EMS; Epic; Mcintosh; on a h igh level of low-fi, with a warm ,
MGM; Montilla ; N ew Jazz: Norgran; Prestige; Rom any; Savoy ; Walden. L abels t hat havl used comfortable Carnegie Hall reality that is
other rtcorriiu r: cu.rves are Iisled belO'lO.
far pleasanter - and truer - than the
NEW OLD glassy distortions of ma:lY wider-range
RECORD LABEL Record No. or Dnl,; r " m auer. R oliofl Toscanini recordings made later in NBC
Turnover i<otu'.(,
Allied 500 Hi Studio 8-H. And Camden has done a
Amer. Rec. Soc. 400 12 notably honorable job of getting the best
A ri zona 50JR 13.7 To 1955: 400. 1~ . 7
out of the masters without addi ng highs
Audiophi le 500 12 to the 1929 set or emasculating the force-
l:! ach Gu ild 500R 13.7 No. 501-529: 5UO. It;
*l:!artok SOOR 13.7 No. 901 -905, 30S, 310,3 11 : 500R, 13.7 ful 1936 sound. As performances, all
No. 90(,-910, 301-304. 309: 030. 16 share in the familial Toscani ni trai ts of
l:!lue Note J azz 500R 1 ~:1 To 195.- : ·100. 12 steady pulse, precise articulation, and
Boston 500C 16 nervous forward impulse. The most di s-
*Caedmon .';OOR 13.7 No. 1001-1022: ,jaO, Hi tinctive of the lot are the La Traviata
Can yon flOOR 13.7 To No. C6160: 400. 12
preludes, in which there breathes a tender
Capitol 5JOR 13.7 II To 1955: 400, 12.7 enchantment noc recaptured in later ver·
Capito,-Cetra flOOR 13.7 To 1955: 400. 12.7
Cetra -Soria 500C 16 II sions. T he Semiramide is also superior-
Colosseum II 500R 13.7 To January 1954: 500,U; tremendous in its poise and dash . The
*Columbia 500R 13.7 II To 1955: 500C, IG Dukas scherzo is whizzi ngly fast and un·
Concert Hall
I 10.5
To 1954 : 500C. 16
No. 3501 , 2501 , 2502, 2505, 2507, 2001,
playful (yet it can be held that the music
ought to make its own fun without its
2002: 400. 12. No. 2504: 500, 16
t Cook (SOOT) 500 12-15 programmatic humor bei ng underscored) ,
Coral 500 16 the Siegfried Idyll very pure, but less evoca-
Decca 500R 13 7 To Novembe.r 1955: 500. 16 tive than the later reading that appears on
I, 500R
No. 2-15, l S-20, 24-26: 630, 16. No. 17
22: 400,12. No. 16, 21, 23, 24: 5OOR, 13.7
No. ES 500, 517, EST 5. 6. 400, 12
LCT I II 6. All told, a great conductor
and great orchestra make up for any
Folkways 500R I 13.7 To 1955 : 500C, 16 technical lacks. J. H., JR.
*Good-Time J azz SOOR 13.7 No.1, 5-S: 500, 16. No. 3, 9-19: 400. 12
Haydn Society 500C 16
HMV 500R 16


K~pp 500R 13.7 No. 100-103, 1000-1001: 800,16
Kendall 500 16
*Lo ndon. Lon . lnt. 500R 13.7 To No. 846: 500e , 10.5
Lyrichord 500 16
* Mp.rcllry 500R 13.7 To October 1954: 400, 12
Nocturne SOOR 13.7 No. LP 1-3, 5, XPI-I0: 400, 12
Oceanic 500e 16
13.7 To 1954: 500C. 10.5 THE GOLDEN TREASURY OF
*L'Oisean-Lvre 500R
*Overtone 500R 13.7 No. 1-3: 500. 16 GREEK POETRY AND PROSE
Oxford 500C 16 A reading in Greek, by Pearl C. Wilson.
P ~ cific Jazz 500R 13.7 No. 1-13: 400. 12
Philharmonia 400 12 CAEDMON Te 1034. 12-in. $ 5.95.
tPolymusic 500 16 How magnificent in intent and how disap·
RCA Victor 500R 13.7 To Septembec 1952: 5UO or 80U. 12
Remington 500 16 pointing in fulfillment is this golden
Riverside 500R 13.7 To 1955: 400, 12 treasury. Whatever the formal structure
Tempo - 500 16 and cultivated technique of the Homeric
Tran1{ra d io 500e 16 poems, the theme of the Iliad, at least, is
U rania 500R 13.7 No. 7059, 224, 7066, 7063. 7065, 603, the wrath of Achilles, in some sense a
7069: ·100. 12. Others: 5UOe 16 tragic hero, whose flaw brought abou t his
Vanguard 500R 13.7 No. 411-442, 6000-601S, 7001-7011, SOO I-
8004: 500. 16 own destruction and reduced the bodies of
Vox SOUR 13.7 500, 16 unless otherwise specified. men to a banquet for beasts. The society
*Westminster 500R 13.7 To October 1955: 500e . 16; or if AES of the Iliad is a civilized one, bur the
specified: 400. 12
*CurrenUy re-recording old masters for RIAA curve.
emotions of its protagonists are fie rce and
tBinaural records produced on this label have no treble boost on the inside band . which should be passionate ones. Miss Wilson's lack of the
played without any roll off.
Continued on page 102


••• You have to Hear It to Believe It' La Fiesta Brava Mariachis Miguel Dias
Hot trumpets, cool clarinets, low-down trom- Music of the Bullfight Ring, Vol. l'
A rich, colorful variety of traditional rhyth-
bones and a big fat tuba in the most excit- Featuring the " Banda Taurina" of the Plaza mic music that expresses the heart and
Mexico world 's largest bullfight arena. A Hi- soul of Mexico. Played by authentic Mexican
Ing performance of true New Orleans Dixie Fi presentation of an afternoon at the bull- Mariachi Musicians . . . recorded In magnifi-
ever recorded! The "MOST" in Hi-Fidelity fights. Complete with book of 24 full color cent hi-fidel ity sound. Features: Jarabe Ta-
••. you 've got to Hear It to Believe It! Bullfight Poster Reproductions. "Brilliant patio; Guadalajara; EI Rancho Grande.; etc_
12-in. $5.95 12-in_ $5 .95 12-irr. $5.95


Pedro Garcia & Orchestra Songs from Her Hit Shows Jo Basile & Orchestra
Here, for the first tlme,- superbly recorded
In HI-Fidelity, Is the pulsating tropical magic All the vibrance and warmth of this famous Mysterious, romantic, French cafe music
of the foremost Cha Cha orchestra in the French personality is brought to life In this that wraps you In rhythms now passionate
world •.• Pedro Garcia, his Del Prado Or- magnificent new HI-Fidelity recording. Pata- ••• now gay . • • with that enchanting nos-
chestra and the captivating Latin beat of chou sings yours favorites: le Fiacre; Paris,
the Cha-Cha-Cha. Complete with illustrated C'est une Blonde; Autumn leaves; So us le talgic Paris magic. Brilliantly recorded In
dance instructions. Ciel de Paris; etc . true High Fidelity.

12-in. 12-in. $5.95 12-in. $5.95



Each record, in individual
protective plastic case, at-
tt'actively packaged in full
color j acket.
-""ft ... ., ...... u AU., ... IIC NEW YORK 19, N. Y.

. . . , ... ~~~5=~~~iII~T.~'h~e~se~re~c~o~r~d.~Sare available at your favorite Audio or Record Shop


,,\~\ \1\\\\ tOO~\ voice of heroes makes unconvincing her

rendition of the battle between heroes.
purple polemic with the same relish as
D ylan Thomas enthusiasts savor a burst
The passages from the Od'yssey suffer less of Thomas ian lyrics, "Politics USA" will
Brand-new steel-band and than those of the marti al epic, perhaps be- not be de trap. Although the selections
Caribbean releases from cause this narrative of a middle-aged tra- here are mostly culled from the old "Town
veler's tri als and tri bul ations is essentially Meeting of the Air" debates, there also
Cook Lab01'atories-be the a kind of dom estic drama. The "Allegory are a goodly number of campaign selec-
fi1'st on YO'ttr block to own of the Cave" from Plaro's Rep1tblic smacks tio ns ranging in style and flavor from the
them! of the lecture hall - and perhaps rightly excerpts of Governor McKeldin's fl owery
so. The anonymous little "Love Stung by nomination o f D wig ht D . Eisenhower at
MUSIC TO AWAKEN THE a Bee" succeeds bes t in conveying sense the 1952 Republican Convention, to H arry
BALLROOM BEAST (or nonsense in this case) th rough sound . Tru ma 'l's matter-of-fact words in '48 : "I
(Brute Force Steel Band of Antigua, B.W.I,) - The Greek texts with translations by work for the G overnment a nd I'm trying
(12" LP-S4.98-#1048) diverse hands are p rovided. The interlinear to keep my job." R . H. H ., JR.
A new record by the hypermelodic gen- translation to which Miss Wilson refers
tlemen of the leeward Islands-an on- in the jacket nores is missing , and its lack
the-scene recording that proves they're must surely be felt by any except Greek
greater than ever. scholars. J . G. THE BEST OF JAZZ
S. J. PERELMAN: A n Informal Hom' by John S. Wilson
KATZENJAMMERS with S. J. Perehnan
("Steel Band Wit.h Velvet Gloves")
(12" LP-$4.98-# 1047) S. J. Perelman reading : K itchen Bottquet;
DAVE BRUBECK: Brttbeck Plays Bm-
Dazzling orchestral arrangements. featur- T he Sweeter the T ooth, the Nearer the
Couch; And T hott Beside Me, Y acketing in beck
ing the amazing "humming-bird" style of
Percy Thomas, tenor pan by the winners th e \f/ilderness; It T here an Osteosynchron- Swing Bells; W alkin' Line; In Y Oft'r Oum
of the major steelband festival compe· droitrician in the H ottse? Sweet W ay; T w o-Part Contention: Weep
titian SPOKEN ARTS 70 5. 12-in. 4.98. No Mo re; Th e Dttke; When I W as Y Olmg:
CASTILIANNE One Moment \f/o rth Y ears; Th e Waltz.
Having never heard a long-playing record
(Maracas Waltz) of S. J. Perelman reading his whatever- Dave Brubeck, piano.
~ 12" LP-S4.98-#10890) COLUMBIA CL 878. 12-in. 38 min. _3·95·
you-call-thems, for the good reason that
A sultry jazz waltz version af the Vene-
zuelan jaropas and manzanares-a pan-
long-playing records of S. J . Perelman Brubeck alone is a decidedly different
orama af equatarial jazz and dance farms reading hi s whatever-you-call-thems have
Brubeck from the one we've heard with
from Belem to Caracas (including the not been available, I approached this his quartet. He emerges as an essentially
Girl Pat All-Girl Oil Drum Orchestra) , record with considerable alacrity and an
reflective pianist with a leaning toward
armful of thesauri - in fact, I always
LE JAZZ TRINIDAD romantici sm, without the pounding cli-
approach S. J . Perelman long-playing
(12" LP-S4.98-#10850,) maxes that he affects with his quartet, and
records with considerable thesauri and an
Insidious new sounds from Trinidad, fea- with a more fundamental sense of swing
armful of alacrity.
turing Rupert Clemen dare and Combo tha:l he is generally given credit for. Al-
N ow I defy an yo ne ro sit down and
in sophisticated jazz with a pixie beat, though the disk's subtitle calls these selec-
listen for an hour ro the acknow ledged
vibes. 4 drummers, sax, piana . Recorded tions "original compositions for solo pi-
stealthily at Port of Spain master of Ii terary mayhem and then try
ano," Brubeck disclaims the term ' "com-
ro write a sentence without its coming out
THE CHAMPION STEEL BANDS positions " in his enlightening notes. T hey
like the above. It is not just the word s
are, as he correctly points out, sketches
OF TRINIDAD Mr. Perelman man ages to fire from his
upon which he improvises. He develops
(12" LP-S4.98- # 1046) typewriter, but it is hi s prehensile ability
these improvisations with a pleasant melod-
Six sacko bands from "the birthplace of to snaffle them rogether and prevent them
ic sense. At times there is a tentative
steel"-a glarious kaleidoscope af steel from falling off the grammati cal salver.
quality about his playing, but on the whole
styles and prize-winning perfarmances on See what I mean?
a single disc he shows a very good g rasp of the jazz ap-
Of what Perelman can do with a sen-
DANSE CALYPSO tence, one of the best examples on trus
( 12" LP-$4.98-# 1180) record is the following:
"That Philomene was a manic-depressive
Johnny Gomez and his Orchestra for A N ew Star-A New Sound
calypso dancing; four great Calypsonions
in the dow nhill ph ase was, of course, in-
(The Dictator, lord Cristo, Herbert Howard stantly apparent ro a boy of fiv e. Several T he Champ; Bayou; Deep Pttrple; jHo01t-
and Small Island Pride) sing their greatest boys of fi ve, who happened ro be standing light in Ve rmont; R eady '11. Able; T ur-
numbers An on-the-scene recording around and were by way of being students quoise; Bub bis.
of psycho-pathology, stated their belief to J immy Smith, organ; Thornel Schwartz ,
at YOU1' Dealer NOW.' me in just those words: 'Manic-depressive, g uitar; Donald Bailey, drums.
<i· Laboratories, Inc, downhill phase.'''
Perelman's reading is a bit disappoint-
ing at first, but after fif teen minutes you
BLUE NOTE BLP 1514. 12-in. 4 1 min.
101 2nd St., Stamford, Conn.
are quite comfortable with him and by Until now, the most successful efforts ro
r----------------- the end of the record you are willing ro draw jazz from the organ have been made
acknowledge that nobody, but nobody ex- by Fats W aller, Count Basie, and Oscar
Get the Complete Catalog cept S. J., could do hi s essays justice. . Peterson, all of whom have worked in a
Cook Laboratories, Inc. R . H . H., Jr. straig htforward swing vein. J immy Smi th
101 Second Street, Stamford, Conn appea rs to be the first to apply a modern
POLITICS U.S.A. jazz style with any deg ree of success. He
Please send the latest COOK Catalog "Voices of American Politics," narrated by has a facili ty whi ch borders on the fan tastic,
and also put my name on the list to Will Rogets, J r. enabling him to maintain a very fas t pace in
receI ve the COOK publicatIOn "Audio COLUMBIA ML 5123. 12-in. $3.98 . T he Champ - a virtuoso display which un-
Bucket" fortun ately, goes on far too long. T he rest
The release of this record has of course of his selections reveal a well-developed
Name _ _ _ _ _ _ _ _ _ _ _ __
been timed for the election, and many sense of the dramatic, combined with a
Address _ _ _ _ _ __ __ _ _ __ people with only a moderate ( ro use a manner of breaking up what might nor-
City _ _ _ _ _ _ _ _ _ _ _ __ good political word ) interest in politics mally be sustained notes that p rod uces an
I probably will have heard more than their insistent, prodding beat. There are oc-
L ________________ I ~
quota of politi cal orarory by thi s time. casional excursions into a "mighty Wur-
But for those listeners who savor a litzer" effect.




LUCKY THOMPSON: Vo l. I by the enormous string section to wh ich been gathered for the two groups making
Tom -Kattin; Old R eliable; Deep Passion; every jazz soloist seems doomed these days , up After Ho tt·rs (Grand Award 33 -334.
T ranslation: Lucky Thompson, tenor saxo- he gives no ground but remains his cus- 12-in. 38 min . $3 .98 ) - Cozy Cole, Cole-
phone; Jim \X1hatsmyn ame, trombone; tomary raffish se lf, barking, snapping, and man Hawkins, Rex Stewart, Claude H op-
chewi ng hi s way through If I Had Y 01t, kins , Tyree Glenn, and Billy Bauer are in
Hank Jones , piano; Oscar Pettiford, bass;
Osie J ohnson, drums .
Sugar, Ghost of a Chance, and similar one; Jimmy and M arion McPartland,
laments. It's not really a happy back- Jimmy Raney, J oe Morello, and Trigger
Tricrotism; Eo-Ei My Boy; A Lady's grou nd for the Wild One, but he pays it Alpert in the other - but neither group
Vanity; OP Meets LT : T hompson; Petti- little mind and forgets it comp letely gets off the ground. There are moments
ford; Skeeter Best, guitar. on Wild Man Blues. during which Stewart or Glenn try to set
ABC-PARAMOUNT III. 12 -in. 35 min. Th e Duk es of Dixieland (Audio Fidel- the first group afire and alm ost succeed,
$3-98. ity 1823. 12-in. 38 min. $5.9 5) is a but the seco nd group is completely
brilliant job of clear, full-range recording, shrouded by some of Jimmy McPartland 's
Accent on Tenor Sax techni cally one of the best recordings of leas t effective trumpet playi ng.
a jazz band that I have heard. Unfor- Horns, French and Tenor: Julius Wat-
T ,me fa ,· T ex; ' Wh ere or When; k f,·. E-2 : tun ately, this care has been lavished on kins, operator of an unusually adventurous
Lucky Thompson, tenor saxophone; Jimmy a New Orleans two-beat band of no special French horn , provides provocative playing,
Hamilton, clarinet; Billy Taylor, piano; distinction p laying a standard program of arrangi ng, and composing on Les Jazz
Sidney Gross, g uitar; Oscar Pettiford, bass; Di xieland material. They don't play Modes (Dawn II08. 12-in. 36 min.
Osie Johnson, drums. much , but you sure can hear that tuba! ' $3 .98). Both in his solos and duets with
Kamman's A-Comin'; Ever So Easy: Same, An impressive collection of names has tenor saxophonist Charlie Rouse, Watkins
except Gross ou t.
URANIA 1206. I2-in. 42 min. $3 .98.
Lucky Thompson has been one of the Condon on Disk and in Print
most capable tenor saxophonists in jazz
for almost ten years, but for mos t of that Eddie Condon's Treasury of J a zz is the
time he has been largely ig nored on title of both a record and a book, which
records. The neglect that he has suffered have almost no other connection beyond
is certainly not explained by his consis- the association of Condon with each . The
tently flowing, polished playing on these book (ed ited by Condon and Richard
two disks. H is style, unobtrusive but still Gehman , D ial, $5.00) is an anthology of
individual and personal, is almos t a sum- writing on jazz which covers a wi de range
mation of the history of the tenor saxo- of territory despite the editors' efforts to
phone in jazz. One hears reflections of associate Condon with almost every aspect
Coleman Hawkins' intense attack, of Lester of the music. The disk , however, is
Young's lyricism, even of Stan Getz 's straig ht Condon - performances by the
floating drive. He is given his best oppor- customary Condonites of tunes associated
tunities on ABC-Paramount I I I, on whi ch wi th some of the people mentioned in the
he is heard in the relaxed intimacy of a book. It is the least successful of the
tri o on four numbers and as part of a ge nerally excellent series of disks which
well-chosen quintet in the remaining four. Condon has recently been making for
His playing with both groups is warmly Columbia. Contrivance, an element usu- Eddie: t"ipped by contrivance,
expressive - he is, in the best sense, a ally absent from Condon recordings,
"hot" jazz man - and his ideas are de- would seem to have tripped him up this
time. Instead of simply sitting down and The book concludes wi th a group of
veloped with compelling logic. The quin- short stories about jazz by J ames Jones,
tet selections are made additionally at- playing, his men have bee n faced with
the revolutionary prospect of a planned Shelby Foo te, Clellan Holmes, and Osbirn
tractive by some of Hank Jones's piano Duke, among others. The brooding, other-
solos. p rogram which takes them into such un-
charted ( by Condon) dangers as Turk world style which once characterized the
He also has excellent associates on nonficti on approach to jazz (a style which
Urania 1206 (Jimmy Hamilton has not Murphy's D1tff Campbell's R evenge and
Duke Elling ton's Don't Get Around Much has happily been discarded, as the articles
often been heard on records pl aying with in this book indicate ) shadows almost all
the unforced, swinging feeling he displays Anymore. An air of effort, alien to a
proper Condon performance, hovers over of this jazz fiction , reducing it to a mono- •
on thi s disk) but, despite several good chrome. Fiction and jazz, it appears, have
performances, the over-all quality of th e much of the playing, although Wild Bill
D avison and Pee Wee Russell are their still to meet on easy, natural terms.
set is brought dow n by an overlong and JOHN S. WILSON
eventually tiresome piece which takes up proper selves on selections designed to
mos t of the second side. celebrate themselves, and Cutty Cutshall
and Peanuts Hucko get in a few good licks.
The book, on the other hand, is good EDDIE CONDON: Eddie Con do n's
and informative fun once you get past the Treasu1'y of Jazz
Other November Jazz
opening impression that it might more I'm Gonna Sit Right Down and Write
Mainstream : The echoes of the Benny accurately have been called Eddie Condon's Myself a Letter; D on't Get Around Mttch
Goodman Sextet on Swinging Swedes Tr eastM'y of Eddie Condon and provided Anymore; I'm Confessin'; Sometimes I'm
(Telefunken LGX 66050. 12-in. 37 min. you can overlook some of Condon's self- Happy: Wild Bill Daviso n, cornet; Cutty
$4.98) are not the least bit dim . The servi ng intrusions on the work of other Cutshall, trombone; Pee Wee Russell,
Swedes are led by Ove Linde, who plays authors. Condon and Gehman have put clarinet; Gene Sch roeder, piano; Eddie
a light, lyrical clarinet in Goodman 's m os t together a melange of articles about jazz Co ndon, guitar; Walter Page, bass;
winning manner, and they swing with the personalities and the peripheries of jazz George Wettling, drums.
happy urge ncy that characterized the Good- by familiar by-liners in the field (Nat
man group at its best. Selections are H entoff, Whitney Balliett, Otis Ferguson, Someday You'l! Be Sony; Since My Best
reminiscent too - Ai,· k fail Special, Fly- Marshall Stearns, J ohn Hammond, et al. ) Gal Ttwned k fe Down.; Jmt Friends: Add
ing Home, I Want to Be H appy, A String and some occasional venturers into the Billy Butterfield, trumpet; Peanuts Hucko,
of Pearls , etc. - but the performances are field (Murray Kempton, J ohn Cros by, clarinet, tenor saxophone.
as fresh as though all thi s had never been Gilbert Millstein, Maurice Zolotow, and
do ne before. others) . T he selections vary widely in
I've Got a Cmsh on YOtt; D uff Campbell's
W ild Bill Davison is no bending reed quality and depth but the total effect is
R evenge; I've Found a New Baby: Butter-
(of course not: he plays cornet) and when of a lively potpourri which occasionally field; Cutshall; H ucko; Ralph Sutton, pi-
ano; Condon; Page; Wettling.
he is accompanied on Pretty Wild (Co- provides fresh insights on the hum an
lumbi a CL 87 I. 12-in. 34 min. $ 3.95) beings behind the instruments. COLUMBIA CL 88 1. 12-in. 37 min. $3.98.

NOVEMBER 1956 10 3

shows a probi ng jazz mind. On several

selections he makes use of a wordless
soprano voice, much as Duke Ellingron
has done on T"ansblttCency, though not
always with Ellington's judiciousness.
Where Watkins leans toward a broodi ng
mood, hi s West Coast coun terpart, John
Graas, wri tes· and plays with linear glib-
ness. j ohn G"aas F"ench H om j azz ( Kapp
1046. 12-in. 37 min. 3.98) is a
sprigh tly coll ection of Graas's Ca li forn ia-
influenced performances originally made
for the defu nct Trend label.
Tom Stewart's tenor horn, an instru-
ment almost never heard in jazz, gets a
rare di splay on T om Stewart Sextette,
Q1tintette (ABC-Paramount I f7 . 12-in.
31 ' min. $3.98). Stewart p lays in an
easy, agil e. swinging sryle, ass isted by
Steve Lacey's soprano saxophone, Herbie
Mann 's flute, and D ave McKenna's de-
pendable pi ano, among others. The tunes
are mos tly worthy veterans of jazz attacks
- R osetta, Ottt of Nowbere, Fidgety Peet,
etc. Both Stewart and Lacey join Don
Stratton, crumpet, in a group ' o f genial,
driving Neal Hefti arrangements on
117 hitey ,yfitchell S extette (ABC-Paramou nt
f26 . 12-in. 3f min. $3.98) . Mitchell,
a knowledgeable and well-mannered bass-
NEW RELEASES ist, takes hi s due as leader in so los,
but oth erwise these are well-balanced,
CHAUSSON Symphony in B·Flat, Op. 20 . unpretentious performances with a sug-
Delrail Symphony, Paray conducting. gesti on of Gerry Mulligan about them .
MG 50108 Solo Horns: A strong, vigorous-roned
trumpet player, Jack Millman, leads his
2 STRAUSS Till Eulenspiegel's Merry Pranks;
qua rtet th rough a dozen tunes on Blowing
Suite from " Der Rosenkovalier ," Minne-
Up a Storm (Era 20005. 12-in. 33 min.
$3.98) in a style that is direct and force-
apolis Symphony, Doroti conducting .
ful, producing some honest, unadorned
MG 50099
jazz that occasionally becomes JU St a bi t
too casual. Coleman Hawkins works unde r
wraps on a good deal of Tbe Hawk in
Salzeda, harp. MG 50116
Hi-Pi ( RCA Victor L PM n8r. 12-in.
39 min. $ 3.98) but whenever he ca n blow
BORODIN Palovetsian Dances (with chorus) ; the strings and woodwin ds ou t of hi s way
RIMSKY-KORSAKOV Le Coq d'Or Suite. he takes off in the headstrong , surging
Landon Symphony Orchestra, Dorati con · Hawkins manner. J oh nny H odges, who
ducting . MG 50122 rarely gets very far off the beam , is well
on it on Tbe Blttes ( Norgran 106r. 12-
• 5 RAVEL Daphnis and Chloe (complete ballet) . in. 40 min . 3.98 ) and closer ro it than
Minneapolis Symphony, Dorati conducting . some of his fellow Ellingronians on
MG 50040 Cream y (Norgran 1045 . 12-in. 46 min.
3.98) . Lester Young and Harry Edison,
6 DEBUSSY Iberia ; La Mer ; Prelude to " The both ex-Basieites, rejoin forces on Pres mid
Afternoon of a Faun ", Detroit Symphony, Sweets (Norgran 1043. 12-in. 36 mi n.
Paul Paray conducting. MG 50101 3.98) bue, like many reunions , this one
turned out ro be mutually depressing.
BEETHOVEN Symphony No. 4 in B·flot; Sym. Numbers Games: Eig ht trombones
phony No.8 in F Major. Minneapolis Sym-
make up the ensem ble led by J. J. J ohnson
phony, Antol Doroli conducting . MG 50100
and Kai W indi ng on j a,' and Kai + 6
(Columbi a CL 892. 12-in. 35 min .
3.98) and, in th e arrangements wri tten
VAUGHAN WILLIAMS Symphony No. 8 in by W inding and Johnson, they are made
o Minor; BUTTERWORTH A Shropshire Lad; the core of a colorful group. The per-
BAX Gorden of Fond. Halle Orchestra, Sir formances have the p ropul sion and shadi ng
John Borbirolli, conducting. MG 50115 which have been at the heart of the
Johnson-Windi ng duets, wi th greater
9 SESSIONS The Black Maskers; HOVHANESS range and flexibility permitted by th e
PRELUDE AND QUADRUPLE FUGUE ; LO larger ensemble. T be D mm Sttite (RCA
PRESTI The Masks. Eastman-Rochester Or- Victor LPM 1279. 12-in. 38 min . $ 3.98)
is built around four drummers - Osie
chestra, Ho w ard Hanson cond o MG 50106 J ohnso n, Gus Johnson, Teddy Sommer,
and Don Lamond - but, far from p ro-
ducing a series of drum solos, composers
R FGR FrD~LITY Manny Albam and Ernie W ilki ns have

CRASSleS written a series of instrumental pieces,

based on various uses of drums, which are
LIVING PRESENCE played with driving eloquence by a band
of tOp Eastern studio men.




Russian Opera ·on Microgroo~e


pREPARING this discography of Russian opera now avail- alents of the names of operas, roles, singers, and conductors.
able on microgroove has turned out, in part, to be a In so far as possible I have tried to maintain a consistent
self-defeating attempt to solve a series of interlocking puzzles. spelling for titles and the names of composers and per-
The operas of Borodin and Mussorgsky either were not com- formers. But to have attempted to wrest uniformity from
pleted by their composers or exist and are performed in the maddening diversity of transliterations of the names of
numerous highly edited versions. One of Tchaikovsky's characters in the operas would have produced chaos worse
operas, based on the Gogol story from which Rimsky- confounded. I have therefore followed the particular record
Korsakov's Christmas Eve also derives, not only exists in sleeves and labels under consideration. In some cases, to be
more than one form , but is also known by a bewildering sure, I am not quite certain whether two names are merely
variety of names, including Vakttla the Smith, Cherevichki, two differing transliterations of the same Russian name or
The Golden Slippers, The Slipp en, and Oxcma's (or Okscma's) whether they represent two different roles.
Caprices. If "Russian opera" be defined as opera composed I have come away from many days of listening to the
by men born and educated inside the old Russian Empire records listed below (and to others cut from current cata-
or the USSR (the definition here accepted), it must then logues since I began to listen) with the conviction that
include operas to texts in Russian, Armenian, and Ukrainian Boris Godmzov, Ettgene Onegin, and Piqtte D ame soar miles
- not to speak of English (Stravinsky's The RClke's Progress ) above all other Russian operas of the nineteenth century.
and other languages. (Prince Igor and Khovanshchina appear to me to be too
Another difficulty arises out of this thicket of problems: patch y, too compounded of banalities, to qualify.) Of what I
that of determining whether or not a given recorded version is have been able to hear from the more recent repertoire, The
"complete." This is easy with, say, Tchaikovsky's two most Love for Three Oranges and The Rake's Progress seem simi-
familiar operas or Prokofiev's The Love for Three Oranges, larly to top the skyline. But what I should think of several
of which dependable scores are at hand. But I had no other operas (Le Coq d'or is the chief example) if I could
sooner begun to listen to records of Russian operas than I hear them in recording - or of several operas represented in
discovered that most of the scores I needed were not publicly this discography if they were to receive worthy recordings-
available in the United States. I also learned that neither I cannot, of course, imagine. There are strange and striking
recordings marked "complete" nor even so-called "complete" gaps in the representation of Russian opera on LP.
scores were so in fact, except by very loose definition. In Whenever I have been unable to check a piece of infor-
most cases, I have had to abandon the effort to make any mation given on a record sleeve or in an accompanying
pronouncement on this issue. text, I have tried to indicate that I am quoting and have
A third problem involves the fact that Russian is written given the source. Life would have been simpler if Russian
in the Cyrillic alphabet-and that no uniform system of composers of the nineteenth century had been willing to
transliteration has been employed by the recording com- complete their own operas and had not been subject to so
panies in providing, in our alphabet, pronounceable equiv- ungovernable an itch to rewrite each other's.

BORODIN, ALEXANDER PORFIR- Known especially for its barbaric, semi- I cannot prefer a version that omits - as
YEVICH (1833-87) Oriental Polovtsi scene, the opera otherwise the Period set does - all of Act III and
suffers from stylistic indecisiveness and an also suffers from other, briefer excisions.
PRINCE IGOR (2 Editions, plus excerpts) intermittent stasis that even good staging The London set includes good descrip-
Prince [ gOI' (premiere, St. Petersburg, can scarcely overcome. The textually com- tive notes by M. Montagu-Nathan; though
Nov. 4, r890 ), prologue and four acts, to plete Yugoslav recording for London is it was issued some time ago, I have been
a libretto by the composer; left unfinished; a likeness of the score; its superiority to unable to see the libretto-text. The Period
completed by Glazunov and Rimsky- the cut Russian recording on the Period set has pedestrian notes and a libretto
Korsakov. The complex, disjunct plot label lies only in its completeness and giving the recorded passages in translit-
(with scenes in half-pagan Russia, A. D. (not by much ) in its engineering. The erated Russian and stilted English. Rec-
rr85) deals with the schemes of Prince Russian singers, most particularly the men ommendation: despite the unquestionable
Galitsky to usurp the position of Prince (and especially the Galitsky and Konchak, superiority of the Russian singers, the
Igor; the Polovtsi are a people against who have the plums among the arias), London version is the set to own if one
whom Igor is waging war. are vastly superior. Bur, tradition or no, cannot own them both.

NOVEMBER 1956 105


Of the plethora of records offering ex- -Valeria Heybalova (s) , Yaroslavna; SPL 552. Three 12-1n. $ 14 .94.
cerpts from Prin ce Igor, and most partic- Biserka Tzveych (s ), Polovtsi Girl & - Overture, Prologue ( Poutivle Scene ),
ularly of the Polovtsi Dances with and Yaroslavna's Nurse; Melanie Burgarinovich Act I, Scenes 1 & 2. Cast of PERIOD
without chorus, the Colosseum disks are ( ms ), Konchakovna; Noni Zhunecz ( t ) , version, but "Chorus and Orchestra of the
almost identical with the same passages Vladimir; Drago Petrovich ( t ), Ovlur; Bolshoi Theater under Alexander Melik-
in the Period recording; Angel 35144, Nikola Janchich ( t ) , Eroshka; Dushan Pashaieff." COLOSSEUM CRLP 166. 12-in.
with Igor Markevitch leading the Orchestre Popovich ( b) , Pri nce Igor; Zharko h 98.
National de la Radiodiffusion Fran ~ aise Tz veych ( bs), Galitsky and Konchak ; -Act II ( Polovtsi Scene ), Complete. Cast
and a chorus singing in French, is very Dragomir Ninkovich ( bs ), Skula. Chorus as above. COLOSSEUM CRLP 10220.
kinetic and startling ly lifelike; a West- and Orchestra of the Nati onal Opera, $3.98.
minster disk (W-LAB 7039 ), with Arthur Belg rade, Oscar Danon, co nd o LONDON
Rodzinski and the Phi lharmonic Symphony XLLA 30. Four 12-in. 19.92.
Orchestra of London, is just as lifelike and - E. Smolenskaya (s ), Yaroslavna; A. D ARGOMIZHSKY, ALEXANDER
measurably less violent. Although it is Ivanova (s ) , Polovtsi Maiden; Korneyeva SERGEYEVICH (1813-69)
impossible to mention here many other (s ), Yarosl avna's Nurse; Bori senko ( c ),
recorded excerpts of both historic and Konchakovna; S. Lemeshev ( t ) , Vladimir; RUSSALKA (excerpts)
intrinsic interest, a special word must be A . Serov ( t ) , Ovlur; F. Godovkin ( t ) , R msalka ( premiere, St. Petersburg, May
set down for the manner in which Raphael Eroshka; Andrei Ivanov ( b ), Prince Igor; 16, 18 56 ) , four acts , to a libretto by the
Arie sings Galitsky's "I hate a dreary life" A. Pirogov (bs-b ), Galitsky; M . Reizen composer ( after Pushkin) . The plot, re-
in Rmsian Operatic Arias (London LL ( bs ) , Konchak; I. Skobtsov ( bs), Skula. lated to the plots of Dvorak's Russalka,
1317); this all but brings back Chaliapin Chorus and Orchestra GABT of USSR, Adam's Giselle, and Puccini's Le Villi,
at his best. Alexander Melik-Pashayev, cond o PERIOD concerns a peasant girl who drowns her-
self and becomes a water sprite. The
Prince who has betrayed her repents and
ERNST LEVY returns to the scene of her death. The
MUSIC Miller, father of the girl, and now mad ,
plays Liszt demands that the Prince restore his
Recorded at Kresge and Beethoven daughter to life. In the final scene, the
Prince imag ines that his young daughter
Auditorium and new
M.LT. Chapel Engi-
neered by Peter Bartok
"The only pianist equal to the
philosophy of the late Beethoven
by a princess speaks of the Russalka as
her mother. As he stands at the edge of
* Outstanding in both
sound and interpretation.
Sonatas" pl