HiFi/Stereo Review September 1959
New H.H. Scott
Stereo Amplifier has
features never before
offered at $139. 95 *
Until now, tile high fidelity fan with a limited budget had to settle for second-best products.
Introduction of the new H.H. Scott 24 watt stereophonic amplifier, Model 222, puts top qua
within the reach of all. This new amplifier has many features never before availab1e
It is backed by H.H. Scott's fine reputation for engineering leadership. Check th=·T,"''''T· ...
you'll see why you should build your new stereo system around the H.H. Scott
Equalization switch lets
you choose between
RI AA compensation for
monophonic and stereo
. records; NARTB. for
tape heads.
Special switch posi·
tion s for accurate balancing. for playing
stereo, reverse stereo
and for using monophonic records with
your stereo pickup.
This position lets you
play a monophonic
source such as an FM
tuner or a tape recorder through both
power stages and
Separate Bass and
Treble controls on
each channel let you
adjust for differences
in room acoustics and
different speaker systems.
Effec tive scratch filter
improves performance
on older worn record s
and improves reception on noisy radio
Channel balance control adjusts for different speaker efficiencies and brings
channel · volumes into
balance quickly and
Master vOlume contrOl
adjusts volume of both
channels simultaneously. Also functions as
automatic loudness
control whenever desired.
I ns'is t on genuinel!..:.li: S cott COm l)Onents
channels ; 0 .3% I M distortion; 0.8% harmonic
distortion; frequency response 20 to 30,000 cps;
extremely low hum level (-80 db) ; DC operated
preamplifiers heaters ; Inputs for stereo or monophonic recorders, tuners, phono cartridges and
tape heads. Phono sensitivity 3 mv. SUb-sonic
rumble filter prevents overload from noisy
changers or turntables.
Price $139.95*
* l-Vesl of R ockies $ 1 -4$ .25. Accessory case extra.
Exclusive center·
channel output lets you
use your present amplifier for 3-channel
stereo or for drivIng
extension speakers.
Separate stereo tape~erorder outputs.
Rush me complete details on your new Model 222 and your complete 1959
Hi Fi Guide & Catalog_ Dept. MR- 9
the original and positive sound reproduction techniques
necessary for true high fidelity are presented on
the highest standard in high fidelity
enna captured in all of 'its tune·
ful beauty by the artisfry of Jo
Basile and his accordic5ri.
Jo Basile
tistry to the haunting b~auty of
Italian song favorites for your
listening pleasure.
AFLP 1871/AFSD 5871
as played by the Dukes of
land. You have to hear It to
believe it! AFLP 1823/AFSD 5823
Complet~ illustrated
catalogs of the entire
Audio fidelity library are
available from:
Au d i 0 Fidelity, Inc.,
-----_.Dept. HR759, 770 11th
Ave., New York 19, N. Y.
"Our All-New
!\i VR22
Stereo Cartridge
provides unsurpassed
performance in a
Garrard Changer."
In thanking Mr. Welsh for these personal
comments, we would like to point out that hundreds
of thousands of GE Monaural cartridges played
a vital part in making high fidelity history during
the past decade. Particularly significant is the fact
that more GE cartridges were used with Garrard
changers in fine component systems, than in all
other changers and turntables combined!
Now, GE owners, and all others converting to
stereo, will be delighted to know that a Garrard
changer, such as the incomparable RC88,
guarantees the superlative performance that has
been built into the new GE stereo cartridges.
Stereo Results
with the
in Garrard Changers,"
says Mr. S. J. Welsh,
Manage?'-MOIl'keting, High Fidelity Components,
. Gene?'al Electric Company
"The new GE Stereo Classic cartridge Model VR22 has a
'floatin g arm ature' design for increased compliance
and reduced record wear, a nd a flat frequency response
of 20-20,000 cycles. To retain this performance, it is
necessary that a tone arm track freely and with the
recomme nded light pressure. The motor must also have a
very low rumble content.
"Therefore, we are gratified to report the excellent
results we found when testing with Garrard cha ngers.
All of the rigid laboratory standards built into our
new cartridge were maintained. Th e result was excellent
s t ereophonic music reproduction."
The same 7'easons why Ga7Tard changers pe,,/orm so
tnagnificently with GE caTt7'idg es have also made them
equally popula7' with all othe7' manufacturers of fine Stereo
cartridges-Shure, Electro, Voic e, Pickering, Fairchild, etc.
• Vibration,free t urnta ble.
• V ertical a nd lateral rumble completely ina udible. Wow
and flutter far below exacting "broadcast tolerance" standards.
• Exclusive A luminuln tone arm precision-mounted at
engi neering works for optimum tracking angle. perfect sound
reproduction .
• Unrestricted choice of stereo cartridges-any of them w ill
trac k at t h e m a nufacturer's li g htest sp ecified weight.
• Record h a ndlin g gentler than the surest hum a n hand.
• Thc importa n t con veni e n ce of manual play p lus completely
automatic operation without compromise in perf01.'mance.
Th ese are the FACTS, no one can deny them with auth07'ityand they are backed by the 86 yea7'S of experience that have
cTeated Garrard's unique 7'e putation f0 7' unsurpassed quality .
For the best in Stereo ...
Send lo( free Garrord Comparator Guide
Your Name _' ________________________________
Address ______________________________
C ily ___________________ Slole _ _ _ _ __
Depl. GM·129 01 a ddress below.
There's a Garrard for every hlsh fldellt¥ system ••••n enslneered .nd wired for Stereo and Monaural records.
GARRARD SALES CORPORATION, DIvIsion of British Industrl.s Corporation, PORT WASHINGTON, N. Y.
Canadian InQuiries to Chos. W. Poin10n, lId., 66 RaCine Rood. ReKdale. Onto
rertlrorle, olher than U.S.A. and Canada 10 Garrard Engineering & Mfg. Co.• lid .• Swindon. Wilts .• England
Septemb er, 1959
Should I Convert to Stereo?
Norman Eisenberl?;
Frank J acobs
J ohn P feiffer
Dor on K . Antrim
J ohn G. Reinhard
Nat Hentoff
Hans H. Fantel
The road La stereo is paved
with flood ada.pters
Vol. 3
No. 3
The Undaunted Discophiles
P ltbl isher
O li ve r R end
O liver P . Ferre U
Music E d ilor
D av id Hall
A Stu' vay oJ some of lhe record
colipe/ors who U have everything"
a,nd how lhey got lhal way
Q uiet, Rubinstein Record ing!
R CA Victor's r CI:or ding d irector
lells what it's li/.w 10 worh 'With
lhe greatest Chopin player of ow' day
Old Conductors Never Fade
.4 rt D I:N'clor
A Ihe rt G ru en
Associate /£flilors
lI a ns Fa n LeI
Nu nc y L a ng
Contrib/l lillf/ E d ilur s
M a r tin Boo kspan'
Wa r re ll D e M o t Le
H a lph J. G leason
S ta nley G ree n
Nu t H e nto ll'
Gcorl{e J ell inck
D av id R a nd o lp h
J o h n T ho rnto n
A look ai lhe reasons for lhe aslonish ing vitality of some of our oldest
and greatest orchestra. conductors
Omni-Stereo for Odd-shaped Rooms
lvl ulli-."pealwr sr.f up co mbines
omni-dil'cclional willi, stereo
The Well-constructed Anatomy
Dukl' E ll ina!o,"t's /il'stfull-len.!Jlh
film SCD!' I' turns oul- Io be one of 11./:.'1
most subsiu.nl ,:a.l (lch if!IJCmell.is
Stereo Balancing
A dtJcri is i n[1 D il'el"lof'
J ohn A. R ou3n. Jr.
New "null" indica/ors lell optimum
self infl at a giu,nee
Easlern Advertis ing Jltl a. rwyer
L urry S po rn
Ave. , New York 16, N. Y. Will iam B. lift,
Chairman of the Board (1946-1953); William
li ff, President; W . Bradford Br iggs, Executive Vice Preside nt ; Michael Michaelson,
Vice President and Circulation Director;
Hershel B. Sarbin, Vice President; Howard
Stouqhton, J r., Treasurer .
BRANCH OFFICES: M idwestern Office, 434
S. Wabash Ave., Chicago 5, III. , Tom
Be rry,
Midwest Advertising
Western Office, Room 412, 215 West 7th
St . , Los Angeles 17, Calif., James R. Pierce,
Western Advertising Manager; Foreign Ad veri ising Representatives: D. A. Goodall
ttd" Lond o n; Albert Milhado & C o ., Ltd .,
Antwerp and Dusseldorf.
Forms 3579 and all subscription corre·
spondence should be addressed to Ci rcular ion Department , 434 South Wabas h
Avenue , Chicago 5, Illinois. Please allow
at leas t four weeks for change of address .
Include you r old address a s well as new
-enclosing if possible an address labe l
from a recent issue .
C ontributors are advised t o retain a copy
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tributions should be mai led to the New
York Editorial office and must be accompan ied by retur n postage. Contributions
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rights , titles and interest in and to the
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Stereo HiFi Concert
Martin Bookspan, Warren DeMo tte,
George Jellinek, John Thornton
Mono HiFi Concert
Martin Bookspan, Warren DeMo tte,
George l ellin ek, David Randolph,
Jo hn T hornton
Stereo Entertainment
Mono Entertainment
Ralph J . Gleason, Stanley Green,
Na t H entoff
Ral ph J . Gleason, Stanl ey Green,
[ at HenLoff
HiFi Soundings
Musical Oddentities
Just Looki ng
The Basic Repertoire
Advertisers' I ndex
The Flip Side
11 6
T chaikovsky's Sympho ny No.4
Cover ill ustration by Albert H irschfeld
HiFi REVI EW is published monthly by liff-Davis Publishing Company, W ill iam B. Ziff,
Chairman of the Board (1946-1953). at 434 South Wabash Ave ,.' Chicago 5, III. Second class
postag e paid at Chicago, Il lino is. Author ized by the Post Office Department, Ottawa, Ont .,
Canad a as second class matter. SUBSCR IPT ION RATES: On e year U,S. and posseSSIOns , an d
C anada $4 .00; Pan-American Union countr ies $4.50, ali other fo reign countries $5,00.
Copyr ight 1959 by lI FF-DA VI5 PUBLISHING Company
All rights reserved
leading consumer products testing lab*
reports on G laser-Steers GS-77:
HiFi Soundings
close to
as any
Al and Dick's, favored New York luncheon hangout of record industry
executives, was the scene not so long ago of an interesting conversation
between two A & R men and a writer. Between them, they represented
more than 50 years of experience in recording, broadcasting, and mn sic
journalism. All were avid classical record collectors. All had kept up
their libraries, even to the point of holding on to a nucleus of priceless
78 rpm discs by such arti sts as Lauritz Melchior, Artur Schnabel, F elix
Weingartner, Maggie Teyte, Fritz Kreisler and Alfred Cortot. The luncheon bull-session went something like this-
"The new London r ecordin g of Das Rheingold really sounded like something on my outfit. Shades of the wond erful Wagner opera 78's back in
the 1930's ! R emember Melchior in his prime? Lotte Lehmann's Sieglinde? Friedrich Schorr as Hans Sachs in Die Meistersinger ?"
"You know, come to think of it, there's not a single Melchior opera
r ecord to be had on an LP tran sfer any more-and tbi s was th e greatest
Wagnerian tenor of them all."
"Well, it's a cluious thing about the record business. Even more than in
book and magazine publishin g, you have a situation of a strictly commercial operation producin g documents of major cultural and arti stic
value. It's tru e that we don' t have any recordin gs of Pa ganini 's violin
wizardry, Liszt's electrifying pianism, or of Gustav Mahler conducting
Tristan or Don Giovanni ; but think of what we do have from a few of the
first, and lots of the second generation that followed."
"Yes, there was Weingartner; he studied with Liszt, la ter became the
top Beethoven conductor of his day and recorded all the Beethoven
symphonies. For all the lousy sound, I still don't think there's been a
Beethoven Ninth recorded that can touch the old Weingartner-Vienna
Philharmonic you could once get on Columbia."
"Well, speaking of throwing great recordings into the discard, take a
look at the recent issues of the Schwann Catalog. Some of the best performances on LP are being cut out to make way for new, up-to-theminute works on stereo. And they're not even in the same league
musically speaking. I'm afraid this is just the beginning. Three years
from now we'll be lucky to have any mono records available at all, no
matter how good, or artistically important."
"Yes, it looks that way. But what about the $1.98 re·issues of historic
recordings by Flagstad and others on RCA's Camden lahel, or Angel's
premium·priced Great Recordings of the Century series?"
"Well, I wonder how long they'll keep that up, and how long the records
will be kept availabl e. You know what it means to tie up pressing
facilities and distributor-inventory space for limited market 's tuff."
Glaser-Steers GS-77 high fidelity record
changer: Superb for stereo . .. and your
presenf records, $59.50 less base and
cartridge at your dealer. *Audiolab Test
Report in August High Fidelity Magazine
-for a copy of complete report and bro·
chure, write Glaser-Steers Corporation,
155 Oroton Street, Newark 4, N.J.
"Don't you think the time has come now, when the record industry has
no other choice, but to operate on a strictly dollars-and-cents commercial
level? It's apparently not possible to run a profitable re-print business of
great classics like Random House's Modern Library or Knopf's Vintage
series in the book field."
"Remember books look pretty much the same from one year to the next;
you don't have to worry about the sound, as you do with a record. People
today are so darned hi-fi conscious that there're people who won't buy a
recording more than a year after its initial release. Look at your own
sales figures and see what happens after a record has been out more than
on page 80)
now enables you to acquire a STEREO RECORD LIBRARY at a saving of 40%
UP TO $35 .88
if you join the Club now - and agree to purchase as few as 5 selections from the more than 100 to be made available during the coming 12 months
37. Lovely " musical
portrait of nature"
10. Be My Love,
Where or When, etc.
If you now own a stereophonic
phonograph, or plan to purchase
one in the near future - here is
a unique opportunity to obtain
SIX brand-new stereo records . _•
up to a $35.88 retail valueALL SIX for only $5.98!
We make this unusual offer to
demonstrate the money-saving advantages you will regularly enjoy
as a member of the Columbia @
Record Club.
Read below how the Club operates . . . then mail the coupon,
without money, to receive the
six stereo records of your choice
- all six for only $5.98.
24.16 classical
and pop selections
9. Always, Please,
Speak Low, 9 more
11. Berlioz' most
popular work
Stereo records
• must be played
onlyon a stereo phonograph
22. Organist Cole
plays 11 hit tunes
• i
28. Brahms' most
beloved symphony
31. Solitude, Autumn Leaves, etc .
18. Two electrifying tone poems
42. Body and Soul,
I Got It Bad, 10 more
21. Four dashing,
fi ery rhaDsod ies
36. The ballet that
"rocked the world"
Terre Haute, Ind.
You enroll in either one of the Club 's two stereo
Divisions: Classical or Popular - whichever one best
suits your musical taste
Each month the Club's staff of music experts selects
outstanding recordings that deserve a place in your
new stereo record library. These selections are
described in the Club's entertaining Music MagaZine,
which you receive free each month
You may accept the selection for your Division. __
take any of the other records offered in both Divisions __ _ or take NO record in any particular month
Your only obligation as a member is to purchase five
selections from the more than 100 Columbia and Epic
records to be offered in the coming 12 months ___and
you may discontinue membership any time thereafter
After purchasing only five records you rece ive a
Columbia or Epic stereo Bonus record of your choice
free for every two add itional selections you buy
The records you want are mailed and billed at the
regular list price of $4.98 (Classical Selections,
$5_98), plus a small l)1ailing charge
Here, indeed, is the most convenient method ever devised to build a superb stereo library, at great savings - so mail the coupon today!
o ColumbIa Reeorda Sales Corp.,
1959 I8>"Columbla," Q. "EpiC,"
33. 11 beautiful,
immortal melodies
41. Strauss' loveliest tone poems
16. Two colorful,
exciting scores
45. Tico-Tico,
Brazil, 10 others
SEND NO MONEY - Mail coupon to receive 6 records for $5 _98
Stereophonic Section
Terre Haute, Indiana
I accept your offer and h ave cir cled at the r ight t he numbers
of t he six records I wish to receive for $5.98. plus sma ll mailing charge. E nroll m e in the followin g D ivision of the Club:
(check one box only)
Stereo Classical
0 Stereo Popular
I agree to purchase five selections from the more th an 100 to
be offered dur in g t h e com in g 12 months, a t r egula r list pr ice
plus small mailing charge. For every t wo addition al selections
I accept. I am to r eceive a 12" Columbia or Epic stereo
Bonus r ecord of my choice FREE.
Name •• • • • • • • ••• • • •••••• • •••• •••••• •••• • • • • ••• ••• • • •••• ••••••
(Please P rin t )
Address ••• • _. _••• • •••••••• • • •• ••••••••••• - - _••• • ••• • • • - - • • •• -
City. __ • • ••• • __ • • •••• • • _. __ • • • _. _ZONE _••• State_ •• - - - _•• •• - - ..
AL ASK A and HA WA ll : write lor special membersh i p plan
CANADA : add r ess 11-13 Soh a Stree t , Toron t o 2B
If you wish to have this member ship credited to an estab-
lish ed Col umbia or Epic record dea ler. auth orized to accept
subscriptions, fi n in below:.
Dealer's Name •• • ••• ••••• • ••• • •••• • • •• ••••• • •• • •• • •• e •• " . e .
Dealer's Address •• • ••
0 0 •••••• • •••••••••••• • •••• , • •••• ,
• • •• • •
Mareaa Reg-.
Bearding the
Polish Lion
in his Den
was the last great exPADEREWSKI
ponent of the Victorian-Edwardian
It took the engineering know-how of Weathers to discover this revolutionary
electronic advancement in sound and size! TrioPhonic Stereo introduces the
listener for the first time to "Equalized Sound." Now you can sit anywhere in
the room and experience the same magnificent tonal realism and fidelity of
full-range stereo. "Equalized Sound" is produced by two book-size full range
stereo speakers and a unique, non-directional hideaway bass.
Ask your dealer today for a demonstration of Weathers startling new audio
dimension-TRIOPHONIC STEREO with "Equalized Sound ." You must see it,
hear it, compare it, to believe it!
For the ultimate in TrioPhonic stereo listening, select the matched Weathers
synchronous turntable with StereoRamic pickup system_
For more information of TrioPhonic Stereo write for FREE booklet, Dept. HFR
WEATHERS INDUSTRIES, 66 E. Gloucester Pike, Barrington, N.J.
Division of Advance Industrjes~ Inc .
Export: Joseph Plasencia, Inc., 401 Broadway, New York 13, N. Y.
school of bravura and flamboyan ce
which entranced world audiences for
over on e hundred years. With his passinO' an histori cal era stopped dead , never
to" be revived. But while it lasted its
influen ce was imm ense; franti c devotees
and imitators tor e passion to wide red
swaths right on th e concert sta ge ;
agents an d managers enco ur aged temperamental actions and worse-and lhe
p ublic r elished i t.
Concertgoers and recording collectors today require an entirely new an d
different approach : that of contro1led
dramatiza tion, authoritative bu t subtle
declaration, dynamic elegance withou t
overt power-consciousness_ Such selecti ve listeners wo uld find th e eruptive
fireworks of the past laugh able. There
is an inter est now in quality rather than
quantity as modern auditors, sophisticated by exposur e to electroni c perfection and actively aware of newest psychological trends, enlarge their horizons
with creative li stening.
There were many grandiose and overemphatic public performers before Paderewski but none after him. Hi s great
contemporaries such as Rachmaninoff
and Godowsky h'ad already begu n to
exhibit new trends in their style an d
delivery at a time when the flambo ya nt
Polish genius was at his most purple.
And other pianists and instrumentalists
gradually adopted the new ways.
The grea tn ess of Pader ewski cann ot
be questioned; his immense sonoriti es
and towering and maj estic phrase-building were stunnin g; his delicacy and keyboard dexterity were masterful; his
tr avelogue-s unset climaxes were embellished with every device known to the
concert stage. But it was stylized an d
theatrical in th e extreme. He tri ed to
transcend the limi tation s of th e piano
and rea ch into th e h eavily or chestral to
the point where crashin g and pounding
became a desider atum. Hi s flai ling gestures, actor-like attitud es of body an d
facia l grimaces dated him as one continuing a traditional past r ath er than
opening vistas on fresh hori zo ns.
But h e was much loved in spite of all
(Continued on page 10 )
Rockbar introduces a remarkable new 4-speed Collaro transcription stei'eo ~hanger­
The Constellation, Model TC-99. The TC-99 offers tested and proven professional turntable performance with the advantages of automatic operation - . truly a complet e
record player for the connoisseur. Here are some of the features which make this the outstanding changer
on the market today: Performance specifications exceed NARTB standards for wow, flutter and
rumble • Extra-heavy, die cast non-magnetic turntable weighs 6Yz lbs. • Extra-heavy duty precision-balanced and shielded four .pole motor. New two-piece stereo transcription type tone arm
• Detachable five terminal plug-in head shell. Each model is laboratory checked and comes with
its own lab specification sheet. Flutter is guaranteed not to exceed .040/0. Wow is guaranteed not
to exceed .150/0, Rumble is guaranteed down -50 db (at 120 cps relative to 5 em/ sec at 1 KC). The,
extra-heavy weight turntable is a truly unique feature in a changer. This extra weight is carefully dish'ibuted for flywheel effect and smooth, constant rotation, The non-magnetic turntable provides a reduction in
magnetic hum pick-up of 10 db compal'ed vvith the usual steel turntable. The heavy duty four pole motor
is precision-balanced and screened with triple interleaved shields to provide an additional 25 db reduction
in magnetic hum pick-up. The rotor of the foul' pole motor is specially manufactured and after grinding,
is dynamically balanced to zero. While this is basically a turntable for transcription performance, a fully
automatic intermix changer, similar to the mechanism employed in the famous COLLARO CONTINENTAL, MODEL TSC-840, is an integral palt of the unit. ADDITIONAL FEATURES: New two-piece stereo
transcription type tone arm with detachable five terminal plug-in head shell. This new arm is spring
damped and dynamically counterbalanced to permit the last record to be played with the same low stylus
pressure as the first. Between the top and bO.t tom of a stacl< of records there is a difference of less than a
gram in tracking pressure-compared with four to eight grams on conventional changers. Vertical and
horizontal friction are reduced to the lowest possible level. These qualities-found complete only in
Collaro transcription changers-insure better performance and longer life for your precious records and
expensive styli. The TC-99 handles 7", 10" and 12" records-in any o1"deT. The changer is completely jamproof and will change 01' play records at all foul' speeds. The manual switch converts the changer into a
transcription type turntable providing ' transcription performance for the playing of a single long-play
stereo or monophonic record. The two-piece arm can then be set down to play .portions out of rotation 01'
the entire record can be played singly and sequentially. The double ?n~[t'ing switch provides absolute silence
. for both stereo channels during the change cycle and the RI C network helps to squelch "pop," "clicks" and
other noises. The TC-99 comes complete with two audio cables ready to be plugged into your stereo system. It is pre-wired for easy installation; styled in a handsome two-tone ebony color scheme to fit any
decor; tropicalized against aclverse weather and humidity conditions. Long service life is assured by the
automatic disengagement of the idler wheel preventing development of bumps and wow. Price of the
TC-99 is $59 .50, exclusive of the base. All prices are slightly higher in the West. For free colorful catalog
on the complete line of Coll aro Stereo Changers write Rockbar Corporation, Dept. 100, Mamaroneck, N. Y.
The last word in a Transcription Stereo Changer. · ·
Collaro Constellation, 'TC·99
( C on tinued fr om [lage 8)
Unde rside of superstructure.
GRAY hysteresis b elt drive
GRAY turntables offer you more for
your money by incorporating engineering features guaranteeing that what
you buy today .will give you top performance many years from now.
An impor tant fa ctor in GRAY'S 'time·
tested' construction is the exclusive stretchbelt. The GRAY stretch-belt establishes an
accurate runn ing ba lance between the hysteresis-synchronous motor and the oversized
platter and bearin g assembly without tedious
spring adjustment. Ther e's never any problem a bout replacing worn parts because
GRAY record playing equipment is designed
a nd constructed to run ·at maximum effi- ·
ciency practically for ever.
GRAY 33H 'Custom Deluxe' turntable $79.95
(Shown with 212-SX 12" tone arm, $34.00
and 33C wood base, $23 .95)
GRAY HSK-33 Turntable Kit... .. ......... .. $49.50
(Shown with SAK-12 12" tone arm kit,
$23.95 and TBA base, $17.95)
High Fidelity Division
this-perhaps becau se of it. He wrapped
his audiences in a spiritual-sensual environment. His heroic appearance told
truly of his heroic heart; he was ben evol ent and gracious to all, generous to
those in need, relinquished his musical
career for an extended period to becom e
Premier of Poland.
Early in 1933 I started a series of interviews with celebrities in the world of
music-Paderewski was first on the list.
I hoped to collect my pieces into a book
ow, with
but never got around to it.
the heightened perspective of later
years, I can evaluate these many meetings in a way not possible before.
My interview with Paderewski was
arranged to take place in his private
railroad car on a siding in Boston's
Back Bay just prior to one of hi s recitals. I had primed myseH through
many houTs of listenin g to hi s recordings, playing his compositions for piano,
studying his political career and attending his New York recitals for many
It was a rain y fa ll day as I approached the siding and I could see a
good-sized crowd collected aro un d it,
ma ny of them railroad workers in their
oil-stained clothes. Music played, as only
Paderewski could perform it, was pouring hom the private car, which was
heavily cur tained, in great volume.
There was a sound of urgency, heartbreak and heroism in it, and as I moved
thro ugh the silent crowd I felt a subd ued ecstatic atmosphere as though tbe
auditors were at a religious service and
much moved.
A valet admi tted me to the car on
presenta tion of credentials and I walked
into a room carpeted in red with heavy
red velvet and gold hangings at the
windows; a few heavy chairs and tables
along one side; music, in man uscript
and printed form, was strewn loosely
about. The entire left side of the car
was occupied by an immense Steinway
concert grand at which Paderewski sat
playing. The vibrations fr om his violen t
keyboard attacks seemed to shake the
He stopped suddenly and t urned to
me wi th a smile--he resembled Mark
Twain with his ver y long hair and deeply-lined face; his eyes were dark and
piercing; his voice was aggressive yet
"So yo u have come to ask me q ues(Continued on page 12)
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(Continued from page 10)
tions? Well, I can give you fifteen
minutes before continuing my rehearsal
fo r tonight's performance-you will be
there? I am playing some Chopin
Etudes, the Wagner-Liszt Liebestod,
Beethoven's Moonlight Sonata, and one
of my own compositions."
"Yes, I ha ve a few questions. That
is a typical Paderewski program- I noticed that you often play th ese same
numbers. Are they your favorites?"
"Not exactly. They are favorites of
the public-it is what they want me to
play. And those certain pieces do fit my
h and best and allow me to display my
particular abilities to full advantage."
"You frequently play your own compositions. Do yo u feel these selections
will con tinue on in th e hands of other
con cert pianists?"
"Well-I am really a pianist, com·
posing is an offshoot fro m the main
stem. No, my compositions will not go
far beyond my career- they are a per·
sonal expression for here and now rather
than long·time classics. I am fu nda·
mentally a performer a nd interpreter
rather than a creator. I feel at my best
in the performance of the classic masters."
"Is the excitement and extreme dyna.
mism of your playing caused by a personal feeling of fury and frus trationor is it the way you ha ve decided on as
best in a professional way?"
"I have been called £Iamboyant, even
violent in my playin g, by critics. They
say I am attempting to transcend the
keyboard-to treat it as an orchestra.
I do test it to its maximum; I try to
forget its limitations. With me, emotion
is all, once the severe pianistic disci·
plines are secured. Musi c does not come
easily to me-it comes hard. I am
forced to do an enormous amount of reh earsal to attain perfection. I am prob·
ably the last major pianist to use the
heavy dramatic style of the 19th century."
" I ha ve a number of your recordings
-would you care to say which are your
favorites? And which will most likely
carry your style on into the future?"
"When I am gone I think my two
favorites will linger longest in public
memory: Moonlight Sonata and Liebestod. These r endj tion s have pleased me
most under our present ystem and conditions of recording."
"Will they become collectors' items?"
(Continued on page 14)
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"Yes, they are as true as possible."
The great pianist's valet now entered
with coffee and we discussed trends of
the future. On a phonograph he placed
his two favorite records and played
snatches of them for me. Several times
he repeated certain phrases on the piano
to show how he had created certain
effects and it was startling to see this
musical giant reproduce exactly the
sounds on the records.
"Could I write there are, say, three
basic elements to your style- I have
noticed this at the concerts."
"You are perceptive--being a pianist
yourself you would be aware of the
basic structure. Yes, my work demonstrates three approaches : a welding of
technique to accentuated emotionalism,
a coupling of extensive and varied use
of the pedals with luminous overtones
caused by lin gerin g rubato, a refusal
to accent the imagined limitations of the
I could sense that my host was anxious to return to his rehearsal so I made
motions of withdrawing.
"You are leaving-I will play you
Thanking Paderewski, I walked to the
end of the car as he seated himself and
started to play with great brilliance and
assurance. His hands clenched themselves like sea eagles as he formed the
shape of huge chords in mid-air before
crashing down on them; roulades and
cadenzas flowed like a torrent in a tempest, his whole being shook and swayed
with the power he unleashed and the
sides of the car seemed to bulge to accommodate the decibels of fury. Then
suddenly there was a change to softest caressing, the melodic line wove
itself about jewelled tendrils of some
invisible rare ivy, bearing precious
stones for berries. There was a shimmer to the sounds of unseen harps; an
innocent pastoral whispered a night
song. A poet was speaking in intimate
tones against a background of everchanging architectural forms. I let myself quietly out of the car. It was still
raining and by now a huge crowd had
formed to hear the master and to take a
glimpse of him as he left for Symphony
Hall. In all their faces was an affectionate reverence. You were enveloped
in a thick silence. As I walked slowly
away once more the thunderer was pouring forth his passionate message and the
whole city and the world beyond seemed
enveloped in it_
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Martin Bookspan
Item 11 of the "First Fifty"
Tchaikovsky's Fourth Symphony
Grab the Koussevitzky interpretation-it's still the best
Tchaikovsk \:
Itl I \ [11101. ( }p.. If>
YOI k Plulh<tllllOIlH.
SVlllplloll\ :\( '. r
marshalled sllch power, passion, and insight.
MAY be making a mistake, but it seems to me this
symphony is not a mediocre work, but the best I have
done so far. How glad I am that it is ours, and that, hearing
it, you will know how much I thought of you with every bar."
An impassioned outpouring by a love·smitten composer
to his beloved, she who was the inspiration for his latest and
"best" symphony? Well, not exactly. The words are Peter
Ilyich Tchaikovsky's and they are contained in a lettei' written to his unseen benefactress, Mme. Nadejda von Meck, in
November, 1877. The symphony he was writing about was
his Fourth, just completed in Italy. And, as you might suspect, thereby hangs a tale.
The previous May, Tchaikovsky had become engaged to
Antonina Ivanovna Miliukov, a chance-admirer whom he
scarcely knew. In writing to Mme. von Meck and acquainting
her with his intention to marry, he confided that he felt honor-bound to go through with his promise of marriage_ "We
cannot escape our fate," he wrote, "and there was something
fatalistic about my meeting with this girl." The wedding
took place on July 18; six days later T chaikovsky fled from
his house. On the twelfth of September he returned, and there
was a two weeks' farce of "conjugal" life (September 12-24)
which ended with the composer attempting to catch a fatal
cold by standing waist-deep in the frigid waters of the Moscow River. When this failed , he again made a precipitate
flight and never saw his wife again. Suffering from a nervous collapse, which "bordered upon insanity," he was taken
by his brother, Anatol, to Switzerland for a complete rest
and change. During the entire period of turmoil between
May and September T chaikovsky was yet able to complete
his sketches for the Fourth Symphony and to complete the
orchestration of the first movement. At Lake Geneva, as SOOIl
LEONARD BERNSTEIN-conveys a deep
sense of personaL invoLvement with th e score.
as he had regained some of his stability, he was able to take
up his pen and work happily on the remaining movements,
which contain some of his most lyric writing.
In discussing Beethoven's Eroica Symphony and Emperor
Piano Concerto previously, we found that work upon these
scores served for their creator as cathartic escape during
period s of severe personal trauma. Certainly the fact that
Tchaikovsky was able to concern himself with work upon
the Fourth Symphony hastened Tchaikovsky's rehabilitation
from the crisis of his marriage, and may well have saved him
from a total and irrevocable collapse. Not many months
later, in January, 1878, he was able to write to Mme. von
Meck that the circumstances under which the Symphony
came into being seemed like "a strange dream; something remote, a weird nightmare in which a man bearing my name,
my likeness and my consciousness acted as one acts in
dreams : in a meaningless, disconnected, paradoxical way.
That was not my sane-self, in possession of logical and reasonable will-powers. Everything I then did bore the character
of an unhealthy conflict between will and intelligence, which
is nothing less than insanity."
The miracle is that the Fourth Symphony betrays none of
the self·doubt with which Tchaikovsky tortured himself at
the time of its creation. Depression , fears and emotional imbalance are not here; rather, this is music of supreme assurance and self-confidence, bold and heroic in its extroverted
vitality. T chaikovsky himself wrote a long and detailed
"program" for the score, but little of it is important to an
understanding of the music. What does emerge as pertinent
is his characterization of the brass fanfare which opens the
Symphony, plays an important part throughout the first move(Continued on page 21)
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(Continued from page 18)
ment and then recurs near the end of the Finale. Tchaikov.
sky says this symbolizes his "vain terrors" and "fear of the
unknown," akin to the sword of Damocles hangins over his
head. He continues: "Although there is no actual musical
resemblance, the work is modelled after Beethoven's Filth."
Here it is, then, another Symphony in which the underlying
motivating force is Man and his eternal struggle with his
At its Moscow premiere, in February, 1878, the Symphony
was received rather casually. It did 'not take long, however,
for it to gain a secure hold on the affections of the mass
public and it has remained a cornerstone of the international
symphonic repertoire for more than three·quarters of a cen·
tury. Nearly every important conductor of our era-with
the exception of Toscanini-has" recorded the Tchaikovsky
"Fourth" at some time during the past three decades, and
current issues of the longplaying record catalog list 16 avail·
able monophonic recordings and 6 stereo versions.
No conductor I've ever heard in this music has marshalled
the combination of power and passion, drama and fertile
insight which Koussevitzky used to bring to his concert hall
performances of the score. Twice during his career he reo
corded the Symphony: in 1936, and again nearly a dozen
years later. Strangely, neither recorded version is a true
reflection of Koussevitzky's colossal conception of the piece,
but enough of the magic is there for one familiar with the
Koussevitzky reading to let the memory of glorious "live"
performances in the past fill in for the inadequacies of the
recorded presentations. Koussevitzky's recording (with the
Boston Symphony Orchestra, of course) of the late 1940's
. is still carried in the current RCA Victor catalog as LM·
1008; the earlier version used to be available as a Camden
re·issue CAL 109.
Most worthy among the more modern monophonic editions
of the score, in this opinion, are the recordings by Beecham
(Capitol G 7139), Bernstein (Columbia ML 5332); Rodzin·
ski (Westminster XWN 18541); and Ormandy (Columbia
ML 5074). Beecham's version is not for those who like all
the dramatic stops pulled out; he stresses the lyrical side of
the music and lets the more dramatic sections pretty much
take care of themselves. But his is certainly a valid, if
a slightly understated view of the whole. Bernstein's is a
really personal account of the score, tending to broad tempi
with occasional exaggerated rubato. Sometimes, too, he will
draw out an inner voice and give it undue prominence. But
he conveys a deep sense of personal involvement with the
score in a reading which is absorbing and often exciting.
Rodzinski and Ormandy both turn in straightforward, un·
problematical performances. The music moves with a steady
pulse, and neither conductor foolishly wastes himself. Orm·
andy's recording is now more than a decade old, but it still
sounds respectable enough, though hardly as electrifying as it
might be were the Columbia engineers and the Philadelphia
Orchestra let loose on the score today.
Both the Bernstein and Rodzinski versions are available
also on stereo (Columbia MS 6035 and Westminster WST·
14006 respectively). The Columbia disc has a full, blooming
sound, with scrupulous balance and a wide dynamic range.
The Westminster stereo, however, is slightly haywire-we
get serious imbalance among the orchestral choirs with the
woodwinds often overpowering the strings. Also, a general
lack of warmth to the sound gives the whole a rather anti·
septic feeling. A surprisingly good stereo version is the one
by Heinrich Hollreisier and the Bambe~g Symphony Orches.
tra for Vox (STPL 511,190). Here is excellent sound-full,
well-balanced and spacious-and Hollreiser gives an idio·
matic account of the score.
In sum, then, it is perhaps the Hollreiser-both mono and
stereo-which can be most highly recommended as a fine
account in the traditional style and with good recorded sound.
If you're a sentimentalist, as I am, and you remember having
your hair stand on end whenever Koussevitzky conducted
this music in concert, then you'll surely want to own his
recording of it. A word to the wise: Grab it where you find
it, since it will probably be withdrawn soon. Otherwise, there
is still the very individual but convincing Bernstein version.
-Martin Bookspan
Basic Reper1oire ·Choice To Dale
I. Tchaikovsky's First Piano
Nov. '58, p. 48
Cliburn: Kondrashin with Orch.
RCA Victod.M 2252 (mono)
2. Beethoven's Fifth Sym.
Dec. '58, p. 41
Toscanini-NBC Symphony
RCA Victor LM 1757 (mono)
Cliburn: Kondrashin with Orch.
RCA Victor LSC 2252 (stereo)
Kleiber-Amsterdam Concert·
gebouw. London LL 9'2 (mono)
Ansermet-Suisse Romande
Orch. London CS 6037 {stereo}
3. Beethoven's "Moonl,ght"
Jan. '59, p. 37
Westminster XWN 18255
4. Dvof&k's "New World"
Feb. '59, p. 54
Toscanini-NBC Symphony
RCA Victor LM 1778 (mono)
5. Beethoven's "Eroica"
March '59, p. 49
Angel 35328 (mono)
6. Bach's Chaconne for
Solo Violin
April '59, p. 16
7. Schubert's "Unfinished"
May, '59, p. 14
Reiner-Chicago Symphony
RCA Victor LSC 2214 {stereo}
Szell-Cleveland Orchestra
Epic BC 1001 {stereo}
RCA Victor LM 6105 (mono)
Segovia (guitar)
Decca DL 9751 (mono)
FricsayBerlin Radio Symphony
Decca DL·9975 (mono)
Szell-Cleveland Orchestra
Epic LC-3195 (mono)
8. Beethoven's "Emperor"
June '59, p. 18
Rubenstein-Symphony of the
Air, Krips
RCA Victor LSC 2124 (stereo)
RCA Victor LM 2124 (mono)
Istomin-Philadelphia Orch.,
Columbia ML 5318 (mono)
9. Mozart's G Minor Sym.
phony (No. 40)
July '59, p . 10
Angel 35407 (stereo & mono)
10. Sibelius' Second Sym.
August '59, p. 10
Ormandy-Philadelphia Orch.
Columbia MS 6024 (stereo)
Columbia ML 5207 (mono)
Reiner-Chicago Symphony
RCA Victor LM-2114 (mono)
Collins-London Symphony
London LL 822 (mono)
save on everything in
see the best values in the
l-frse Isend for it
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lVame ___________________________
City:......____________ Zone___ State-
"BIZET and His World" by Mina Curtiss. Published by Alfred A. Knopf, Inc.,
501 Madison Avenue, New York 22,
N. Y. 494 pages, 24 plates. $7.50.
The name on his birth certificate read
Alexandre-Cesar-Leopold Bizet, but he was
baptized Georges, and this is the name he
used throughout his life. Born October 25,
1838, he died June 3, 1875, still young,
and just arrived at artistic maturity.
His last complete work was Carmen and
it was his masterpiece. It seems, in retro·
spect, that his entire life was aimed at the
writing of that opera. From childhood, he
yearned to become a great opera composer;
other music hardly existed for him.
H e played piano brilliantly and could
easily have become a famous virtuosowith a famous virtuoso's income. Once, at
a gathering, Franz Liszt played one of his
knuckly-breaking show· pieces and boasted
that only he and von Billow had enough
technique to play it at the proper tempo
with any degree of accuracy. Bizet then
sat down and played the piece at sight,
correctly and at tempo. Liszt was astounded
and enthusiastically hailed the feat. But a
virtuoso's career was not to the taste of
young Bizet. Adamantly, he stated, " . . .
nothing in the world would make me decide
to play in public. I find the profession of
performer odious."
He had a similar attitude toward sym·
phonic music. To Saint-Saens, who suggested the concert hall as a more congenial
career than the opera house, he exclaimed,
"I am not made for the symphony. I need
the theater. Without it, I don't exist."
His life was a constan t struggle to exist
within the theater. Like Wagner, he made
piano reductions of other composers' operatic scores and he accompanied rehears·
also Anything to be in the operatic swim.
He knew all of the successful, and unsuccessful, composers and performers who
enlivened the musical world of Paris during
the hectic days of the Second Empire and
the beginning of the Second Republic.
Through the pages of this biography by
Mina Curtiss-the first exhaustive one of
Bizet-troop Berlioz, Gounod, Auber, Halevy, Saint-Saens, Meyerbeer, Delibes, Liszt,
Offenbach, Rossini, Rubinstein, Massenet,
d'Indy and a host of others. What times
they were, those good old days! How colorful! How wonderfully corrupt!
There were the soirees at the home of
Rossini, rich, retired and fat, to which the
artistic in·group came and lauded itself.
On a wall of the great man's study hung a
series of musical instruments-an surrounding a stomach pump, "the best of all
instruments" in the words of their gourmand-owner.
(Continued on page 24)
Early American Model,
in /ruitwood,
90" wide, 24%." high, 18%" deep.
$279.95 user net.
Furniture courtesy of J ens Risom Desio" I;'c.
Contemporary Model,
80" wide, 25" high, 12%" deep.
In mahogany - $258.00,
in blond or walnut - $268.00 user net•
Top left, a C1evite "Waleo" W-75 with a shore wire shank; lower left, the W-77 with
a longer shank made of tubing; top right, the W-I03 for stereo, with shank-length
midway between the other twO; and lower right, the W-I07 stereo model, identical
with the W -I03 except that the twin tips are not diametrically opposite each other.
Though you have to look hard to see
their subtle variations, if you put the
wrong one of these look-alike needles
in your phonograph, the most inexperienced ear will Ttea?' the difference
at once. In each case, the differences
were designed to meet the audio needs
of different systems.
Because Clevite "Walco" manufactures needles like these as well as
hundreds of other models for installation in Q?'iginal factory-assembled
phonograph equipment , the Clevite
"Walco" name on a ?-eplacement needle
is your assurance of rigid adherence
to the specifications of the audio engineers who designed your equipment.
The only sure way for you to avoid
mistaking one needle for another is
to bring the name and number you
find on your cartridge to your local
Clevite "Walco" dea ler. His catalog
shows instantly which needle was designed for the specific audio requirements of your system.
: .•••.•..••..................•..•••.
DisCleaner Kit
The great Clevite uWalco" advance in
record cleaning . . . contains t he most
effective, long-lasting anti-static cleaning solution ever developed, and uses
special velvet-piled applicator's that
reach between groove walls to pluck out
microscopic dust. Leaves no residue.
Clear plastic sleeves contoured to accommodate your records. Prevent dus t
60-HR Franklin Street
East Orange, New Jersey
and fingermarking when slipping in
and out of record jacket.
Microgram Stylus Pressure Gauge
Foolproof, Pl'ecisely accurate balance to
measure stylus pressure up to 10 grams.
An essential accessory for any hi-fi or
stereo system. Never needs l'ecaHbration
or adjustment.
Write today for a sample Clevite "Walco" DisCover
•. , clear plastic protective record sleeve.
Don't let superficial similarities confuse you . , , your Clevite "Walco"
dealer has the answers.
(Continued from page 24)
Bizet was chronically sick. He suffered
from frequent throat ailments, angina, and
arthritis. As a youth, he acquired the habit
of swimming in cold water and takin g cold
showers; and he did not have the sense of
self-preservation-or even the ordinary good
sense--to desist from these practices when
he was ill.
After every disappointment, he became
sick-disappointments of composers are occupationally many. When his early T e Deum
failed to win the Rodrigues Prize in Rome,
he verbally shrugged it off (and had a severe attack of dysentery for a week). This
was the pattern: doubt, illness; failure, illness ; disappointment, illness.
The premiere of Carmen at the OperaComique was bungled by the director of
that venera ble institution. He neglected to
bribe the critics, and Bizet either was too
confident or too trusting to have done so
himself. This lapse, especially in view of
the originality of the work in this haven
of conservatism, made success virtually impossible. The opera was ripped apart and
the composer suffered another disappointment, followed by another arthritic attack.
This one was accompanied by a heart attack, and death carne quickly.
Lest this judgment of the Carmen reviews
seem cynical, harden to the forthright sta tement of a contemporary. "Among the severe
critics of Carmen, I could name those who
are notoriously venal. I could say exactly
how much it would have taken to transform their attacks into dithyrambic eulogies ..."
Yes, Carmen was given forty-eight times
in six months, but the house was never
filled and the box office receipts never paid
the cost of production. Then it was dropped
from the repertoire of the Opera-Comique,
not to return until it had made a success
elsewhere. Which, of course, it did.
Bizet wrote many letters to his family
and friends and Mina Curtiss had the good
fortune to come across a fine cache of
them. She has used them tastefuUy and
with fine discrimination. Woven into her
well-written narration, they vividly personalize the picture she presents of the period
and make it distinctive. Bizet and his circle come alive. The reader has no difficulty
agreeing with him when he states, "Music !
What a splendid art, but what a sad profes sion! "
$149 95
wt. 1621bs. (specify wood desired)
MODEL SE-1 (center unit)
MODEL SC-1 (speaker enclosure)
$39 95 each
42 Ibs.(specify R. or. L. also
wood desired)
Superbly designed cabinetry to house your complete stereo
system. Delivered with pre-cut panels to fit Heathkit AM-FM
tuner (PT-!), stereo preamplifier (SP-l & 2) and record
changer (RP-3). Blank panels also supplied to cut out for any
other equipment you may now own. Adequate space is also
provided for tape deck, speakers, record storage and amplifiers. Speaker wings will hold Heathkit SS-2 or other
speaker units of similar size. Available in %N solid core
Philippine mahogany or select birch plywood suitable for
finish of your choice. Entire top features a shaped edge. Hardware and trim are of brushed brass and gold finish. Rich tone
grille cloth is flecked in gold and black. Maximum overall
dimensions (all three pieces) ; 82%" W. x 36V2" H. x 20' D .
MODEL PT-1 $89 95
The 10-tube FM circuit features AFC as well as AGC.
An accurate tuning meter operates on both AM and FM
while a 3-position switch selects meter functions without disturbing stereo or monaural listening. The 3-tube
front end is prewired and prealigned, and the entire AM
circuit is on one printed circuit board for ease of con·
struction. Shpg. Wt. 20 Ibs.
MODELSP-2 (stereo)
$56 95 T~f~s. Wt.
MODEL SP-1 (monaural )
$3795 Shpg. Wt.
(converts SP-1 to SP-2)
$2195 Shpg. WI.
5 lbs.
Complete control of your entire stereo system in one compact package. Special " building block" design allows you to
purchase instrument in monaural version and add stereo or
second channel later if desired. The SP-l monaural preamplifier features six separate inputs with four input level
controls. A function selector switch on the SP-2 provides
two channel mixing as well as single or du al channel monaural
and dual channel stereo. A 20' remote balance control is
$64 95
Every outstanding feature you could ask for in a record
changer is provided in the Heathkit RP-3 , the most advanced
changer on the market today. A unique turntable pause during the, change cycle saves wear and tear on your records by
eliminating grinding action caused by records dropping on a
moving turntable or disc. Record groove and stylus wear are
also practically eliminated through proper weight distribution
and'low pivot point friction of the tone arm, which minimizes
arm resonance and tracking error. Clean mechanical simplicity and precision parts give you turntable perfqrmance
with the automatic convenience of a record changer. Flutter
and wow, a major problem with automatic changers, is held
to less than 0.18 % RMS . An automatic speed selector position allows intermixing 33\13 and 45 RPM records regardless
of their sequence. Four speeds provided: 16, 33Y:l, 45 and 78
RPM. Other features include RC filter across the power
switch preventing pop when turned off and muting switch to
prevent noise on automatic or manual change cycle. Ch anger
is supplied complete with GE-VR-II cartridge with diamond
LP and sapphire 78 stylus, changer base, stylus pressure
gauge and 45 RPM spindle. Extremely easy to assemble. You
simply mount a few mechanical components and connect
the motor, switches and pickup leads. Shpg. Wt. 19 lbs.
Model RP-3-LP with MF-l Pickup Cartridge $74.95
Offering complete versatility, the model TR-IA series tape
recorders enable you to plan your hi-fi system to include the
functions you want. Buy the new half-track (TR-I AH) or
quarter-track (TR-l AQ) versions which record and playback stereo and monophonic programming, or the halftrack monophonic record-playback version (TR- IA).
Precision parts hold flutter and wow to less than 0.35 %.
Four-pole, fan cooled motor. One control lever selects all
tape handling functions. Each tape preamplitkr features
NARTB playback equalization, separate record and playback gain controls, cathode follower output, mike or line
input, and two circuit boards for easy construction and high
stability. Complete instructions guide assembly.
MODEL TR-1A : Monophon ic half·track record /p layback with
'fast iorward and rewind functions. Shpg . Wt. 24 Ibs.
Designed especially for high fidelity applications this
AM tuner wilL give you reception close to FM. A
special detector is incorporated and the IF circuits are
"broad banded" for low signal distortion. Sensitivity
and selectivity are excellent a nd quiet performance is
assured by high signa l-to-noise ratio. All tunable
components are prealigned . Your "best buy" in an
AM tuner. Shpg. Wt. 9 Ibs.
$99 95
TR·1A SPECIFICATIONS-Freque ncy res ponse: 7.5 IPS ±3 db 50·12.000 cps . 3.75
IPS± 3 db 50·7,000 cps. Signal-la·noi se ratio: Better than 45 db be low full output of
1. 25, volts/channel. Harmonic disto rtion: Less tha n 2% at fu ll output. Bias erase
frequency: 60 kc (push-pull oscillator).
MODEL TR-1AH: H alf-t rack monophonic and ste reo record Iplayback with fas t
~~;~~~~~~~;~~d functions.
$149 95
TR·1AH SPECIFIC ATIONS-Frequ ency res ponse: 7.5 IPS ±3 db 40·15,000 cps. 3. 75
IPS± 3 db 40: 10,~ c~s. Signal-to-noise ratio: 45 db below full output of 1 volt/cha n~e~~h~;~~~~I~il1~~~~)~lon : l ess than 2% at full output. Bia s erase frequ ency: 60 kc
MODEL TR ..fAQ: Ouarter-track monophonic and stereo with record /p layback fast
~o;;~~~~~~~.nd functions .
$149 95
TR·1AQ SPECIFICATIONS-Frequ ency res ponse: 7.5 IPS ±3 db 40·15.000 cps .
3.75 IPS ± 3 db 40·10,000 cps. Signal·to·noise ratio: 40 db below full output of .75
~~~~~~hu~~~~~'iI~a~~~~nic distortion: l ess th an 2% at full output. Bias erase; 60 kc
$26 95
For noise and static-free sound reception, this FM
tuner is your least expensive source of high fidelity
material. Efficient circuit design features stablized
oscillator circuit to eliminate drift after warm-up and
broadband IF circuits for full fidelity with high sensitivity. All tunable components a re prealigned and
front end is preassembled. Edge-illuminated slide rule
dial is clearly marked and covers complete FM band
from 88 to 108 me. Shpg. Wt. 8 Ibs.
Top performance at budget cost!
$29 95
14 watts, HI -F.; 12 watts, Profess ional; 16 watts. Uti lity. Power Response:
From HEATHKIT audio labs comes an exciting new
kit . . . New Styling, New Feiltures; Brilliant Performance! Designed to function as the " heart" of your
hi-Ii system, the EA-3 combines the preamplifier and
amplifier into one compact package. Providing a fuO
14 watts of high fidelity power, more than adequate
for operating the aveFage system, the EA-3 provides
all the controls necessary for precise blending of
musical reproduction to your individual taste. Clearly
marked·controls give you finger-tip command of bass
and treble ·"boost" and "cut" action, switch 'selection
of three separate inputs, "on-off" and volume contJ;"ol.
A hum balance control is also provided. The convenient neon pilot light on the front panel shows when
instrument is on. Styled to b1end .harmoniously into
any room surroundings, the handsome cover is of
black vinyl coated steel with gold design and features
the new "eyebrow" effect over the front panel to
match the other new Heathkit hi-Ii instruments. The
.panel is satin black with brush-gold trim strip, while
the control knobs are black
With gold inserts.
Shpg. Wt. 15 Ibs.
.± 1 db fro~ 20 cps to 20 kc at 14 watts outp ut. Total Harmonic Distortion :
I ~ss than 2%, 30 cps to 15 kc at 14 watts output. Intermodulation Distor ..
tlon: less thaI) 1% at 16 watts ~utp ut usi ng 60 cps and 6 kc signal mixed 4: 1
Hum and NOise: mag. phono Input, 47 db below 14 watts; tune r and cry stal
phono. 63 db be low 14 watts.
TRADITIONAL: Model CE·2T (mahog any)
CONTEMPORARY : Mod el CE·2B (birch)
Model CE·2M (mahogany)
Space saving and attractive, the CE-2 puts control of your
entire hi-fi system right at your chairside. Designed to
house the Heathkit AM and FM tuners (BC-I A, FM-3A,
FM-4), W A-P2 preamplifier, RP-3 record changer, and
any of the Heathkit power amplifie rs. Supplied in beautiful furniture-grad e, veneer-surfaced plywood suitable
for the finish of your choice. Shpg. Wt. 46 Ibs.
MODEL UA-1 $21 95
Ideal for stereo or monaural applications. Teamed
with the Heathkit WA-P2 preamplifier, the VA-I provides an economical starting point for a hi-fi system.
In stereo applications two V A-I 's may be used along
with the Heathkit SP-2, or your present system may
be converted to stereo by adding the V A-I. Harmonic
distortion is less than 2% from 20 to 20,000 CPS at
full 12 watt output. " On-off" switch located on chassis
and an octal plug is also provided to connect preamplifier for remote control operation. Shpg. wt.
('.. 4 . ( .
MODEL W7-M $54 915
This hi-fi amplifier represents a remarkable value at less
than a dollar a watt. Full audio output and maximum
damping is a' true 55 watts from 20 to 20,000 CPS with
less than 2% total harmonic distortion throughout the
entire audio range. Features include level control and
"on-off" switch right on the chassis, plus provision for
remote control. Pilot light on chassis. Modern, functional
design. ~hpg. Wt. 28 Ibs.
MODEL WA-P2 $1976
All the controls you need to. master a complete high
fidelity home m-usicsystem are incorporated in this versatile
instrument. Featuring five switch-selected inputs, each
with level control. Provides tape recorder and cathodefollower outputs. Full frequency· response is obtained
within ± I Yl db from IS to 35,000 CPS and will do full.
justice to the finest available program sources. '£qualization is provided for LP, RIAA, AES and early 78 records.
Dimensions are 12'U' L. x 3'Ys' H. x S"!4' D . Shpg. Wt.
MODEL W6-M $10995
For real rugged duty called fOT by advance hi--fi systems or
P.A. networks, this high powered a:mplifier more than fills
the bill. Silicon-diode rectifiers are used to assure long life
and a heavy duty transformer. gives you eXJremely good
power supply regulation. VariAble damping control provides
optimum performance with any speaker system. Quick
change plug selects 4,8 and 16 ohm or 70 volt outPljt and the
correct feedback resistance. Frequency response at 1 watt
is ± I db from 5 CPS to 80 kc with controlled HF rolloff
above 100 kc. At 70 watts output harmonic distortion is below 2%, 20 to 20;000 CPS and 1M distortion below 1 % 60
and 6,000 CPS. Hum and noise 88 db below full output.
Shpg. Wt. 521bs.
MODEL W5-M $59 75
Enjoy the distortion-free high fidelity sound reproduction from this outstanding hi-fi amplifier. The WS-M
incorporates advanced design features for the super
critical listener. Features include specially designed
Peerless output transformer and KT66 tubes. The circuit is rated at 25 watts and will follow instantaneous
power peaks of a fu ll orchestra up to 42 watts. A
"tweeter saver" suppresses high frequency oscillation
and a unique balancing circuit facilitates adjustment
of output tubes. Frequency response is ± I db from 5
to 160,000 CPS at I watt !j.nd within ±2 db 20 to
20,000 CPS at full 25 watts outpu.t. Harmonic distortion is less than 1% at 25 watts and 1M distortion is
I % at 20 watts (60 'an d 3,000 CPS, 4:1). Hum and
noise are 99 db below 25 watts for truly quiet performance. Shpg. Wt. 31 lbs.
Heathkit hi-fI systems are designed for maximum flexibility. Simple
conversion from basic to complex systems or from monaural to
stereo is easily accomplished by adding to already existing units.
Heathkit engineering skill is your guarantee against obsolescence.
Expand your hi-fi as your budget permits . •• and, if you like, spread
the payments over easy monthly installments with the Heath Time
Payment Plan.
$35 50
The model A9-C combines a preamplifier, main amplifier and
power supply all on one chassis, providing a compact unit to
fill the need for a good amplifier with a moderate cash investment. Fe.atures four separate switch-selected inputs.
Separate bass and treble tone controls offer 15 db boost and
cut. Covers 20 to 20,000 CPS within ± I db. A fine unit with
which to start your own hi-fi system. Shpg. Wt. 23 Jbs.
. MODEL XO-1 $1 95
This unique iJ?strument separates high a nd low frequencies
and feeds them through two amplifiers to separate speakers.
It is located ahead of the main amplifiers, thus, virtually
eliminating 1M distortion and matching problems. Crossover
freq uencies for each channel are at 100, 200, 400, 700, 1200,
2,000 and 3,500 CPS. This unit eliminates the need for con·ventional crossever circuits and provides amazing versatility
at low cost. A unique answer to frequency division problems.
Shpg. Wt. 6 Ibs.
RIFt REvmw
MODEL HH-1 $299 95
Words cannot describe the true magnificence of the "Legato"
speaker system ... it's si mply the nearest thing to perfection in
reproduced sound yet developed. Perfect balance, precise phasing,
and adeq uate driver design all combine to produce startling realism long sought after by the hi-fi perfectionist. Two 15" Altec
Lansing low frequency drivers and a specially designed exponential
horn with high frequency driver cover 25 to 20,000 CPS. A unique
crossover network is built in. Impedance is 16 ohms, power rating
50 watts. Cabinet is constructed of %" veneer-surfaced plywood
in either African mahogany or imported white birch suitable for
the finish of your choice. All parts are precut and predriIIed for
easy assembly. Shpg. Wt. 195 Ibs.
MODEL SS-1B $99 95
Not a complete speaker system in itself, the SS-IB
is designed to extend the range of the basic SS-2
(or SS-I) speaker system. Employs a 15" woofer
and a super tweeter to
extend overall response
from 35 to 16,000 CPS
± 5 db. Crossover circuit
is built-in' with balance
control. Impedance is 16
ohms, power rating 35
watts. Constructed of
%" veneer-surfaced plywood suitable for light
or dark finish. All parts
precut and predriIIed for
easy assembly. Shpg.
Wt. 80 Ibs.
$24 95
Rewind tape an.d film at the rate of
1200' in 40 seconds. Saves wear on
tape and recorder. Bandies up to
IOY2" tape reels and 800' reels of
8 or 16 millimeter film. Incorporates
automatic shutoff and braking device. Shpg. Wt . .12 Ibs.
Replace your present
pickup with the MF-J
and enjoy the fullest
fidelity your library
of LP's has to 0 frer.
Designed to Heath
specifications to offer
you one of tb.e finest
cartridges available
today. Nominally flat
response from 20 to
20,000 CPS. Shpg.
Wt. lib.
U~bSidiary of Daystrom, Inc.
Encl osed find $ . . .. . .. .
Pl ease enclose postage
for parce l post-ex press
orders are shipped de-
All pri ces F.O.B. Be nton
livery cha rges coll ect.
Harbor, Mich . A 20% deposit is required on all
C.O.D. ord ers. Pric es
subject to change without notice.
Please send the Free Heathkit catalog.
Enclosed is 25c for the Hi· Fi book.
& state
. 29
Look Best - Test Best - Sound Best
*Dual 35 watt super-quality amplifiers
-70 watt continuous monophonic
rating-160 watt peak.
• Audax se ts a new departure for grille
covers in their new bookshelf speaker se·
ries. A three·dim ensional, molded plastic
Jallice serves not only to cover the speaker
openings, but also aids sound dispersion
with only a minimum of high frequency
absorption. The easily cleaned, detachable
plastic set-in cover is featured on the new
Audax Model CA-80 and CA-lOO compact
speaker systems, which contain a pair of
full-range 8-inch and lO-inch Audax "Para·
*All critical parts on prefabricated
printed circuit assembly reduces wiring time to five hours.
*Premium quality parts conservatively operated permit one year guarantee.
*Uncompromised design for finest
performance-usable with all speakers.
*Only $99.95* net including all parts,
instructions, and protective cover.
Step up to STEREO
Superb Dynakit Quality Is Fully Compatible with Stereo Requirements
*Famous Dynakit Preamplifiers--Distortionless and noise free - stack
harmoniously for stereo. $34.95* each.
*Add DSC-l Adaptor unit for complete flexibility. Includes blend, balance, dual volume controls plus loudness, tape monitor, and reversing
switches. Only $12.95* net.
*PM-2S Panel mount kit provides integrated handsome appearance plus
mounting facilitY-$5.95* net.
*CM-2S Cabinet Set includes single
front panel and walnut table top
cabinet. $17 .95* net.
Available from leading HI·FI dealers everywhere.
Descriptive brochure available on request.
• Slightly higher in West
Dept. HR. 617 N. 41st St .. Phila. 4. Pa.
30 ·
fl ex" speakers, respectively. The cabinetry
for these units is the work of the renowned
furniture designer George Nelson. Price:
$99_95 (Model C-80); $139.95 (Model CA100). (Audax, Inc., 38-19 108th Street,
Corona 68, N. Y o)
• Bozak announces the "Spinet," a new,
small speaker system designed to provide
true quality sound for listeners who have
space problems_ Measuring a compact
14%" x 23%" x 11112" deep, the Spinet is
a " miniaturized" infinite baffle system which
maintains balanced response in bass, midrange, and treble_ The Spinet is available
in two models: the two-way B-500 system
and the three-way B-502 system. Each model
utilizes the same drivers found in the larger
Bozak speaker systems. The cabinet of the
Spinet (finished on all four sides) may
be used vertically or horizontally. The 500series is available in a variety of fine wood
finishes or unfinished for those who wish to
match the cabinet to an existing decor.
Price range: $134.50 (B-500, finished);
209.50 (B-502, finished). (R. T. Bozak
Sales Co., Darien, Conn.)
• Dynakit augments its line of highquality power amplifiers with a new 4Q-watt
model, the Dynakit Mark IV, available
either wired or in semi-assembled kit form_
The Mark IV delivers its rated 40 watt power at less than 10/0 distortion within the
20-20,000 cycle range. Frequency response
is 1 db. from 10 to 40,000 cycles. Noise
is better than 90 db. below rated output.
The Dynakit uses matched EL-34 tubes
driven by the new 7199 pentode-triode tube.
All parts are operated well below maximum
ratings for long life. The use of pre-wired
printed circuitry, detailed step-by-step instructions and pictorial diagrams enables
even the novice kit builder to construct this
amplifier with complete confidence. Average construction time is about 3 hours.
Size: 5" x 14" X 6%" high. Weight: 23
pounds. Price: 59.95 (kit form); $79.95
(pre-wired). COy naco, Inc., 617 North 41
St., Philadelphia 4, Pa.}
• Fisher bas up-dated its X-lOI integrated stereo amplifier. Now dubbed the
X-lOlA, this two-channel preamplifier-equalizer has independent bass and treble tone
controls for each channel. The X-lOlA contains a 40-watt two-channel amplifier with
a reserve peak-power rating of 75 watts.
It boasts a frequ ency respon se of 20-20,000
cycles with only 0.7 0/0 distortion at full
rated output.
Price: $194.50. Hand-rubbed custom
cabinets are available at an additional
$24.95. (Fisher Radio Corporation, 21-21
44th Drive, Long Island City 1, N. Y.)
• Janszen incorporates its well-known
electrostatic tweeter in its new Z-400 widerange, compact bookshelf speaker system.
Widely acclaimed for smooth mid-range
and treble response and crisp transient
characteristics, the J ansZen electrostatic
tweeter is acoustically paired in the Z-4OO
with a special eleven-inch Model 350 dynamic woofer. The high compliance cone of
this woofer is treated to provide low freHIFI REVIEW
Facts about the modern record prove this so. Fact I-Today's
"lp's" offer up to 30 minutes of music p er side! Fact 2-Most
albums are recorded on 2 sides! Fact 3-You must flip the
record over to play the second side! Therefore, the record
changer now has virtually nothing to change-its one special
feature is no longer essential! Why then choose this way to
play both sides of your records? If you have stereo in mind,
you can only obtain genuine high fidelity with a STEREOTABLE
made only by Rek-O-Kut. Only Rek-O-Kut STEREOTABLES
give you : silent, accurate rotation, hysteresis synchronous
motors, exclusive engineering and over 51 lab tests to insure
trouble-free operation. Choose your STEREOTABLE from the
world's largest selection . .. the world's largest manufacturer
of high fid elity turntables ... Rek-O-Kut! STEREOTABLES from
$39.95, STEREO TONEARMS from $28. 95, Bases from $8.95.
Write us for the complete STEREOTABLE story.
Dept. R-9 38-19 108th Street, Corona 68 , New York
Export: Morhan Exporting Corp., 458 Broadway , N. Y. 13 • Canada: Atlas Radio, 50 Wingold Ave., Toronto 19
quency reproduction complementin g the
J ansZen tweeter. The Z-400 covers the
ran~e from 30 to beyond 30,000 cycles per
second. Tweeter and woofer are mounted
in a fiberglass-filled sealed enclosure which
may be placed horizontally or vertically, as
desired_ A build-in power supply provides
the polarizing voltage for the electrostatic
elements. The Z-400 measures IS" by 26"
by 13V2" deep and is available in walnut,
mahogany, or birch finishes. Price $134.50.
(Nesbaminy Electronics Corp., Nesbaminy,
• Lafayette enters the "bookshelf
league" with an enclosure designed to work
with any 12" speaker-coaxial or single
cone-or 12" woofer with separate tweeter.
Although the design is basically one of the
family of "reflex" or "ported" enclosures,
there are two unique departures. These are
an elliptical port and a triangular-shaped
diffracting ring mounted on the front of
the bafRe board. These features serve to
improve transient response and create phase
relations producing a smooth transition
from front-to-rear radiation_ Price: $32.50.
(Lafayette Radio, 165-08 Liberty Ave_,
Jamaica 33, N. Y.)
He started his stereo system with
the Bogen DB230A Stereo Control Center and ST662 Stereo Tuner. He's set for
the future.
The choice was easy ... once all the facts
were in. First, he learned that Bogen
has the experience. That's because Bogen
has a larger engineering staff ... has
made more sound equipment than any
other hi-fi manufacturer.
Next, he compared prices. Found out
he'd have to pay as much as $50 more
for components with power, sensitivity
and versatility to compare with Bogen's.
Then he listened. Incomparable!
Finally, the most exacting test of all ..•
his wife's opinion. Not only did wife like
Bogen's clean styling, she was amazed to
discover how easy it is to use the complete, yet uncomplicated controls.
That did it. Our friend took the DB230A
and ST662 home with him. The glow
hasn't worn off.
And it won't for you, either. Get the
Bogen glow today ... at your hi-fi dealer.
Write for information to:
BOGEN-PRESTO CO., Paramus, N. J.
A Division of the Siegler Corporation
the sound way to better stereo
DB2~OA. Output Power: 60 watts (two 30-watt channels). Distortion: less than 1% at 60 watls. ResDonse: 20 to 20.000
cycles ±O.5 db. Controls: Input Selector. Loudness. La Filter, Hi Fllte,! . Stereo-Monoohonic. B alance. Power. Phasing,
Cartridge (Stereo. :M"ono). Speaker Selector and seDarate Bass, Treble and Volume tor each channel. Price: S189. 50.
Enclosure and legs: $8.00. ST662 .. Companion Stereo FM -A~l Tuner wIth butlt-in provision ror lfulti"plex. $189.50.
• Sherwood's new Model S-3000 II
FM Tuner features "inter-channel hush," a
squelcb-circuit muting the noisy "hash"
normally heard between channels on highly sensitive tuners. The tuner is also provided with a front panel control to adjust
the degree of silencing provided by the interstation muting action, without affecting
the tuner's sensi tivity. Other features include "feather-ray" tuning eye, Multiplex
output jack, AFC defeat switch, 6BR5
cathode ray tuning indicator, "local-distant"
switch, flywheel tuning and cathode follower output. Tuner sensitivity is 0.95 microvolts for 20 db_ quieting, and selectivity is
195 kc. at -6 db. Frequency response is
20-20,000 cps ±V2 db_, with the hum and
noise level at 60 db. below 1000/0 modulation. Sherwood claims an intermodulation
distortion of 0.33 and less than 0.25 harmonic di'stortion at 100% modulation at
400 cps. Price: $105_50 (case extra)_
(Sherwood Electronics Laboratories, Inc.,
4300 N. California Ave_, Chicago, Ill.)
• Vitavox Ltd., a British loudspeaker
concern of high repute, is marketing their
new TR30 cone tweeter in the United States
tbrough the distributing firm Ercona Corp_
The tweeter affords smooth response from
1000 cycles to beyond the range of normal
hearing. Tbe unit is housed in a sealed
tubular body so that it can be mounted
in the same enclosure with the woofeL The
price of $24_50 includes a built-in crossover
network. (Ercona Corporation, 16 West
46th Street, New York 36, N. Y_)
VR-225 -5 mil diamond stylus. For professional-type tone arms, $27.95 .
VR-227 .7 mil diamond stylus. For
record changer or turntable, $24.95.
Now, outstanding in all four critical areas of stereo cartridge performance-Compliance -Tracks
precisely, not a trace of stiffness. Channel Separation-up to 30 db for maximum stereo effect.
Nothing higher on the market! Response-Smooth and flat for superior sound from 20 to 20,000
cycles (VR-225), 20 to 17,000 cycles (VR-227). Virtually hum·free-triple shielded against stray
currents. This is our masterpiece. We urge you to hear it
Audio Components Section, Auburn, N. Y.
Stereo becomes a Decorator's Dream!
New GALAXY· II hi-Ii component
speakers eliminate cabinet bulk,
add eye value, give better
panoramic stereo coverage
of large areas.
by ARDINE ALLYN, Noted Interior Decorator
The new Jensen GALAXY II hi-Ii stereo speaker system achieves
wide panoramic stereo with two tiny "satellite" units that can
wall-mount like pin-up lights and a single small "bookshelf' size
enclosure. Freed from the cumbersome need to place two boxes (an
unwanted hazard to decor and space) in often unavailable or eyeassailing locations as required with conventional speakers, the
GALAXY II system can enter the living room as a welcome guest,
providing an attractive visual result along with the superb
performance of its sound reproducing function.
The two satellite units are an outstanding example of the proposition
that functional design can be beautiful. Their slim cases of genuine
solid natural finished walnut, tawny ash or mahogany match the
selected veneers of the Bass-Center Unit and add a note of warmth
and richness. The curved front theme is repeated in the bow-front
design of the Bass-Center Unit and there is an attractive
tie-in of grille cloth treatment.
When real panoramic stereo can be achieved with these diminutive,
smartly-styled pieces, ultraRexible in placement, hi-fi component
stereo is really here . . . for any room in your home.
G.ALAXY*II is another contribution
to stereo in the home by
12W Mono Integra ted Amplifier HF12
Other Mono tntegrated Am pl ifiers,
50, 30, & 20W (use 2 for stereo)
HF81 st e r eo Amplif i er-Preamplifier selec t s.
amplifies. contro ls any stereo source & feeds i t
th ru self-conlai ned dual 14W ampl ifiers to a
pai r of spea ker s_ Pr ovi des 28W monophonica ll y,
Ga nged l evel control s. separate ba lance cont ro l .
i nd epe nd ent bass & t reb l e controls for each
c hann el. Ide ntica l Willi am so n-type. push-pu ll
EL84 power ampl if i ers, "E xcellent " - SATUR DAY
REVI EW; HI -FI MUSIC AT HOM E, " Outstanding
quality . . . extremely versal i le _"- ELECTRON ICS
WO RLD LAB-TESTED . Kil ~69 . 95 . Wired $109 .95 .
In clud es cover.
HF85 Siereo Pre amplifier is a comp l ele. mas ter
slereo preampli fier-co nlro l uni t. self-powere d fo r
flexibi li ty & to avo id power-supply probl ems. Dis tortion borde rs on unmeasurable even at high
output l eve ls. Level. bass. & treb l e co ntrol s independe nt fo r eac h chan nel or ga nged f or both
cha nn els. In puts for phono. tape head . mike. AM.
fM. & fM- multip l ex. One each auxi l iary A & B
i nput in each cha nnel. Switc hed-i n loud ness compensator. "E xtr eme fl exibility . . . a bargain ." HI-FI RE VIEW. Kit $39 .95. Wired $64 .95. Incl udes
cove r.
New HF87 70 -Watt Stereo Power Amplifie r: Dual
35W power amplif ie rs of t he highes t qual ity,
Uses top-quality output transformers for undisto r ted response across t he ent i re audio ra nge at
full pow er to provide ut most clarity on full
orches tra & orga n. 1M disto r tio n I % at 70W.
ha rm oni c distort ion l ess th an I % f rom 20 t o
20.000 cps within I db of 70W. Ultra- lin ea r con nec ted EL34 outp ut slages & surgis tor-pro t ected
silicon diode rectifier power supp ly. Se l ector
sw i tch chooses mono or stereo serv ice ; 4, 8,
16. and 32 ohm speaker taps. input l evel co ntro ls;. basic sens i t ivity 0.38 volts. Without exaggerat ion. one of the very f in est ster eo amp li fiers
availabl e regardl ess of pri ce. Use w ith se lfpowe red stereo preamplifier -co ntro l un i t (HFS5
recomme nded). Ki t $74. 95 . Wi re d $114.95 .
HF86 2SW Stereo Power Ampl ifier Kit $43.95_
Wired $74.95 .
FM Tuner HFT90 : Prewire d . prea l igned. tempe rat ure-co mpensate d "front end " is dr ift -f ree . Prew ired exc lu sive pr ecisio n eye·t ronic® trave ling
tu ning i ndica tor . Sensit ivity: 1.5 uv for 20 db
quie tin g; 2.5 uv fo r 3D db qu ieting. f ull l imiti ng
from 25 uv . IF ba ndwidth 260 kc at 6 db pOints.
Both cathode follower & FM-multiplex stereo
outputs. prevent obsolescence. Very low distortio n. " On e of th e be st buys in high f idel ity kits ."
- AUDI OCRAF T. Kit $39 . 95 * . Wired $65.95 * .
Cov er $3 .95. ' Less cover. F.E .T. Incl.
New AM Tuner HFT94. Ma tches HFT 90 . Selects
"hi-fi" wide (20c - 9kc @ -3 db) or weakstation narrow (20c - 5kc @ -3 db) ba ndpass.
Tun ed RF stage for high se l ectivity & sensitivity;
pr ecision ey e- tronic® tu ni n g. Buil t-i n ferri t e
loop . prealigned RF & IF co il s. Sensit iv ity 3 uv
@ 30% mod. for 1.0 V out. 20 db SI N. Very low
noise & distor ti on. High-Q 10 kc whist l e filter.
Kit $39 _95 . Wired $69 .95. Inc l. Cover & F.E. T.
New AF -4 Stereo Ampli f i er provides clean 4W
per chan nel or SW total ou tp u t. In puts fo r
ce ramic/crysta l stereo pick-ups . AM-FM stereo.
FM-multi stereo. S-position stereo/mono selecto r. Clutch-concentric level & tone contro l s. Use
with a pair of HFS-5 Speaker Systems for good
qual ity. low-cost ste reo. Kit $38.95 . Wir ed $64.95 .
HF12 Mono Integrated Amplifi er provides complete " front-end" facilities and true high fideli ty pe r formance. Inputs for phono. tape head . TV.
tuner and crysta l / ceramic cartridge. Preferred
var iable crossove r. feedback type to ne co ntrol
circ u it. High l y sta b le Wi lli amson-type powe r
ampl ifie r circ uit. Power outpu t : 12W co ntinuous
25W peak. Kit $34.95 . Wired $57 .95 . In cludes
New HFS3 3-Way Speaker Syst em Sem i-Kit complete with factory-built 3/4 " veneered plywood (4
sides) cabinet. Bellows-suspension. full -inch excursion 12" woofe r (22 cps res .). S.. mid-ra nge
spea ker wit h hi gh i nter nal dampin g co ne f or
smoo th response. 3 112" co ne t wee t er. 21/4 cu. ft.
ducted-port enclos ure. System Q of lI:z for smooth est frequency & best transie nt response. 3214.000 cps clea n . useful response. 16 ohms
i mpedance. HWD: 26 112". 137/s ... 14JA. ... Unfi nished
birc h $72 _50_ Wa lnut. mahogany or teak $87 .95 _
New HFS5 2'-Way Speaker System Semi-Kit co mplete w ith fac tory- bui lt 3/4" veneered plyw ood (4
si des) cabi net. Bellows-suspension . %" excur-
2-Way Bookshelf
Speaker Sy stem HFSI
3-Way Speaker System HFS3
2-Way Speaker System HfS5
sion, 8" woofer (45 cps res.). & 3 112" cone
tweete r. 11/4 cu. ft. ducted-port enclosure. Sys t em Q of V2 for smoothest frequency & best
tra nsien t respo nse. 45-14.000 cps cl ean. useful
respo nse. HWD: 24". 12 V2". lD l12". Unfi nished
bi rch $47.50. Wa lnut. mahogany or teak $59 _50 _
HfSl Bookshelf Sp eak er System complete with
factory-built cab inet. Jensen S" woofer. matching Jensen com pressio n·driver exponentia l horn
t weeter . Smoo t h cl ean bass; c ri Sp ex t ended
highs. 70-12 .000 cps ra nge. 8 ohms . HWD 23" x
11" x 9". Price $39.95 .
LGS-l Bras s Tip Matching 14" Legs easi ly convert HFS-I into attractive co nso l etle . All
bracke t s & hardware provide d. $3 .95 .
EICO . 33-00 North ern Blvd ., 1.I .C. I . N. Y.
SHO W ME HOW TO SAVE 50 % on 65
mod el s of top qual i t y:
Hi-F i 0 Test In struments
"Ham " Gear 0 Fr ee STEREO Hi-F i Guide
Send FREE c, l alog & name of nei gh-
borh ood EIC O t! 3:zl er.
CIT Y • ...... ···.· . .. •• . ZO N E . .. . . S T A T E. .
See an d hea r th e co mpl ete EICO lin e at
th e IHFM HI-fi SHOW, Boot hs 305 & 306 .
September, 1959
Vol. 3
have been heard to mutter words fit only
for th e Bible when trying to install a
phono cartridge with a regular household sCl·e wdriver. Fairchild has contributed greatly to the purification of the
lan guage by including small job-size
sCJ:ewdriver with their new SM-1 stereo
cartridge, along with a gram gauge for
se tting the stylus pressure.
THE TIDY SUM OF $260,000,000 was
spent by audiophiles last year on component-type hom e music systems, according to the Institute of High Fidelity
Manufacturers. We like to think of this
impl'essive statistic not so much as cold
cash, but as a vital force in America's
cultural life and a multiplied expression
of individual adventures in music.
DAVID RANDOLPH has taken a vacation from record reviewing for this magazine to write and "em-cee" his show
Young Audiences, which for the past
months l'Oused and nurtured the musical appetites of school-age TV watchers
on CBS Channel 2. He deserves congratulations for an outstanding job in
music education and an extra pat for assuring us a future generation of readers.
the motto of a new hi-fi contest. All you
have to do is tell Shure Bros. in 25
words or less why you like the sound
of their stereo cartridges. Any number
can play- no box top, no coupon, and
you don't even have to buy the cartridge.
We are also intrigued by the assumption
that most hi-fiers already have a RollsRoyce. So if the lucky winner wants
to dispose of his old car cheap, just let
us know_
a constant concern of discriminating
listeners in many areas. Networks can
rarely fill the bill because of highly
competitive economic pressures. Independent stations and local FM outlets
are handicapped by tight budgets. The
FCC has trouble enforcing the "public
service" provisions in the federal license
issued to broadcasters. A possible solution to the whole dilemma has been
proposed by John Fisher in the July
1959 issue of HARPER'S MAGAZINE. We
suggest it as "required reading" to
thoughtful radio listeners.
CONCERT MUSIC USA, a survey by
B.M.I., revealed so me amazi ng fa cts.
Th ere are 1,142 sy mphony orches tras
in the United Stal es today, compared
with less than 100 in 1920 and only ten
in 1900.
Beethoven 's Ninth, recorded by Tos·
canini in 1952 had sold 225,000 copies
by 1958. In 1934, a record in g of the
Ninth did well to sell 500 copies.
LP discs have been a boon to American co mposers. Some 1000 American
works by about 300 co mposers have been
reco rd ed si nce th e introduction of LP
in 194-8. Th e problem is how to keep
th ese discs active in th e ca talogs and
availabl e a t lo cal stores.
Over 20 milli on Americans claim to be
pianists of sorts, which makes the piano
our mos t popular instrum ent, followed
in numbers by four million self-avowed
guitarists, three million string players
and a million aspirants of the ukul ele.
TOO MANY RECORDS confuse the custom er, compla ins J. K. Maitland, Capitol's Sales V.P. In 1958, some 300 companies rel eased more than 4000 pop
/lops. The buye r can't t.ell th e few good
ones arilOng all th e duds. Result: he
feels cheated and may stop buyin g altogether. Remedy: If a record company hasn' t got something good, they
sho uldn't rel ease anything. Question:
Can such artistic self-discipline prevail
against commercial pressure?
STEREO CONQUERS the antipod es.
Word comes from New Zealand that
stereo down under has practically inundated th e islands. With no television, records are the main family diversion. In a country ' combining a high
living standard with an almost notorious regard for leisure, money is considered well spent for stereo as it contributes to the realism of l-eproduced music.
A "TRIP" TO EUROPE'S music festivals
awaits many FM (and some AM) listeners as the -Broadcasting Foundation
of America is distributing free to U. S.
radio stations tape recordings of the
Festivals at Salzburg, Vienna, Prague,
Bayreuth, Bergen, Stockholm and Spoleto. Ask your "good music station" to
schedule these presentations as public
service features. The Ford Founootion,
in furtherance of international cultural
exchange, picks up the check.
dio lab. At a loss how to determin e the
tran sonic response limit of a tweeter
r eaching beyond the l'ange of calibrating
microphones, an engineer in our test
la boratory discovered that hi s sinuses
cleared up almost instantly when the
tweeter was conn ec ted to a frequency
generator at 34,000 cycles. Evidently
thi s happ ened to be the r esonan ce point
of the mucus dropl ets. It shook up the
congestion in his bone cavities and
cleared th em out nicely. We know now
that the tweeter goes up to at leas t 34
kc. and also have a new form of th erapy
to suggest to the medical profession.
night- an excellent listening tip. With
a good AM tuner and maybe an outside
antenna you should be able to pull in
Canadian stations anywhere in the
northern U. S. Wednesday is the C.B.C.
gala night often di stinguished by fulllength theater prese ntations unequalled
elsewhere in the Am erican ether.
contrasted to gen uin e high fidelity dealers, predicted heavy preference for onepiece "package" stereo on the part of
the "gen~ral public," due to wifely pressure for unitized furni ture. Surprise result of recent poll revealed that a slight
majority of even the "package" customers want the second speaker freely moveable for optimum separation and acoustic positioning. Apparently the much
underrated general public is fast learning the basic principles of good stereo.
gadget capable of electronically imitating the sound of all existing and nonexisting musical instruments, has been
installed at Columbia University where
it will be guided by such human colleagues as Drs. Luening and Ussachevsky, famed experimenters in unearthly
sound, in exploring the outer reaches of
el ectronic music.
as the "Folkniks" (a term of dubious
affection applied to folk singers in the
music trade) established a beachhead
at the recent Newport Jazz Festival.
Pete Seger, Jean Ritchie, Josh White
and Sonny Terry are among well-known
recording artists who carried the folk
song banner into the jazz bastion.
Should I
Convert to
HE "stereo adapter" is one of the humblest, lowest-priced
hi-fi components ever produced; yet it may well prove the
key that admits thou sands of owners ~f singie chann el sound
to the world of stereo. To understand its potential role, we
must first appreciate that although the impact of stereo has
been overwhelming, any number of hi-fi enthusiasts still are
"unconverted." They are hugging close, as it were, to their
cherished mono systems, stoutly defending their right not to
be wheedled or weaned away. The cause of hesi tation is the
thought of having to discard components, assembled over the
years with painstaking care and with considerable cash
outlay. To many, it seems like some kind of horrend ous violation to tear into and remake a treasured hi-fi system just to
render it stereophonic.
Fortunately, conversion to stereo need not be destructive
of the proven merits of an existing mono system. The recipe
is : Keep most of what yo u have, but add to it discreetly.
Assuming the new stereo cartridge, the second amplifier,
and second speaker system are bought and in stalled, the
expanded system is, in effect, two mono systems that lack
the stereo "extras" found on most of the new stereo amplifiers and pre-amplifiers. The "twin mono" setup can indeed
play stereo, but it still lacks certain features and conveniences. These features are not mere gadgets; they serve a
very real need.
Among these stereo extras offered are the now-familiar
"channel reversal," "phase r eversal," and "stereo balance."
Also provided is a convenient way of reprodu cing mono recordin gs by linkin g both channels, and cancelling vertical
component rumble. Furthermore, mono di scs can be played
with the same pickup as stereo recordings. Most listeners
find that they respond gratefully to the added spread imparted by two-speaker playback.
The answer lies in the little box known as the " stereo
ada pter," a unit that links a pair of mono amplifiers and
provides the stereo extras.
When the first stereo adapters appeared not too long ago,
it was felt generally that they wo uld serve mainly as a stopgap to help make the transition to stereo with existin g mono
components. After this transition period, new stereo systems,
as well as older, converted mono systems, would presumabl y
employ all-out stereo units in which all controls were to be
provided on a single control chassis. Thereafter, th ere would
.: . :
.. ,
,: .". "','-:
' .
(for specific
see te xt)
(for specific
see text)
1 Only to the extent that specific mono preamps used with it m ay be located remotely.
2 Not applicable to this unit; see text for explanation,
3 Balance by means of volume controls on original mono amplifiers.
no longer be much of a demand for either mono equipment
or for stereo adapters.
This projected timetable of audio buying has not fully materialized. Prospective hi-fi owners feel that they want decent
mono sound now, and that a later stereo conversion will not
devalue their mono purchases. Monophonic equipment therefore fills a legitimate need. However, the stereo adapter fits
into this picture because it allows the mono amplifiers to be
used later in stereo systems. There appears to be a liberal
supply of decent mono components on the market, generally
to be picked up at reduced prices. What it comes to, simply,
is that many hi-fi owners or those about to become hi-fi
owners, can have their mono cake now and eat it later with
stereo icing, provided they don't mind a little extra effort
and extra space.
Most stereo adapters have been designed primarily for use
with specific mono amplifiers of the same manufacturethough they can often be used with other amplifiers of similar circuit features. The bulk do their job by some form of
interconnection within the amplifying channel ; e.g.: between preamps and power amps or, in some cases, into the
internal wiring of an integra ted, sin gle-chassis amplifier.
Two models by Knight and one by Audiotex avoid this approach and are used between the power amp outputs and the
speakers. And one compact unit Electro-Voice fits in before
the preamp stages, right after the cartrid ge itself. These
latter kinds of adapters can be used more universally, although anyone of them lacks some of the versatility found
on several of the "in side-th e-amplifier" type. Actually, it
turns out that the E-V model, used with any of the "outsidethe-amplifier" models, provides as much usefulness as most
of the "inside-the-amplifier" types.
"Inside-the-Amplifier" Types
An early stereo adapter was the one offered by Fairchild for
specific use with Fairchild mono preamps. The adapter and
the pair of preamps formed a kind of wrap-around that
linked all three units electrically and physically. Similar,
but with greater versatility and wider use, is the $45.00
Marantz Model 6 Stereo Adapter. In addition to Marantz
mono preamps, the Model 6 also may be used, without modifi cation, with Altec 440-C preamps, or with Dynakit preamps.
In ea ch case, the "tape in" and "tape out" jack s on the mono
preamps are used to interconnect with the Marantz Model
6. A set of new jacks on the Model 6 now r eplaces those
taken up on the preamps. Controls on the Marantz Model 6
include "master volume" (both channels at once), an elaborate "master function" switch (with mono and stereo positions for all signal sources), a tape recorder function switch,
and a "speaker reverse" switch (same as "channel r everse" ).
A power off-on switch controls a.c. line voltage to a pair of
convenience outlets on the rear. With internal wiring changes,
several other preamps can be adapted for use with the Model
6; a complete list of these, as well as the ones that cannot
be used is available on request from Marantz. (Marantz Co.,
25-14 Broadway, Long I sland City 6, N. Y.)
Wid er application is possible with the Dynakit model
DSC-1, available as a kit for $12.95. Designed essentially to
fit two Dynakit mono preamps, the DSC-1 can al so add stereo
control function s to certain other makes of amplifiers. If the
mono preamps being used have "iape monitor" switches, interconnection is fairly simple. Those switches are moved to
"tape" position, and four cables between the "tape in" and
"tape out" jacks on th e preamps and the DSC-1 do the job.
If the preamps lack those fa cilities, their regular "audio out"
jacks may be used. The DSC-1 even can be used without
any preamps, takin g a signal from a high-level source and
feedin g it directly to a pair of power or basic amps. Thu ,
the outputs from a stereo tuner, or pair of AM and FM
tuners, can feed into the DSC-1 and thence to a pair of power
am ps and speakers. Of course, in such a short-cut setup, tone
controls will be lackin g but volume control and the stereo
ex tras will be available.
The DSC-l is a high-impedance device and should be used
with fairly short connecting cables. It cannot serve as a
remote control unit at appreciable distances from the rest
of the system unless the associated preamps are located close
to the stereo adapter. Most separate preamps-mono or
stereo-do have low impedance outputs which permits them
to be located at considerable distances from the power amps
and speakers.
Master Volulue
Simultaneously controls the volume of both channels. No need to make separate adjustments
on each channel every time you want to change volume. One single turn on the master
volume control does both jobs and also retains the same balance between cbannels at tbe
new volume 'Setting.
Stereo Balance
Makes sure that neither channel "outshouts" the other, which would ruin the stereo effect.
It lets you set channels for equal loudn ess despite possible differences in efficiency between
unmatched speakers. Also, it compensa tes for loudness unbalance in listening positions
nearer to one speaker than the other. By changing the stereo balance you can "move"
players across the imaginary stereo stage.
Channel Reversal .
Switches left to right and vice versa.
Phase Reversal
Changes phase in one speaker to correct possible out-of-phase operation, i.e., one speaker
pushing while the other pulls. This results in loss of bass, ragged over-all sound, and
excessive hole-in· the-middle. A flick of this control puts speakers in step with each other,
assuring proper stereo.
Mono/ Stereo Control
Links both channels and cancels vertical response for playing monophonic discs with optimum results.
DISCOPHILE dis'ko-fil,
n. From disc
and -0 and -phile. An avid collector or student
of phonograph records.
When Thomas Edison played his fir st phonograph record in 1877, he became the world's
first discophile. Since then , the n umber of
record collectors has steadily increased until
today the total is somewhere in the millions.
Scattered among these millions are a handful
of ultra-avid hobbyists whose collections range
from 6,000 to 450,000 records. These are the
"undaunted discophiles" who reign as the
kings of record collecting.
The " undaunted discophile" thrives in all climates. He persists where others would falter.
He would rather roam through stacks of dusty
78's in someone's attic than join a picnic. He
is more likely to remember the recording date
of his most valuable vocal disc than his own
wedding anniversary. He is in love with the
world of records and, in most cases, the size
of his collection is equalled only by his pleasure in talking about it.
(Conti nued ovm·lea!)
a prize item from his collection
of 450,000 discs.
For instance, William R. Moran, a petroleum geologist
living in La Canada, California, believes that his col1ection
of 21,000 vocal records (about 20,000 78's, 500 cylinders,
'md 500 LP's) serves a historical purpose.
"I like to feel," he says, "that I am preserTIng a part of
our heritage. Records of great singers, which pre erve the
interpretation of artists, are as much a part of our history as
books and letters. We can hear, for example, two members
of the original cast of Verdi's Otello sing their arias as Verdi
must have indicated to them that they should be sung."
Moran started his col1ection in 1925. He soon discovered
that junk shops and second·hand stores often contained rich
caches of vocal treasure. His searchings have taken him
throughout the United States and Europe. Moran feels so
strongly about the historical importance of records that he
is now working with Stanford University on the formation
of an archive of recorded sound, to serve as a permanent
after the first act. Not a snob at al1, it was al1 right for those
who did not have the opportunity of hearing greater sin gers,
but I wa s in a different position. I had heard even those
voices that were never proj ected in America at all. The com·
parison was too much, so I left while I stm had my illu sions."
Keating intends to leave his records to the United States,
so that this country will have a vocal collection to compare
with those in Europe. According to Roberto Bauer, one of
the world's leading experts in the field, Keating now has more
rare items than any collection in Europe.
Bauer, who serves as the Metropolitan Opera Company's
representative in Milan, Italy, might well be called the collector's collector. Besides knowing the contents of nearly
all of the world's great collections, he has managed to accumulate quite a hoard of operatic wealth himself.
As a young man, Bauer was often told by older opera
lovers that contemporary artists could not compare with the
His 450,000 discs repose in the double basement 0/ his New York law office. He wants
to "own 1000/0 0/ everything made by any
popular artist 0/ importance who has been
recorded since 1900".
Taxi fl eet owner and dyed-in· the-wool collector. "It sucks you in like quicksand and
you get in deeper and deeper." His collection totals some 6,000 dis cs and is growing
Collector of vocal music, he owns 251 discs
0/ Caruso. He once walked out of a San
Francisco Opera performance "while I still
have my illusions". His collection tops
28,000 records.
storage place for all kinds of recordings. Moran will leave
his entire collection to Stanford.
The most celebrated American collection of vocal music on
records is undoubtedly owned by George Keating, a retired
industrialist, of Los Altos, California, who is also collaborating on the Stanford University project. A collector since
1914, he possesses more than 25,000 78's and about 3,000
LP's. Keating has accumulated nearly all of the recordings
made by the greats and near-greats, plus examples of most of
the lesser singers.
Keating owns 251 records by Caruso. He owns every
record made by Alessandro Bonci, Geraldine Farrar, Rosa
Ponselle, Emma Eames, Lillian Nordica, and Louise Homer.
He owns the only known record made by Anna Von Mildenburg. He owns records by more than fifty sopranos of the
German-Austrian school. He owns the complete recorded
works of Galli-Curci and Luisa Tetrazzini. He owns many
rare Russian recordings, and hundreds of items never released commercially. And, needless to mention, he owns all
of the important moderns.
Keating enjoys good voices, regardless of their vintage.
However, he has heard them all, and sometimes this leads to
an unsettling experience. "I went up to one of San Francisco's recent (opera) performances," he states, "and left
great singers of the past. Unconvinced, he set out to amass
a collection of vocal records with which he could compare
the greats of today and yesterday. Since 1930, he has picked
up about 10,000 records (9,000 78's and 1,000 LP's). His
ultimate aim is to own examples of the singing of every important classical singer from the beginning of recordings
down to the present.
Most of the major record collectors concentrate on 78's.
Not so with Andrew Anixt, a taxi fleet owner, of New Rochelle, N. Y. He possesses more than 5,500 LP's (plus about
800 albums of 78's), a figure which grows by the dozens each
To understand why Anixt collects records, one must go
back to the early 1930's, when he began collecting books.
After a few years of concentrated searching, he owned more
than 3,000 volumes for which he paid more than $15,000. The
library completed to his satisfaction, he gave it away to a
charity. Then, in 1943, he turned to liquor bottles. His apartment soon burgeoned with bottles of every description. But
in 1948, his interest turned to records.
As the LP catalogs grew, so did Anixt's col1ection. He
quickly found that collecting records gave him far greater
satisfaction than either of his previous pursuits. "It's been
a terrific education," he says. "I didn't know a thing about
music until I started collecting. About 90 per cent of my
records are classical. I have a couple thousand popular al·
bums, but can't keep up with popular music, so I don't really
Anix t's aim in collecting is simply to own at least one
version of every recorded classical composition. As he explain s, "I aim to have everything and do the most to get the
best version available at the time. My pleasure in collecting
is the satisfaction of pleasing others. When someone asks to
hear a certain work, and I don't have it, I feel sick."
For sheer selection, few private LP collections can begin
to equal Anixt's. His greatest pride, however, is his cataloging. Each of his records is cross·indexed as to composition,
composer, and artist. It is Anixt's fondest boast that he can
find a record and have it on his turntable in less than a
minute. However, the catalog is constantly becoming obsolete
since Anixt continues to buy LP's at a fantastic rate. He
1883. Hegermann-Lindencrone was able to recreate scenes
of the second night of that first season. The performance
that evening was Lucia di Lammermoor, and the title role
was sung by Marcella Sembrich. Hegermann·Lindencron e
came up with an ancient recording featuring Sembrich as
Lucia. He ended his Met series with a recording of Die
Fledermaus, which had been released only three days earlier
and was flown to Copenhagen just in time for his final broadcast.
At fir st, Hegermann·Lindencrone cataloged hi s collection.
Since 1940, he has not listed a single record. Blessed with
an amazing memory, he carries around data on his mammoth
collection in his head.
The list of important collectors covers a wide ran ge of
professions. The Reverend Harlan Kishpaugh, of Summit,
N. Y., is a Methodist minister whose record hunting has
turned him into somewhat of a celebrity among collectors.
Danish newspaper owner, music authority,
opera historian. " I began collecting be·
cause I wanted to hear great singing."
Shares his collection with Danish radio
Owner 0/8,000 78's and 3,000 cylinders, he
is proud possessor of the rarest SchumannHeink disc 0/ them all. For him, "the fun
is all in the hunt". Has many notable "bar-
Most respected of all jazz collectors-lectures on subject at New York University.
"You find yon have a passionate interest in
the music, so yon amass as many examples
as possible".
admits that he can't stop. "It sucks you in like quicksand,"
he says, "and you get in deeper and deeper."
As a rule, the record collector is no social hermit. The
pleasure of entertaining others rivals the personal satisfaction of ownership. I,n this respect, few discophiles can match
the performance of Knud Hegermann-Lindencrone, of Copenhagen, Denmark.
Hegermann-Lindencrone is co-owner of Denmark's largest
newspaper, but is equally, if not better known as a radio personality, music authority, and opera historian. Since the
mid-1930's, he has broadcast a series of musical programs
over Danish radio which, to all intents, has made his great
collection of discs and tapes public prop'e rty.
There are about 12,000 78's, 1,200 tapes, 800 cylinders, and
300 LP's in Hegermann-Lindencrone's record library_ He
specializes in opera, but also has taped actors, statesmen,
and other notables.
Hegermann-Lindencrone owns a collection so complete
that he is able to broadcast musical documentaries covering
decades of singing. Many of his panoramas have traced the
great events of a certain opera house, such as Berlin's Staatsoper, Milan's La Scala, and the Bayreuth festivals. One of
his most memorable series was an eight-part History in Sound
of the Metropolitan Opera. The Met's first season was in
Today he owns more than 8,000 78's and 3,000 cylinders, but
his chief claim to fame rests on a single disc for which he
paid a little less than two cents.
In 1952, while rummaging through a second-hand shop in
Poughkeepsie, N. Y., Dr. Kishpaugh found a stack of 125
ancient and dusty 78's. He paid the dealer two dollars for
the lot. One of the items had no label. On playing, it turned
out to be an immensely rare recording of Ernestine Schumann-Heink singing Wie ein Grussen. According to Dr.
Kishpaugh, no other original pressing of the record is known
to exist.
The goals of collecting vary from one discophile to the
next. Dr. Frank Garcia Montes, a notary public in Havana,
Cuba, would like to possess at least one record of every opera
singer who has ever been recorded. He appears to be well
on his way. Today he owns more than 33,000 records (31,000
78's, 2,000 LP's) and ranks, at least in quantity, as the
champion collector of serious vocal music on disc.
Dr. Montes knows most of the important operas by heart.
He and some of his fellow collectors get together each week
to listen to new acquisitions. Visiting opera lovers and
singers often attend these sessions, and one of his greatest
satisfactions is playing an especially hard-to-get recording
by a certain singer for the singer's (Continued on page 93)
Behind the locked doors
of Manhattan Center
great pian ism goes on tape.
Rubinstein's recording
director tells
how it's done.
Rubinstein; Bill Miltenberg, RCA Victor
Recording Manager; and author Pfeiffer,
RCA Victor Music Director.
personality / JOHN PFEIFFER
T IS 9 :45 a.m.-only fifteen more minutes to go. I take a final look
around Manhattan Center's Seventh Floor Ballroom.
Steinway Grand No. 304, surrounded by wood-screen "flats" and mikes,
stands in the center of the hall, tuned and .ready. Rugs to dampen excess
reverberation have been put down on the hardwood floor; velvet drapes
incongruously hang from the balcony.
In the mirror-lined control room (last night it was the ballroom refreshment bar) -a portable recording console, two triple-track tape machines,
and associated equipment are being checked out.
Cables are strung from three mikes positioned around No. 304 to the
amplifiers in the control room.
I walk around the hall, occasionally clapping my hands and whistling,
checking the mikes for area pickup.
Ten o'clock. The preliminaries over; the staff-Red Seal Audio Engineering Administrator, Al Pulley; Recording Engineer, Jack Crawford, and
myself, drink coffee, smoke, talk and anticipate pleasantly the work ahead.
Ten minutes later the door to the control room bursts open, and Artur
Rubinstein, elegant in gray cashmere jacket (with the Rosette of a Commander of the Legion of Honor ornamenting one of its lapels) " blue slacks,
red jersey shirt, blue tie (with pearl stickpin)-enters smiling, apologetic
for being late, but vibrating good humor from the tips of his shoes to the
crest of his wavy grey hair.
Rubinstein sets down his valise-in which he carries his music, pencils,
one day's suppl y of Upmann cigars, and a thermos jug of coffee. The New
York City crosstown traffic today, it seems, is utterly impossible. But no
matter, he is eager to begin.
Striding into the control room he shakes hands all-around: A & R men,
engineers, technicians, stage-hands, piano-tuner-everyone. He neglects no
one. He's in the process of establishing rapport with his control room audience much as he would if he had just stepped out on a concert stage.
Inspired by Rubinstein's cheerfulness and self-confidence, his audience
will not only listen appreciatively to every note he plays, but will work
doubly hard at their tasks to meet his uncompromising standards. Everyone
present begins to feel vital to the occasion; all attention is focused on the
project at hand-the recording of the Chopin So nata in B minor, Op. 58,
a piece Rubinstein has not yet recorded.
Rubinstein has very definite ideas about the way the B minor Sonata
should "project" on record and in preparation for this session he has spent
weeks going over the music-re-familiarizing himself with it, a!1alyzing it.
His objective in recording the B minor Sonata is to emphasize its lyricism;
the lyricism should carry throughout the entire Sonata, even through passages of supposedly strict technical nature. At the same time, he wants to
mark the contrast between statement and restatement of the central theme,
build climaxes without haste, and preserve the unity of musical expression
throughout all four movements.
The piano-tuner, Mr. Hupfer, (who has worked at one time or another
for all of the top concert artists) and myself, accompany the pianist to the
waiting Steinway No. 304.
No. 304 is Rubinstein's personal choice, a particular favorite for both
recorded and concert performances of Chopin; this season he has taken it
with him on his European concert tour. It is esteemed for its singing quality,
uniformity of voicing, and ready-response to delicate nuances of touch.
He compares the qualities of this American Stein way to the European
Steinway. "The European Steinway," he says, striking a chord in the middle
register, "is very light in here. That's for Debussy and Ravel. Not what we
want for Chopin." Then he strikes the same chord again, harder. "This is
what we want for Chopin."
Rubinstein puts on his horn-rimmed glasses, which he uses only for reading, places the music on the rack and sits down at the piano. He goes over
the entire keyboard. Slight adjustmen ts are necessary-the A is too harsh;
the E too dull. Hupfer takes out the action. With a special instrument he
pricks at the felt on the A hammer to soften the tone; then he sandpapers
the felt on the E hammer to give it a shade more brilliance.
When the voicing of the piano has been "touched up," as it always is when
a major artist records, Rubinstein is ready.
"Because he knows what he wants.
"Let's see how it goes."
He begins, skipping here and there through the music,
playing sections that exhibit the widest range of pitch and
dynamics for a pre-recording test. A balance is set up that
will take care of the loud passages, and soft passages,
throughout all extremes and in between . The three mikes
are positioned around the piano, and the balance among
them altered on the recording console.
The piano sounds fine in the control room; but there is a
slight blurring of some of the rapid passages due to excessive
reverberation. To correct this, the sound-absorbing drapes
and the four flats-com position-wood screens-are closed in
around the playing area to "dry it up" slightly.
There is no prolonged experimenting with equipment. We
have learned Rubinstein's recording preferences over the
years and so preparations have been made in advance.
Now he discusses the Sonata, pointing out features he
wants me to listen for. He plays the first statement of the
main lyric theme in D major with triplet accompaniment,
very sensitively, "as in a nocturne" in his own words. Then
he jumps over to the restatement of the theme in B major,
showing me where he wants it to be broad, loud, possessing
a passionate, heroic quality.
The discourse finished, he is ready for the first take. I
withdraw to the control room while Rubinstein at the piano
sits poised under the ornate lights of the Ballroom.
The red light goes on indicating that the mikes are live.
"Take One."
Rubinstein runs through the entire first movement without
stopping. I follow every note in my copy of the score, mark48
ing sections that are especially good and others that I feel
are not as he would want them, ultimately. (Frequently, at
the end of a session, I feel as if I've played every note.)
Before the last chord dies away, Rubinstein grabs his
music, and hurries into the control room to get what he calls
"my lesson."
Rubinstein is a firm adherent of the "tape school." He
insists that any serious musician, who, like himself, learned
the technique of his art by age fourteen, should dispense
with teachers and buy himself a tape machine. The tape
machine is enough. It will tell him what he must know to
improve his performance. If the "tape-teacher" can't tell
him what he is doing right or wrong, no human teacher can
help him achieve the independence necessary to acquire a
true musical personality. Beyond a certain point, there is always the chance that he will imitate his human teacherfaults as well as virtues.
While the first take is auditioned Rubenstein sits at a desk
in the control room, the music in front of him. His primary
concern now is interpretation. As he listens to the playback,
he marks different portions of the score in pencil-"faster,"
"slower," "forte," "pianissimo," "don't hurry .. ."
When the ordeal is over, he turns to me and askti for an
opinion. I suggest more pedal to improve the singing quality
of a lyric passage. He agrees and jots it down in the score.
Armed with his annotated music, he returns to the piano
and goes through the movement a second time.
I listen and watch.
His stance while playing is characteristic. He seems to
envelope the keyboard; his body strikes a heroic pose. His
Rubinstein is one of the easiest artists to record."
whole approach is virile, heroic, as if he and music were
conquerors. His back is very straight, head thrown back.
He sits very still on the bench; the look on his face, one of
abstract concentration. Everything is done with intensity. I
remember he once said that the secret of playing softly and
with a singing tone was to feel "forte" and play "piano."
And it is paradoxical that during these delicate passages his
physical reaction is strongest. It is as if he must exert enormous inner energy to prevent the soft passages from becoming effeminate rather than "piano."
At the playback for the second complete take, he listens
not only for interpretation but for technique, missed notes,
extra notes. For Rubinstein, this is painful.
Dramatic reactions accompany the recorded sounds.
Pleased, he widens his blue-grey eyes. Displeased, he smacks
the desk with the flat of his hand, or despairingly, shakes his
head. Sometimes he offers facial grimaces that suggest that
listening to himself play imperfectly is the most terrible torture. If he knows that a bad note is coming, he will begin
to slide off his chair, and looking like a celebrated madcap
harpist, pretend to hide under the desk.
He goes through the first movement a third time; and
listens to the third playback. "Now we've got it." And this
time he does have it. This final complete take is technically
and artistically right. Rubinstein needs only three or four
complete takes to achieve the desired results.
The same process is repeated for all four movementsperformance, playback, performance. Selections for splicing
will be made from all three takes of the Sonata. Rubinstein
does not, as do so many artists, demand to hear all the takes
before the final tape is made; he trusts us to prepare it to
his satisfaction. It is then sent to him for approval.
It's 3 p.m. when we finish the last take. In all this time
Rubinstein has worked straight through with just one brief
stop for coffee. For him, true dining is a reward. He eats
only when a session is completed. This afternoon he is to
lunch at Pavillion, his favorite restaurant in New York.
As Rubinstein gathers up his material preparing to leave,
I sit back and relax, pleased with our morning's work. Engineer Lew Layton, busily re-winding tape, turns to me and
says-"It went fine." He's right. It went "fine" indeed.
Because he knows what he wants, and is articulate about
it, Rubinstein is one of the easiest artists to record . He
understands the possibilities and limitations of the equipment he is working with, and unlike many artists, who feel
it beneath their dignity to mingle with the "mechanics",
Rubinstein adapts himself to us and to the machines.
It is my personal belief that a good live performance is
not necessarily a good recorded performance-but that a
good recorded performance will always be a go()d live one_
There is an obvious, but not ordinary, reason for this. In concert, the eye of the beholder contributes much to his ear. The
subtle psychological excitement, say, of seeing a pianist pause
before he attacks a cadenza, adds much to the aural effect
produced. Watching the performer, the listener is often
alerted to what is most important to the performer in the
score. Lacking these advantages-and others, snch as his
sheer physical presence, his dress, his greatly anticipated
walk to the instrument, the theatrics with which he acknowl49
edges applause--the studio performer must make sure all the
drama is in the groove.
He knows, for one thing, that he is not playing for 3,000
people in an auditorium but for one, two, or three listeners
sitting in their living-rooms. For this audience, he must
scale down the dynamic range and contrast of his perform·
ance so that it has within its own frame the psychological
veracity of a live performance. This instinct for recorded
performance cannot be taught; an artist either has it or
doesn't. With Rubinstein it never needs an explanation.
With the sure possession of this knowledge, Rubinstein
has in the past acted not only as recording artist, but . also
as his own Musical Director-casting the shadow of doubt,
I might add, on our own raison d'etre. This happened between 1940 and 1954 when Rubinstein was living in Beverly
Hills, California in a home which marked his 32nd attempt
to establish a permanent residence.
At that time, he would call the RCA Victor studio whenever he had a day free from his concert and movie soundtrack
commitments and make arrangements to record directly
with the head engineer.
Arriving at the studio after the piano had been tuned,
and the mikes set up, he would record whatever he wanted
(he had complete freedom of repertoire selection) for as
long as he wished. Then he would supervise the editing.
Reference lacquers were sent to his home for approval and
from there to New York for pressing. Actually, this was
only for solo repertoire, but a great deal of his currently
available and most widely-praised discs were done in this
way and with incredible speed. For example, he did all
fifty·five Chopin Mazurkas in three days; all of the nineteen
Nocturnes in three days; all fourteen Waltzes in two days.
One of Rubinstein's most prodigious feats took place in
1955-56 when, in his middle sixties, he undertook to play
seventeen major works for piano and orchestra in a series
of five Carnegie Hall concerts. These included all of the
Brahms and Beethoven concerti; one each by Chopin, Mozart,
Grieg, Tchaikovsky, Rachmaninoff, Liszt, and Schumann;
and works by Franck and Falla.
The herculean series of concerts was punctuated by equally
herculean record sessions. On Friday, February 10, 1956,
he played the ·Grieg A minor and the Liszt E Flat Concertos
-in public. Starting ·at midnight the same evening-and
ending at dawn, Saturday, February lIth, he again performed
the Grieg with Alfred Wallenstein and the Symphony of the
Air-for records, The Liszt was recorded in another six·hour
session, Sunday, February 12th. Two days later Rubinstein
returned to Carnegie Hall with his self-imposed marathon.
Out of that same concert series came the five Beethoven
concertos made with Josep Krips and the Symphony of the
.Air. The six Manhattan Center sessions ran from December
6th through 16th. Each lasted approximately six hours.
Rubinstein's two young children, Aline, who was then 12,
and John Arthur, II, attended several of the sessions. After
the end of the Emperor-midnight till dawn affair-Rubinstein looked around the hall and discovered that only he and
his children were still perpendicular. Embracing them, he
looked down at me and smiling said, "It is at moments like
these .hat I truly know they are my own children."
Rubinstein chides me when I suggest he spare his energy.
I've never heard him complain of fatigue. The one thing that
does disturb him is feeling that others are lacking in enthusiasm for a project. Naturally he can't expect everyone
to match his own, but he does expect them to do as well as
they can. If they aren't doing so, he doesn't make a scene
about it; he just won't record with them again. On the other
hand, when he finds a musical collaborator, with whom he
can "feel" complete rapport, one who shares his own concept
of the way a piece of music should sound, he's delighted.
His latest "discovery" is conductor Josef Krips with whom
he did the five Beethoven concertos in 1957 and with whom
he made his new recording of the Brahms Second Piano Con·
certo. They "sing" together.
There was proof of this rapport from their very first session
together. Rubinstein, Krips, and the orchestra rehearsed
the slow movement. After a short recess, during which they
discussed interpretation, possible technical pitfalls, etc., they
went into the first take. It lasted nine minutes, which is an
eternity for a take.
When we played it back, what we heard was so hair-raisingly beautiful, and revealed such an overwhelming "one-ness"
of purpose among conductor, soloist, an:! orchestra, that
we decided unanimously to make it the master take.
It is difficult to explain how rare this is-but I can only
say that such a thing has never before happened to me in
the ten years I've been with RCA Victor, and according to
Lew Layton, engineer-in-charge, who has been there forty-two
years, it's never happened.
Since Rubinstein began recording in the early 1930's for
HMV and in 1940 for RCA Victor exclusively, he has,
in addition to works by other composers, recorded more
Chopin . than any other pianist, approximately two-thirds of
the composer's total output. He hopes to make it three-thirds.
One of Rubinstein's last projects preceding his return
to Europe .is a re.recording of the Scherzi.
His reasons for re-recording the Scherzi, well as other
best-sellers in his repertory are multiple. Recording techniques have improved tremendously since he first did theEe
in the 30's and 40's, and of course he wants to take advantage of these advanced techniques; besides which, a considerable public is waiting to hear them in stereo. But as
important, if not more important, is the fact that Rubinstein
himself has grown as an artist.
He is constitutionally incapable of playing the same piece
of music the same way, twice in a row. Every experiencemusical, or extra-musical, broadens and deepens his creative
approach to music. As a result, he is constantly offering fresh
insights into pie::es that he has played for decades. And so it
is very difficult for him to listen to his early recordings without wanting to re-interpret the repertoire at his present level
of maturity.
To date, Rubinstein has made over three-hundred records.
Many, many hours of productive recording sessions lie ahead
of him. That I will share these hours in collaboration with
one of the greatest pianists of our time is to me a source of
stimulation, eagerness for work, and, not the least, joy.
Jack Pfeiffer is happily combining his two occupations.
He is both an electrical engineer and a musician. By World
War II he had mastered the violin, piano, oboe, pipe organ,
and had received musical training from Bethany College and
the University of Arizona. After four years in the Navy in
the field of electronics, he returned to the University of Arizona to receive an E. E. degree. In 1950 he joined RCA
Victor's Artist and Repertoire Department. Since this time
he has recorded such artists as Rubinstein, Horowi!z, Heifetz
and Landowska.
discussio n
I Doron K. Antrim
From the comparative youngster Ormandy to octogenarian Monteux
life on a podium begins at sixty
ACK of this slightly exaggerated heading are some pertinent, or shall we say, impertinent questions-depending on how you look at it. To wit: Why is that gentry known
as symphony conductors seemingly so favored over the rest
of us mortals, not only with long life but with capacity to
work when those of comparable age are lazing in the Florida
sunshine? Why do their physical and mental capacities seem
to show not too appreciable an abatement with the years?
And lastly, why are the protagonists of the podium so uncommonly possessed of what Bergson calls "elan vital ?"
Before probing for the answers however, let's attempt to
substantiate the above claims. As a basis for this study, forty
of the world's leading conductors were chosen, all working,
mostly in this country. Just their average age, 61.4, is revealing. Seven are in their 4.0's, twelve in their 50's, seventeen in
their 60's, eleven in their 70's and three in their 80's. Octogenarians-Beecham, Bruno Walter, Monteux, 80, 83, 84
respectively, are still plying their profession with remarkably
undiminished vigor.
"I'm headed for a hundred," Monteux frequently quips,
and it could be a likely goal for the other two. In fact, it can
be held as a truism that conductors seldom, if ever, retire to
the sidelines. Toscanini tipped 90 and kept his hand in almost to the last. In his 75th year, Walter Damrosch completed a new opera and saw it performed at the Met. At 77,
he appeared in a motion picture. A year later, he made his
official debut in New York as a concert pianist. At 79, he
completed the revision of an old opera. At 80 he wrote another opera and guest conducted the Philharmonic. This is
not atypical of the clan.
Other fa cets of this fa scinating subject are revealed from
our list. Conductors generally get into stride durin g their
40's. They con tinue to grow toward a peak of achievement during their 50's, 60's and 70's. Compare this with other profes51
sions. In sports a man is throu gh at 40, a plane pilot at 45
unless he's a veteran airline captain.
In business it becomes increasingly difficult to get a job
after 40 and all but impossible at 70. Just when the orchestra
conductor is going full swing, from 60 to 70, industry and
business are dismissing th eir workers with a watch, a cocktail
party and a pat on the back for long and valued service.
Are industry and business missing a bet, or are conductors
merely unique?
The health of our forty baton wielders appears to be better than average, judged by that bane of industry-absenteeism because of sickness. Missed engagements are as rare
among baton men as Grindelia in Greenland. The average
conductor would move the Empire State Building rather than
not appear as scheduled. " Papa" Monteux has not missed a
rehearsal or engagement in 65 year s of conducting. Once on
tour with the Boston Symphony, he suffered four cracked
ribs in an auto accident. The do ctor taped and strapped
him up and he conducted that night as well as for th e reo
maining four concerts on the itinerary.
Nor do conductors usually look their years. Anent that, in
th e 1920's, a standard retort of one conductor to the beaming
hostess who sprang the one about his looking so very, very
youthful, was, "Yes, madam, time beats others, but I beat
Some dowagers down front claim that conducting is a sinecure. "All he does," said one of them, "is to wave a little
stick." Let's see. Consider first what it takes before a con·
ductor can "wave a little stick" over an experienced group
of men. Artur Rodzinski once proclaimed that "conducting
can't be taught"-which is echoed by others (baton tech·
nique excepted). Conducting implies fusing 100 or more
separate instruments, and those who play them, into one, so
that it expresses the will and intent of the composer whose
work is being performed. Mastery over 100 instruments is a
much greater task than mastery of one. Most conductors
come up from the ranks of players. Beecham wanted to
know how every instrument was played. Since the hotel where
he stayed banned instrumental practice, it is said that he
rented a boat and rowed with his instruments to the middle of
a lake to sound·off.
But knowing instruments is just a preliminary part of a
conductor's equipment. He must also know his scores and
know them inside out. Study of new works takes up the
bulk of a conductor's vaunted summer vacation-even with
the help of such gadgets as tape machine and phonograph.
Furthermore, a conductor must know how to manage men
so they give him their all. That's something else again. It
means he must know more than they do. A good orchestra
can ticket a new conductor within the first five minutes of reo
It seems incredible that an apparently frail, little man like
Toscanini should ever have commanded unquestioning obe·
dience. But he could lay down the law to his men by a mere
look, as well as invective. The authority of his vast knowl·
edge and sheer personal magnetism was incontestable.
Last, but far from least, a conductor must sell himself and
his orchestra to his community-a large order in itself. To·
gether with this goes the unremitting strain of giving con·
certs, including a goodly number of one·nighters on tour.
The latter are considered as the No. 1 health hazard. So it
does seem that we can drop the one about the conductor be.
ing healthy because he has an easy job.
What then? For one thing, might not these many activities
keep his interest at peak pitch, and so prolong his life? As
a boy, Leonard Bernstein was pale, thin, had bad colds and
asthma. But his h ealth miraculously improved when he dis·
covered music, and once he discovered conducting, he had
not time to indulge ill health.
Here is a fellow who juggles four careers at once, of
which conducting is only one. He is also a composer. He
writes music in taxis, planes, railroad stations, hotel lobbies.
He is also a pianist. Once in Carnegie Hall he played
Ravel's Piano Concerto in G after a five month hiatus without
so much as five hours of practive-this while condu cting the
orchestra from th e keyboard.
Bernstein's fourth career is just being a celebrity, with
autographs, interviews, cocktail parties, conferences, a gents,
and what not. "My God," he cried one night after he tum·
bled into bed at 3 A.M., " thi s is a three ring circus. But I
like it."
Stokowski is also of th e opinion that the conductor's full
life is one of his secrets. "Sustained interest in life," he said,
"is very likely to mean a sustained life. It's when boredom
creeps in that one begins to show age."
"But the strenuous life the conductor lead s ma y be only
part of the answer," said Hope Stoddard, author of Symphony
Conductors in the U.S.A . "The rest may be found in his
strict dietary regime, pursued in order to look svelte as well as
keep fit. Or it may be just that conductors find their work
too attractive and their lives too exciting to think of dying.
When any of th em does check out, it is usually from a heart
attack-an illness unheralded, unprepared for and therefore
not to be withstood."
Still another thing in the conductor's favor is the nature
of the work. R ehearsals and concerts give most of them
steady, vigorous exercise which, according to heart special·
ist, Dr. Dudley White, is good for the heart. Few athletes go
"Podiums are a conspiracy
to get rid of conductors"
through more strenuous workouts than conductors at a con·
cert. Back stage at Carnegie Hall I've seen how they strip
to the waist at intermission, discard the soaked dress shirt,
be sponged and toweled· off and don a clean shirt for the
next number. A critic once summed up the podium gymnastics of Beecham by saying, "He leaps, ducks, weaves, lunges,
(Continued on page 54)
a) Provide stereo feeling anywhere in L-shaped room
b) Utilize existing large multi-unit speaker system
Split the two channels among many sound sources,
and let the sonic chips fall where they may
is definitely not what the audio doctor ordered. But
my respect for established rules gets a mean shake whenever I remember that aerodynamically bumblebees can't fly.
By the same token, this setup won't work because speakers
radiate sound every which way and supposedly mix up the
original stereo space relationships. But then the shape of my
room is about as hopeless for stereo as the shape of a bumblebee is for flight. So it all seems to work out for the best
and I get a fine sense of full, spacious sound with a fair
amount of stereo separation wherever I sit. And there are no
holes in the "middle."
How was it done? From my mono days I kept my treasured
Electro-Voice 4-way speaker system (AI), which now serves
as my main sound source for channel A. For the B channel,
speaker BI is an 8-inch extended range unit. Because I do
most of my listening from the sofa next to the master-control
unit, I padded down the volume of BI so that at my listening
post it sounds equally loud as AI, which is some twenty feet
farther away. B2 is a so-so 10-in speaker, snatched from
a TV set, and projects channel B sound where BI won't
Your hi-fi system may be "news!" We're on the lookout for offbeat ideas, providing they really work. Have
you a hi-fi layout that's not exactly according to the
"book"? Sketch it for us, along with 200·250 words of
description. Publishable suggestions will be paid $40
upon acceptance. In cases of duplication, the letter
with the earliest postmark will be accepted.
reach. The old cut-and-try method showed that channel A
could use some help, so we set up speaker A2-an 8-inch
extended range model similar to Bl. Both channels were
finally crossed over at 2000 cycles to the two tweeters A3
and B3, which can be used for "presence" effects and "positioning" a soloist right smack atop the coffee table.
Don't ask me any questions about impedance matching and
phase interference. All I know is that I virtually swim in a
roomful of sound. It's a cross between the omnidirectional
and the standard stereo approach. What I lose in directionality I gain in depth. That's what makes the sonic "swimming.
-John G. Reinhard
Old Conductors
(Continued from page 52)
skates and does everything but a back-flip." At one concert
he slipped off the stand. On being helped up, he remarked,
nonplussed, to the audience, "Podiums are a conspiracy to
get rid of conductors." At another concert at Queens Hall
after a number, he walked gingerly to the wings holding his
baton with one hand and holding up his trousers with the
other. He had broken his suspenders.
Small wonder why outside his work, the conductor chooses
exercise sparingly if at all. Some of them walk, ride horseback, golf. But work suffices for most.
Eugene Ormandy has hinted at another interesting possibility. When he conducts, he says, he feels something akin
to electricity run down his arms. Maybe this explains a conductor's "animal magnetism." The audience feels it the
second a conductor steps on the stage. Without such magnetism a conductor just isn't; he's just a time beater. What
such "animal magnetism" may contribute to health, we don't
know, but it probably helps.
And how about dedication as another secret of youth?
That money is not a first consideration is attested by salaries
which . run considerably less than those for captains of industry. And yet, I have known of more than one conductor
who turned down a lucrative Hollywood offer to stay on at
the old stand.
Can't it be said that this then is a dedicated profession?
And if so, we know that those who follow such live longer_
According to insurance actuarial figures, priests and ministers outlive any other occupational group on the list. Orchestra conductors are not listed.
Could something also be said for the essentially therapeutic nature of music? "It could," said Dr. Alexander Capurso,
psychologist-musician, director of music at Syracuse Uni-
versity. "A conductor is in rapport, so to speak, with the
heart beat of the universe--rhythm. There would be no universe without rhythm, nor any life. By expressing this fundamental the conductor expresses one of life's keynotes.
"In addition, the conductor releases and expresses his emotions as reflected in the music he conducts. Since music, for
the most part, reflects the desirable emotions, this is highly
salutary. It is as rewarding as expressing thoughts in speech.
It could help account for the mental health of the conductor."
Apropos, these words of Rachmaninoff may have some bearing. "Great composers," he once said, "have the capacity to
exult."-literally to triumph over fate in their music. One
thinks of Beethoven and his deafness. But no hint of defeat
creeps into Beethoven's works. Nor into Rachmaninoff's
Second Piano Concerto. He wrote it after one of the most
discouraging and defeat-ridden periods of his career. Capturing the exultation of composers in the works he conducts,
no doubt contributes to the conductor's elan vital.
Herein, perhaps, lies the key-the conductor being possessed by the great music he interprets. As the Danish composer, Carl Nielsen, once put it-"Music is life and as such
D. K. Antrim has been identified with music for the
better part of his life. His first term at Oberlin Conservatory,
however, convinced him he didn't have what it takes to be a
concert pianist. After serving a stint in World War I, he
edited for some years The Musical Observer, since merged
with The Musical Courier, and The Metronome. Twenty
years ago, Doron became a free.lance writer and has contributed to The Reader's Digest, Saturday Evening Post,
Pageant and other leading magazines. His book, Having Fun
With Music, telling how amateurs can play instruments for
pleasure, was published last year by Crowell.
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Duke Ellington adds near-perfect musical complement to outstanding film
feature review /
Duke Ellington O rc hestra . Main title a nd Anatomy of a Murder;
Flirtibird; Way Early Subtone; H ero to Zero; Low Key lightly; Happy
Anatomy; Midnight Ind igo; Almost Cri ed; Sunswept Sunday; Grace
Valse; Happy Anatomy; H aupe ; Uppe r and Outest. Columbia CL
1360 $3.98
Musical Inte rest: Wi ll outlast the picture
Performance: Th e ba nd at its best
Recording: C lear and well balanced
WE OWE a vote of thanks to Producer Otto Preminger for
Duke Ellington's first full-len gth film score. This is one
of his most satisfying collections of new themes in recent
years. Ellington has been in and has written for films before
-the 1929 short, Black and Tan Fantasy, to say nothing of
other short and featured sections in several full length pictures. But unaccountably, no producer until Preminger had
asked Ellington to score a whole film.
Since it is the record album that is under review, and since
it is the music that will remain after the film has passed out
of circulation, I concentrate here on the music itself, rather
than on its relationship to the film plot. Let it be said , how '
ever, that in the film itself, the score is effective when it c
be heard. A large part of "Anatomy" takes place in a 0 r t
room and no music is used there. But elsewh ·e. Ell in gton-s
score com plements the ac tion well , with . underlinin g iro .
that is th e basic emotional ton e of the core. The 1I10vi ound
serene confid ence. Th e theme, like most of those Ellington
has written for the film , is beguiling and wholly Duke.
"Way Early Sub tone" is introduced by Ellington and
Hodges and contains more of those utterly personal, Ellin gton-reed voicings that are among his key accomplishments_
Their effect on the ear is sensual, but in a pungent, strongl y
personal way which thi s listener has always found irresistibly
stimulating, especially in contrast to the jaded-reed voicings
most jazz writers still use as a common language. Th ere's a
short particularly hypnotic passage of reed writing here that
consists of very slow, almost stop-time figures whose appeal
is all the stronger for the controlled understatem ents of writin g and the playin g.
Jimmy Woo de's full-toned, firmly pulsating bass opens a
solo section in "Hero to Zero" for Paul Gonsalves who plays
his brief role with control and taste on a most relaxing theme.
"Low Key Li ghtly" ha s a rhapsodic piano introduction, with
a Ray Nance violin solo that is a little less schmaltzy than
usual. Piano and reed section open the bouncing "Happy
Anatomy," succeeded by exuberant brass punctuations and a
clipped, wittily individual solo by Clark T erry, then followed
by conventional blowing by Paul Gonsalves. After what
ounds like a celeste (played by Ellington ), bass clarinet
(Harry Garney) sets off Midnight Indigo, which is an unhurried, reflective piece--the type Ellington can
Straywell. There is a considerably understated piano sol
horn) and more celeste. Another likeable and b au ifully
constructed melod y is "Almost Cried" (an ext.e ion f the
pe b H aHI: Baker who has,
Quentin Jackson's vocalized w -wa trombone 0 ens the
record, and the orchestra builds t
'on until the r eeds l:ie"i
t o batter out an insistently aggressive " m: not unlike that
which the Count Basie ba nd plays in the th eme m i
TV series, M Squad. Ray Na nce's incisive, virile trumpe
climbs over-and-around the massive reeds and slashing brass,
followed by Jimmy Hamilton's clarinet which flies over the
wave-like reed almost as a gull. The tension declines gradually as Paul Gonsalves' breathy tenor with brass punctuations,
and Hamilton fade out to just piano and rhythm section.
Duke closes the segment sparely.
"Flirtibird" (one of the recurring themes in the film) is
personified by vigorous Johnny Hodges complemented by
some deliberate, reflective piano commentary. With the orchestra swelling behind him, the Hodges' sax moves with
, or;;n the undulating' IDlpe," qh nny Hodges is not conpi uously sensual. as he so often is in s ow empQ but is
at er more thoughtful, contained, and genuinely sensitiv .
"U ' per and Outest" starts with the persistent. ominous ree
of a Murder." brings back the floati g
figu re f" at
"Almost Cried," section of "Flirti 11' " an ti end \·i ~h hi 1note specialist Cat Anderson edging the tension even hI h r,
' terally and figuratively. It is Duke's self-confidence on t lis
as i-gmn nt that helps promote Anderson, who is a tast ess
exhibitionist as a soloi st and of value only in the section.
No h T are there any drum solos.
se s to me that Ellin gton in recent years, when in
doub , will keep an audience interested by ju ggling acts.
But here the work is without extraneous attention-getters.
Ellington, incidentally, is said to have done all the orchestrating himself instead of sharing it with Strayhorn. There
are few touches in this score of the self-consciousness that
has crept into several of his larger works of the past. And
the orchestra-Ellington's best since his 194·0-4·3 peak, plays
the music with as much zest and sense of drama as the com•
poser must have felt when he wrote it.
Kinematix (right) Most versatile
of ' the stereo balance meters has
back-of-panel controls permitting
compensation for room acoustics.
Argonne (below) has exceptionally .
sensitive meter movement. Seven-step
control switch permits use of meter'
with lill types of power amplifiers.
·ereo balancing B,HA.SHFA~EL
Accessories permit visual balancing for maximum stereo effectiveness
Park (right) ranks as only moderately
sensit i ve, thus eliminating all
controls seen on above two models.
is like a steak-it can be overdone or underdone; but somewhere there's a happy
point where it's "just right". Reaching that point in your listening depends markedly on
the "stereo balance" between your two speakers. Up to now, the balance control on a stereo
system was usually adjusted by ear. You turned it until both left and right sound sources
seemed equally loud-and that was it. Such an adjustment, however, involves a certain
amount of guesswork. Stereophiles hankering for a more accurate method of balancing
the two channels can now choose among several new models of stereo balance meters which
pinpoint the "just right" setting on a meter.
Balancing by ear vs. balancing by meter can be compared to flying "by the seat of your
pants" vs. flying by instruments. The seat of the pants or, in our case, the "naked ear",
provides a rough approximation; instrument readings can be more accurate, but require
judicious interpretation. The meter's main advantage is that it can save you the customary athletics of jumping up from your listening chair to adjust the stereo balance at the amplifier. You set it according to the meter when you first put on your record and then settle
in your chair with confidence that the stereo will sound well "from where you sit."
As an incidental bonus, the stereo balance meter presents a visual display of the musical
dynamics. Thumps and bangs or soaring crescendos leave their mark in the tremors of the
pointer as it swings from side to side in keeping with the musical events, which should provide added pleasure to listeners who like to "see what they hear." This might also apply
to those who require visual proof of their contention that there actually is a difference in the
sound coming from the two speakers.
Basically, a stereo balance meter is a dual ammeter which measures the currents fed to
the two stereo speakers. The "zero" calibration point or "perfect balance" is at the center
of the scale. The instrument is so wired that if both speakers receive identical amounts of
power, the pointer stays at zero. (In other words, when the two channels are in balance,
the two signals cancel out and no deflection occurs.) However, if one side is louder than the
other, the pointer swings either to the left or the right, depending on which side carries the
excess power.
Operationally, this makes it very easy to balance the system. All you have to do is turn
the balance control on the amplifier so that the pointer stays at zero and-stereophonically
speaking-you're right on the beam.
But such simplicity seems almost too good to be true. So to reassure the doubter, we run
off a few if's and but's. To wit:
These meters indicate electrical balance of the amplifier outputs. What listeners are really
after is acoustical balance. The two are not always the same.
Electrical balance, as measured by the meter, is an accurate index of acoustical balance
only under the following conditions:
(a) That the listener is equidistant from both speakers; (if your chair is closer to one
speaker than the other, the nearer speaker will then sound louder to you even though both
speakers have equal volume;
(b) That both speakers are equally efficient; (the meter measures current going into the
speaker-not the amount of sound coming out of it. If one
speaker gives more sound per watt than the other, the sound
output will be uneven despite the fact that the electric input
is balanced.
Naturally, the meter doesn't "know" where you sit or what
speakers you use. Consequently, these factors must enter into
the interpretation of the meter reading. The Kinematix
makes provision for calibrating the zero center in accordance
with these acoustic variables. On the other units, the necessary "instrument correction for ambient conditions"-to put
it in pilot's lingo--can be made mentally by the listener. For
instance, he knows from experience that his easy chair is, say,
"4 points off to the left on the meter" for perfect balance, or
that the louder of his speakers should be "3 points down" for
optimum results.
The installation of the meters is simplicity itself. They are
easily connected into the speaker lines between amplifier output and the two speakers. A separate set of terminals is provided for each channel, and since within the meter both
channels remain electrically apart, separation is not impaired.
Purists who normally object to the insertion of any device
into the speaker lines may be reassured by the high impedance of these meters, which draw only negligible current and
leave the loudspeaker damping factor virtually unaltered.
The amplitude of the pointer swings depends, of course, on
the amount of current surging through the leads at a given
moment, and on the sensitivity of the meter itself. The
efficiency of the speakers is also reflected in the behavior of
the meter. An inefficient speaker (e.g., a bookshelf model of
the "acoustic suspension" type) draws more power than a
highly efficient horn or bass-reflex speaker. The inefficient
speaker, requiring the heavier power output, causes wider de-
flections of the meter. To compensate for such differences
among various speaker installations, the Argonne Stereo
Indicator has a switch for selecting various degrees of meter
sensitivity, assuring sufficient pointer travel.
Although the meter indication of balance is undeniably
handy and unusually reliable, a final caveat should be posted.
These meters, measuring current in each channel, operate
on the assumption that the channels ordinarily carry approximately equal amperage. But what if the music itself
fails to follow that rule? What if all the heavy percussion,
the bull fiddles, and other instruments generating a lot of
electrical "oomph" are located on one side of the orchestra
and therefore dominate one channel? Naturally, the meter
will register imbalance. But in that case the imbalance is not
a distortion imposed by the sound system but a realistic
rendering of a musical fact. In other words, if the composer
or arranger deliberately chooses lopsided sound, the meter
follows it accordingly. Since orchestral groupings with the
heavy bass all on one side are not uncommon, the listener
should be aware of this possibility, otherwise, he might readjust the balance control to give balanced sound where none
was intended-which would just about kill the stereo effect.
Not to be half-safe in such matters and resolve all possible
doubt, the audiophile may resort to a stereo test record containing a balance check in the form of test tones of equal
loudness in either channel. If the meter reads zero while
these test tones sound simultaneously in both channels, it is
positive proof that the entire system is in balance. The reassuring center position of the pointer then is your cue to
stop worrying-just relax and enjoy it.
-Hans H. Fantel
These three meters are identical in principle but
differ widely in their operating features. They function as dual-coil galvanometer movements, acting as
"null indicators" under conditions of stereo balance.
The a.c. signals from either channel are rectified by
crystal diodes to properly activate the d.c. meter movement. Thanks to the relatively high impedance of the
device, this has virtually no detrimental effect on the
signal reaching the speaker.
ARGONNE STEREO INDICATOR (Argonne Electronics Mfg_ Corp., 165-11 South Road, Jamaica
33, New York. Price $11.95)
Of the three, this is the most sensitive stereo balance meter. Its unique operating features include a
7-step sensitivity switch for matching the meter sensitivity to the power consumption of the speakers.
"Off·On" switches for each channel permit checking
of meter calibration through a stereo test record containing equal·amplitude test tones in either channel.
Damped meter action prevents "jumping" on transient peaks.
KINEMATIX STEREO BALANCE INDICATOR (Kinematix, Inc., 1616 North Damen Ave.,
Chicago 22, Ill. Price $14_95)
In a walnut case, this neatly ,styled unit blends with
living room decor. Ranking second in sensitivity, it
has a unique feature in its potentiometer calibration
controls (on back panel), which permit the listener
to compensate for room acoustics, off·center listening
positions, or equally efficient loudspeaker. Once
the adjustment is made for a particular listening situation, it is no longer necessary to "count off" scale
points for these variables (see text). The center zero
then means that the stereo is "spot focused" for your
particular listening position and for your particular
pair of speakers.
Inc., Ann Arbor, Michigan. Price $14.95)
This simplest of the three confines itself to meter
movement in a plastic case with no operational extras.
A fair amount of power is required to obtain clear
indication. The unit is therefore handicapped in
use with efficient loudspeakers requiring little
power from the amplifier.
or do both ...
You don't have to use the blanks above or buy a record
in order to enter Westminster's new contest. Any 8Jf" x 11"
sheet of paper will do. And, for inspiration, just listen to
Westminster's magnificent stereo and monophonic recordings. Then use your talents to design a visual trademark
that best expresses the superb
•• ",.. ~
quality of Westminster records. ~ .
D esign must include the words
I -1-".,.,., :_~
"Natural Balance." H ere is
what the present W estminster
trademark looks like:
If you're better with words than pictures-see what you
can come up with in the way of a 10 word slogan (or less)
that best expresses Westminster's superb sound and performance.
Remember, you can win the prize in either-or bothcategories.
HI Fl'"'''' .
1. Your design for a Westminster trademark may be rendered in the
S. Moil 011 entries to : Westminster Contest, 275 Seventh Ave., New York
1, N. Y. Entries must be postmarked no loter thon midnight, September
30, 1959, and received no later than midnight, October 3, 1959.
6. All entries are non-returnable and become the property of and may
be used by Westminster Records in whole or in part free of any claims
other than the awards to the winners of this contest. The prizes will be
awarded on the basis of originality of design and aptness of thought.
One prize " - - consisting of $500 worth of any Westminster monophonic and / or stereo records at retail list price-will be awarded to the
winning trad e mark entry and a similar prize to the winning slogan
entry. Entries will be judged by Westminster Records. Decisions of 'the
judges wil l be final.
7 . Entri es are limited to residents of continental United States (including Alaska and Hawaii) , except employees of Westminster Records, its
adv e rtising agencies and their families. This offer not valid in states
where proh ibi ted by law.
8. The winners will be notified by mail after close of contest.
Send your trademark and/or slogon entries to:
Dept. MR-9
Westminster Contest, 27S Seventh Ave., New York 1, N. Y.
space provided on this page, or may be rendered on your own material.
No specific size is required, but it is recommended that designs be
NAME ______________________________________________
Balance ."
ADDRESS ________________________________________
2. All sloga ns must be written in 10 words or less.
3. You may su bmit' as many trademark and slogan entries a s you
w_ish if you comply with all the rules on each entry.
CITY _ _ _ _ _ _ _ _ _ _ _ ZONE
rendered on poper no larger than 8 1/2" x 11 ", Any drawing or pai nting
materials can be used. All trademarks must contain the w ords " Natural
4. You may use the coupon provided on this page for your nome and
address. If you send your entries separa tely on your own station ery or
drawing material, print your nom e ond mailing address plainly.
STATE ___________
Rev iewed by
ably the finest playing Yehudi Menuhin has don e fo r the phonog raph
since his you thful prodigy days . • • • A treasurable edition of an endu r-
ing masterpiece." (see p . 64)
• ADAM - Gise lle, Ballet Su ite. Paris
C onservato ry Orchestra, J ea n Martinon
con do London CS 6098 $4.98
BACH-Brand e nbu rg Conce rt os [Complet e ) . Bosto n Symph o ny Orch estra , Ch a rles
Munch co ndo RCA Victo r LSC 6140 2 12"
$ 15.98
BACH-Brand e nburg Conc e rtos [Complet e ). Stuttgart Chambe r Orchestra, Karl
Munchinger cond o London CSA 2301 2 12"
th e
The Munch performances are better than
I remember them from their monophonic
release. In general he favors brisk tempi,
but he is not too success ful in keepin g the
rhythmical impul se alive and vibrant. Even
so, Munch evo kes clean playin g from his
instrumentali sts, and the whole is rather
better than some of its parts. There is still
th e monstrous in consistency of his using a
IHll'psichord as continuo in all the Concertos
except th e Fifth. Here, he then suddenly
gives way to a piano. Lukas Foss plays the
solo keyboard in th e Fifth Concerto with
spirit, but not too much shading.
In pre-stereo days, Miinchin ger and the
Columbia brings us Eugene Ormandy and fi rst-chair Philade lp hia
Orchestra players in an unusual Mozart-Haydn Sinfonia Concertante
of highest caliber • • • a most rewa rd ing disc." (see p. 68)
About five years ago London issued a
monophonic recordin g of Giselle with Richard Blareau conducting (LL 869), and it
remai ned the definitive performa nce despite
subsequent competition. Now, London releases a stereo of the sa me score wi th J ean
Martinon and the Paris Conservatory Orchestra. History repeats itself! Here is a
rea ding that should remain unchallenged
for a long tim e to come. It is amazin g how
·similar the two performances are. Martinon's way with Giselle is one of delicacy
and charm, aided by some of th e best playing from the Conservatory Orchestra I've
heard in a long, long time. If you want a
remarkabl e exhibition of sensitive dynamics,
then yo u will add this stereo di sc to your
collection. Techn ically it leaves nothing to
be desired. Everything is spatially well-balanced; all is clea nly articulated, wi th no
fuzziness in climaxes, no overloading and
no distortions.
J. T .
Mu sica l Interest: Immen se
Performa nces : Vari a bl e
Recordings: Good
Stereo Directionality: Both g ood
Ste reo Depth : Mo re natu ral in
Mii nching er re cord ing s
coupling . " Nice, ea sy treatment of the music . . . solo performa nces
Musica l Interest: Ballet fa vorite
Perfo rmance: Sup erb
Reco rd ing : Th e sam e
Stereo Directi o nality: Not overdon e
Stere o Depth: Ju st right
Capitol's EMI ser ies offers w ith its Brahms Violin Concerto " unquesti on-
Angel's Callas Portrays Verdi Heroines marks not only her stereo debu t
for t he label, but sing io g of " sweeping dramatic fo rce . .• t he d isc is
very highly recommend e d ." (se e p. 76)
Stuttgart Chamber Orchestra had what was
generally considered the most satisfy in g account of the Brandenburgs for London. In
the stereo retake the elem ents are mixed
basically as before. There are some spots
of sluggish tempi but the overall feeling of
stylistic rightness remain s strong enough
to ma ke Miinchinger again the preferred
interpreter of these works.
Recording honors are about equally di vided between the two sets, with London's
havin g a slight edge in naturalness of
M. B.
BA RTOK-Dive rti me nto fo r String O rc hest ra; HINDEMITH-M athi s d er Mahl er.
Philharmonia Orch estra, C onsta ntin Silvestri
c o ndo An ge l S 36543 $5.98
Musical Interest: Im me nse
Perfo rm ance : Interesting , vola t ile
Recording: Sup eri or
Ste reo Directionality: Best in Ba rt6 k
Ste reo Depth : Good
T here are now five recordings of Bartok's remarkable score, and four of Hindemith's strange and powerful work. Angel
offers the first stereo of the pieces, although
I suspect that Epic may shortly r elease its
disc of the Bartok. (Capitol has just a nnounced release of th e Steinberg-Pittsburgh
Symphony version of the Hind emith .) It is
sad to report that Unicorn's wond erful r ecording of the Bartok with the Zimbler
Sinfonietta is currently withdrawn. Unicorn's catalog is und er lease agreement to
A ll record s rev iewe d in t his c ol umn a s
ste reo mu st be pl a ye d on st ere op ho nic
e qui pment. T h e y CA N N O T b e
pl a ye d on old styl e mon o phonic [ sing le spea ke r) e quipm ent wit ho ut perma ne nt ly d a ma ging th e record . Play
at 33 113 rpm with th e RIAA setting.
Kapp Records of New York, and it may
re·appear on the latter lab el. If it does,
grab it. It was one of the fin est recordings
of the Divertimento ever made, although in
mono only.
By comparison, Silvestri 1QYes to linger
over the pages of thi S magical' opus, that
are so fi lled with subtle color, so charged
with nationalistic rhythms, and so attractive
in layout. If he seems to drag, he does
extract a marvelou s variety of moods from
the score, to which' the stereo adds much.
It sounds as though Silvestri uses a large
organiza tion, but acoustical arrangement
of the mi crophones could be r esponsible.
Dorati's fine Mercury recording on mono
with the Philharmonic Hun garica (Epic
LC 3513) remains the more energetic,
wh ich is no surprise.
In the Hindemith, Silvestri comp etes
with Ormandy on Columbia; and the composer's own Decca issue, and with Steinberg on Capitol. There is little doubt
that it is Silves tri who delivers the most
dramatic and sensual punch to the "Mathis"
music; and he wins on the technical end
too. If you have ever held any doubt abo ut
Silvestri's sensitivity, listen to the last section of "Mathis." It's a fine r ecordin g on
all counts, highly recommended.
J. T .
BE ET HOVEN-Sym p honi es: No. I in
C Ma jo r, Op. 21 ; No. 8 in F Ma jo r, Op. 93.
Philharmonia Orchestra, Otto Klempere r
c on d o An ge l S 35657 $5.98
M us ica l Interest : H igh a nd mi g ht y
Performances : Exc e ll e nt , as b efor e
Recordings: Go od
Stereo Directionality: Nic e a nd nor ma l
Ste reo Depth : Fi ne
I n co mmentin g on the monophonic release of these performances last mon th , I
remark ed that only a certain stiffness in
the "Finale" of th e Eighth prevented me
from writing an unequivocal rave review.
In stereo the performances take on an
added measure of confident authority, with
solid and well-proportioned sound characteristics_
Excellent notes by William Mann are
printed on the jacket of the disc. They are
models of annotation: informative, witty,
M. B.
and thought provoking.
BEETHOVEN-Symphony No. 2 in D
Major, Op. 3b; The Ruins of Athens: Incidental Music, Op. 113. Royal Philharmonic Orchestra. the Beecham Choral Society. Sir
Thomas Beecham condo Angel S 35509 $5.98;
Mono 35509 $4.98
Musical Interest: Mainly the Symphony
Performances: Excellent
Recording: Good
Stereo Directionality: Natural
Stereo Depth: Good
Beecham's pre-war 78 rpm album of Beethoven's Second Symphony was one of the
outstanding accomplishments of its era.
Here he is again, repeating his success with
this too-often slighted work, making even
more of the robust qualities of the score
than he did in the earlier version-or is it
just that the superlative recorded sound
makes it all the more vivid? In any case,
this is a marvelous performance which fully
captures the kaleidoscopic nature of the
music without over-driving it.
To round out the second side Beecham
gives us the "Overture" and five other numbers from Beethoven's Incidental Music for
the Ruins of Athens, a long-forgotten play
by August von Kotzebue. Four of the five
numbers use chorus and orchestra. The
Beecham Choral Society, singing in English, discharges its duties with distinction.
But the music itself is pretty "pot boilerish." However, the well-known "Turkish
March" emerges newborn in Beecham's remarkable performance. The recorded sound
M. B.
is full, vibrant and well-balanced.
BEETHOVEN-Symphony No. 7 in A
Major, Op. 92; Coriolan Overture, Op. b2.
Berlin Philharmonic Orchestra, Karl Bohm
condo Deutsche Grammophon DGM 12005
$4.98; Stereo-DGS 712005 $5.98
Musical Interest: High and mighty
Performance: Three-fourths earthbound
Recording: Dull mono; vibrant and full
Stereo Directionality: Good
Stereo Depth: OK
Not until the finale does this {:erformance
take wing and soar. If Bohm deliberately
calculated the first three movements for
understatement, then I think he miscalculated, for what emerges is lifeless and uninteresting. But the finale is another story,
which in the stereo edition gives off exhilarating vitality and excitement.
Matters unfortunately, revert to the more
prosaic in the Coriolan Overture.
BEETHOVEN-Trio No.7 in B Flat Major, Op_ 97 ("Archduke"). David Oistrakh
Trio (David Oistrakh. violin; Sviatoslav Knushevitzky, cello; Lev Oborin, piano). Angel
S 35704 $5.98
Musical Interest: Greatest trio of them all
Performance: Sincere
Recording: Very good
Stereo Directionality: Very good
Stereo Depth: Very good
The players approach this music with
high seriousness. As it is great music, this
attitude has its merit, and the performance
may well be considered a probing one.
However, the music also has sparkle and
humor which the players tend to overlook;
and so they convey a heavier feeling than
they should. Stereo centers the piano between the violin (left) and cello (right).
BERLIOZ-Overtures: Benvenuto Cellini; Le Corsaire; Beatrice and Benedict:
Roman Carnival: The Damnation of Faust:
Rakoczy March. Paris Conservatory Orchestra, Jean Martinon condo London CS biOI
Musical Interest: Berlioz masterworks
Performance: Compelling
Recording: Tops
Stereo Directionality: Fine
Stereo Depth: Good
Jean Martinon, the accomplished French
conductor who is so busy these days reo
cording for London and RCA Victor labels,
leads the Paris Conservatory ensemble in
compelling performances of Berlioz overtures and the stirring Rakoczy March. He
has a very tender way with the lyrical mo·
ments in Berlioz, and the strings of the
Conservatory Orchestra have seldom had a
more vel?ety sheen. Tempos are just and
Martinon brings to his readings a fine sense
. of continuity. Only the celebrated Rakoczy March lacks in electrical impact.
but the rest is magnificent.
J. T.
BERLIOZ-Roman Carnival Overture (see
BERLlOZ-Symphonie Fantastique, Op.
14. Virtuoso Symphony of London, Alfred
Wallenstein condo Audio Fidelity FCS 50003
Musical Interest: Of course!
Performance: Outstanding
Recording: Close to perFect
Stereo Directionality: Too much
Stereo Depth: Just right
The most amazing thing about Audio
Fidelity's "Fantastique" is the excellence
of its performance, considering certain important facts. For one thing, no matter how
good the "virtuoso" members of the orchestra are, nor how many top-notch orchestras
they were drawn from, a truly fine ensemble must be together a long time to be
able to respond as a sensitive unit. Despite
this, the Virtuoso Symphony of London,
comprised of outstanding players from top
ranking English orchestras, plays the Ber·
lioz like a thoroughly seasoned group. For
this quality of "togetherness" and for this
superior reading, the conductor must take
most of the credit. The rest of the responsibility goes to Audio Fidelity for a great
job of production and organization.
Whenever a young independent decides to
chaIJenge the giants on repertoire with the
calibre of the Berlioz masterpiece, it does
so with the full knowledge that the competitive world of record selling is merciless.
Audio Fidelity thought enough of its skill
to gamble. It turns out to be a successful
one, artistically speaking. Sonically Wallenstein et al sail past all competitors, except for the London recording by Argenta.
Here the battle is close, with a slight edge
to London for overall sound, while Audio
Fidelity has the edge for articulation. It
seems that the microphones are too far
apart. The recording when played back
in a large room through a good system
would be absolutely magnificent. By cutting the right channel when the first strings
are in command, during parts of the introductory "Largo" and "Allegro," makes the
first sounds appear as if at the other end of
the hall. In a live performance, I'm sure, it
would not sound like this. But then, is
exact simulation what Audio Fidelity is
after? All is clean and bright, though, with
some distortion in the brasses during the
"March to the Scaffold" and fuzz in the last
pages of the final" Allergo." But let's not be
too fussy. This is a splendid release-wellbalanced, well conducted, and beautifully
J. T.
BIZET-L'Ariesienne Suites Nos. I & 2;
CHABRIER - Espana Rhapsody; Marche
Joyeuse. Covent Garden Royal Opera Orchestra. Jean Morel condo RCA Victor LSC
2327 $5.98; Mono-LM 2377 $4.98
Musical Interest: Pleasant coupling
Performance: Extraordinarily good
Recording: RCA's overseas best
Stereo Directionality: Classically spaced
Stereo Depth: Good
Bizet's incidental music to Daudet's
drama of "The Maid of ArIes" has always
been a favorite of record manufacturers
who count the suites a staple. Numerous
LP's have been made and withdrawn of
these scores. Comes the a~e of stereo and
RCA Victor's reason for ~ffering still another version is laid at the doorstep of
spatial sound. Well, if that's the reason,
let's be happy about it, for Jean Morel and
the Royal Opera House Orchestra of Covent
Garden breathe yet new life into these wellworn scores.
Not only are the Suites refreshingly done,
but Chabrier's Espana Rhapsody and
Marche ]oyeuse are fetchingly performed
too. A disc that I thought would be boring
to review now turns out to be an item that
will occupy a prominent place in my own
collection-one to keep, and play to remind
me that "you never can tell." Here it is
then, the "best" of them all; nor is the disc
handicapped by any technical weakness in
the stereo processing either.
J. T.
BIZET-Jeux d'Enfants (see STRAVINSKY)
BRAHMS-LIEDER; "Mit Vierzig Jahr•
en"; "Steig Auf, geliebter Schatten"; "Mein
Herz ist schwer": "Kein Haus, keine Heimat"; "Herbstgefiihl"; "Alte Liebe"; "Abenddammerung"; "0 wiisst ich doch den Weg
zuruck"; "Auf dem Kirchhofe"; "Verzagen";
"Regenlied"; "Nachklang": "Friihlingslied";
"Auf dem See": "Feldeinsamkeit". Dietrich
Fischer-Dieskau (baritone) with Jorg Demus
(piano). Deutsche Grammophon DGS 712007
$5.98; Mono-DGM 12007 $4.98
Musical Interest: For Lieder specialists
Performance: Masterly
Recording: Clear and resonant
Stereo Directionality: Realistic
Stereo Depth: Immaterial
In a generous exploration of the Brahms
Lieder repertoire the unsurpassed recitalist
of our times combines some of the composer's best known songs (Feldeinsamkeit,
Auf dem Kirchhofe) with others heretofore
neglected and virtually unknown. A con·
templative, autumnal feeling pervades most
of these songs (one rare and delightful departure is the whimsical Kein Haus, keine
Beethoven-Concerto No. I, in C, Op.
IS. Symphony Of Th e Air, Josef Krips,
Conductor. LM/LSC·2120
Concerto No.2, in B-Flat , Op. 19. Symphony Of The Air, Josef Krips, Conductor. LM/LSC·2121
Concerto No.3, in C Minor. Op. 37
Symphony Of The Air, Josef Krips , Can·
ductor. LM /LSC ·2122
Conc e rto No.4 , in G, Op. 58. Symphony
Of Th e Air, J ose f Krips, Conductor.
LM / LSC.2123
tor. (5 L.P. pac kage also available as
sing le L.P .'s). LM/LSC.6702
Concerto No.5, in E·Flat, Op. 73
(HEmperor"). Symphony Of The Air,
J osef Krips, Conductor. LM / LSC. 2124
Franck -Sympho ni c Variation s . Con.
ce rt o No.2, in G Minor, Op. 22 (Saint.
Sae ns). Symphony Of The Air, Alfred
'Vallcns te in, Conductor. LM/LSC·2234
The Five Bee th oven Concertos. Sym.
pho ny Of The Air, J osef Krips, Con.duc .
Rachmaninoff- Concerto No.2, in C
Minor, Op. 18. Chicago Symphony Or·
ch es tra, Fritz Reiner, Conductor. LM/
Saint-Saens-Concerto No.2, in G
Minor, Op. 22. Symphonic Variations
(F ra nck). Symphony Of The Air, Alfred
Wallens te in , Conductor. LM/LSC.2234
Schumann-Concerto in A Minor, OPt
54. RCA Victor Symphony Orchestra',
Josef Krips, Conductor. LM/ LSC·2256
Beethoven-Sonata No. 21, in C, Op.
53 ("Waldstcin H ) . Sonata No. 18, in E ·
Flat , Op. 31, No.3. LM·2311
Sonata No. 23, in F Minor, Op. 57 ( " Ap.
passionata"). Sonata No.8, in C Minor,
Op. 13 ( " Pathctique"). LM ·1908
Brahms-Concert o No. I , in D l\'linor,
Op. 15. Chicago Symphony Orchestra,
Frit z Reiner , Condu c tor . LM · 1831
Rubinstein Plays Brahms. Int ermezzi:
Op. 117, Nos. 2 and 3 ; Op. 118 , Nos. 2
and 6; Op. 119, Nos. 2 and 3. Rhapso.
dies: Op. 79, Nos. 1 a nd 2; Op. 119, No .
4. Capriccio, Op. 76, No.2 . LM·1787
Chopin-Concerto No.1, in E MinOT,
Op. 11. Los Angeles Philharmonic Or.
c hes tra·, Alfred Wall e nstein, Condu c tor.
Mazu rkas (comp let e). Polona ise No.7.
in A·Flat, Op. 61. Andante Spainato
and Grande Polonaise in E·Flat, Op. 22.
Noc turn es (co mpl ete). LM·6005
Polonaises. Nos. 1 throu gh 6. LM·1205
Falla-Nights In The Gardens Of Spain.
San Francisco Symphony Orc hestra, En·
riqu e lorda, Conductor. Miller's Dan ce
from "The Three·Cornered Hat." I\:Iu sic
of Granados, Albeniz and Mompo u .. LM·
Grieg-C oncerto in A Minor, Op. 16.
RCA Victor Symphony Orchestra, Alfred
Wallenstein, Conductor. Rhaps ody on a
Theme o f Poganini , Op. 43 (Rachmani.
noff). Chicago S ymphony Or<;hestra ,
Fr it z Reiner, Conductor. LM ·2087
Rubinste in Plays Gri eg-Ball ade , Op.
24; Cradle Song, Op. 68, No . 5; Sp~ing
Dance , Op. 47, No.6; Berceuse, Op.
3a, No.1; Folk Song, Op. 38, No.2;
Papillon, Op . 43, No.1 i Spring Dan ce,
Op. 38, No.5; S hep herd Boy, Op. 54,
No. 1; Little Bird, 0". 43, No.4; Folk
Song, Op. 12, No.5; Elfin Dance, Op.
12, No.4; Album Leaf, Op. 28, No.4;
March of th e Dwarfs, Op. 54, No.3.
Liszt-Concerto No.1 , in £.Flat. RCA
Victor Symphony Orc h es tra, Alfred Wal·
lenstein, Conductor. Concerto No.2, in
C Min or, Op. 18 (Rachmaninoff). Chi.
cago Symphony Orc hes tra. Fritz Reiner,
Condu c tor. LM ·2068
Rachmaninoff-Concerto No.2. in C
Minor, Ol}. 18. Chicago Symphony Or·
c hes tta', Frit z Rein e r , Conductor. Canecrto No. I, in E·Flat (Liszt). RCA
Vic tor Symphony Orchestra, Alfred Walt
lenstein, Conductor. LM·2068
Rhap so dy on a Theme of Paganini, OPt
43. Chicago Symphony Orches tra , Fritz
Reiner, Conductor. Concerto in A Mi.
nor, Op. 16 (Grieg). RCA Victor Sym.
phony Orc hestra, Alfred Wallenstein,
Conductor. LM·2087
Miscellaneous-Encores by Artur Ru.
bins te in: Li e bestraum, No. 3 (Listt);
Spinning Song, Op. 67, No. 4 (Mendels.
so hn) ; Noc turne in E·Fla.t. Op. 9, No.2
(Chopin) ; Valse Oubliee, No.1 (Liszt);
Impromptu in A·Flat, Op . 90, No. 4
(Sc hubert); La plu8 que lente-Valsc
(Debus sy ); Prelude in C·Sharp Minor,
01" 3, No.2 (Rachmaninoff) i Fantaisie.
Impromptu in C·Sharp Minori Op. 66
(Pos th. ) (Chopin). LM·1153
RCA~ [email protected]
H eimat-twenty seconds long in all).
Fischer.Dieskau is in his customary formpoetic, eloquent and superbly polished. The
engineers present him with the excellent
Demus in a neatly balanced collaboration,
though some muddiness in the piano tone
becomes evident in Verzagen.
Stereo reveals the piano, realistically,
slightly to the left of the soloist. It also
offers a somewhat fuller sound, though the
alternate edition is also very good. Sur·
faces, however, are a bit noisy in both. It
also offers full texts and excellent transla·
G. J.
BRAHMS-Quintet for Piano and Strings
in F minor, Op. 34. Janacek Quartet and Eva
Bernathovli (piano). Deutsche Grammophon
DGS 712002 $5.98; Mono-DGG 12002
Musical Interest: Much
Performance: Competent
Recordi ng: Competent
Stereo Directionality: Good
Stereo Depth: Good
This is a well·balanced performance of
an introspective masterpiece. Miss Berna·
thova has a good command of the piano
and she furnishes a solid foundation for
the strings. The interpretation is reason·
able rather than inspired. There is com·
mendable, rhythmic flexibility and textural
clarity. Climaxes are built logically, and
lyrical passages flow easily, but with
enough tension to avoid superficiality. Yet
there is not enough insight to extract the
ultimate poetry in the score. The recording
slights none of the players, and stereo
provides them with a broader stage. W. D.
BRAHMS-Violin Concerto in 0 Major,
Op. 77. Yehudi Menuhin with the Berlin
Philharmonic Orchestra, Rudolf Kempe condo
Capitol SG 7173 $5.98
Musical Interest: A violinistic titan
Performance: Wonderful
Recording: Good
Stereo Directionality: Unobtrusive
Stereo Depth: Good
I missed this performance when it was
released monophonically some time ago. Its
stereo re·issue therefore, found me totally
unprepared for its many glories. Here, un·
questionably, is the finest playing Yehudi
Menuhin has done for the phonograph since
his youthful, prodigy days. Present is se·
curity and drive mated to a sensitive, rna·
ture concept of the score which together
place this version among the select record·
ings of this masterpiece. And Kempe,
(whose earlier recording of the Brahms
Fourth Symphony with the same orchestra
I praised in these pages some months ago)
again displays a reading of warmly lyrical
The stereo aspects of the record are satis·
fyingly unobtrusive, with a secure sense of
depth. All in all, this is a treasurable edi·
M. B.
tion of an enduring masterpiece.
CHABRIER-Espana; Marche joyeuse (see
CHOPIN-Scherzi: B minor, Op. 20;
B Flat minor, Op. 31; C Sharp minor, Op.
39; E Major, Op. 54. Leonard Penna rio
(piano). Capitol SP 8486 $5.98
Musical Interest: Much
Performance: Very good
Recording: Very good
Stereo Directionality: Unobirusive
Stereo Depth: Good
Pennario plays these kaleidoscopic pieces
with virtuosi musicianship. He is lyrical
and dramatic wherever the scores call for
these qualities, displaying ardor and impetuosity in good supply. His technique
never falters, although there are a few
times when his right hand overshadows the
left. The stereo recording of the piano does
seem like a case of painting the lily, but
there is no gainsaying the actual effective·
W. D.
ness of the sound captured here.
DEBUSSY-Preludes, Book I. William
Harms (piano). Boston BST 1010 $5.95;
Mono-B 305 $4.98
Musical Interest: Basic impressionism
Performance: Fair
Recording: Very good
Stereo Directionality: Reasonable
Stereo Depth: Good
Perhaps if Gieseking, Casadesus and
Novaes had not recorded these twelve Prel.
udes, this disc would be more impressive.
William Harms plays with sincerity and
faithfulness to the printed score; but only
too often, these admirable traits have
proved inadequate in the interpretation of
Debussy. What is needed is style. This,
the other three performers have in abundance, differing one from the other as per·
sonality dictates, but supplying the magic
that is of inestimable value in the presen·
tation of these fugitive wizardries. By comparison, the Harms disc suffers interpretively, but it does have fine sound in both
W. D.
its incarnations.
DVORAK-Symphony No. 4 in G Major, Op. 88. Bamberg Symphony Orchestra,
Jonel Perlea condo Vox STPL 511,050 $5.95
Musical Interest: One of the most underrated symphonies
Performance: Good
Recording: OK
Stereo Directionality: Good
Stereo Depth: Fine
This score has fared very well on discs
recently, beginning with Mercury's monophonic release by Sir John Barbirolli and
the Halle Orchestra last year. Shortly after
that came superb performances by Szell
(for Epic) and Silvestri (for Angel). The
present Vox issue is a good one, too; and
in his own right PerIea gives a satisfying
reading. He does not challenge the overwhelming Szell or Silvestri readings, how·
ever, nor is the recorded sound as warm
M. B.
as I'd like it.
FALLA-The Three Cornered Hat Suite;
EI Amor Brujo: Ritual Fire Dance. GRA·
NADOS - Andaluza. ALBENIZ - Navarra;
Iberia: EI Corpus en Sevilla. Royal Philharmonic Orchestra, Artur Rodzinski condo
Capitol SG 7176 $5.98
Musical Interest: Mixture of familiars and
Performance: Energetic
Recording: Good
Stereo Directionality: Divided evenly
Stereo Depth: Warm and full
The late Artur Rodzinski was the kind
of conductor who improved with age, and
just before his unexpected and tragic death
he had directed a tremendous performance
in Chicago of Tristun und Isolde. In this
recording, which consists of music that certainly held no problems for one of music's
most intense personalities, he leads the
Royal Philharmonic in spirited, if not great
performances. In contrast to most of the
shortened "El Sombrero" arrangements,
Rodzinski includes some of the opening bars
of the score. Argenta on London (SC 6050)
has recorded a more supple performance,
but not as vigorous as Rodzinski's.
The "Ritual Fire Dance," the familiar
"Andaluza" from Granados'Danza-Espanola
(often heard as a guitar solo), the rarely
played Navarra transcribed by ArhOs from
Albeniz's last piano piece, and the festive
"Corpus en Sevilla" from Alheniz's Iberia
all emerge under the master's baton in
straightforward, crisp fashion. For a conductor of such great stature as the late Rodzin·
ski, these may be trifles, but they are not
triflingly done. The engineering is much
better than previous EMI Capitol stereo recordings-with good bass throughout. J.T.
FALLA-The Three Cornered Hat Ballet Suite; RAVEL-Bolero; Alborada del
gracioso; WEBER·BERLlOZ-lnvitation to
the Dance. Paris Conservatory ·Orchestra,
Albert Wolff condo London CS 6077 $4.98
Musical Interest: Mixture of favorites
Performance: Some superior
Recording: Very good
Stereo Directionality: Well-defined
Stereo Depth: Good
Albert Wolff conducts this group of
popular orchestral favorites evenly most of
the way, topped by an exceptionally fine
"Alborada." The Bolero starts off with the
opening measures 50 soft as to be hardly
audible in the stereo version, and the beat
is subtly flexible to allow expressive phras·
ing of solos. The Weber waltz and Falla's
Three Cornered Hat Suite are well played,
just a shade above the routine level. The
J. T.
sound is excellent.
FRANCK-Symphony in D minor. Utah
Symphony Orchestra, Maurice Abravanel
condo Westminster WST 14062 $5.98
Musical Interest: Still going strong
Performance: Smooth
Recording: Excellent
Stereo Directionality: Evenly divided
Stereo Depth: Good
Westminster makes this No. 2 in the
stereo Franck D minor Symphony sweep·
stakes, and gives us an issue notable for
its smooth, even pacing. Abravanel and
the Utah orchestra give a really sure account of this familiar old masterpiece.
Abravanel's intelligent and sane treatment
is a relief from some other exaggerated
readings. He lets his orchestra produce a
lovely sound, and he lets the score play
itself. Westminster's sound is accurately
J. T.
balanced throughout.
-The Mikado; The Yeomen of the Guard;
Ruddigore; Iolanthe; H. M. S. Pinafore; The
Pirates of Penzance. Symphony Orchestra,
Alan Ward condo RCA Victor LSC 2302
Musical Interest: G & S marvels
Performance: Spirited
Recording: Excellent in every way
Stereo Directionality: Classic seating
Stereo Depth: Fine balance
Alan Ward and the musicians deliver
six of these G & S bon·bons with briskness,
aided by solid string sections, but handiBIFI REVIEW
First from Everest-the electrifying
fidelity of 35 mm magnetic film recording. Here begins a new era in
recorded sound.
Desi gned and developed by
Everest, built by Westrex, the new
film technique gives more than three
times the recording space of a standard 1,4" tape . .. allows full, threechannel stereo recording without
crowding, without sacrificing · the
channel width so essential to total
Base material for Everest's revolutionary new film is five times
thicker than that of conventional
tape-thus eliminating distortion
from "print-through ." Sprocketdriven, magnetic film's superior tensile strength means the end of tape
stretch, the cause of "wow" and
"flutter" distortion. Result of the
whole-a new quality of sound that
will delight you.
In these a nd other albums,
Everest is proud to present the
world's finest music . .. performed
by the most gifted musicians and
conductors. Everest Records-in a
growing library of popular, jazz,
light-classical and classical musicare replete with the musical and
technical imagination that creates an
unforgettable listening experience.
Vaughan Williams : Job - A Mas que
for Danci ng. A modern ma sterpi ece;
brill ia ntly performed . Sir Adrian
Boult, th e London Symphony Orch.
LPBR· 6019 SDBR-3019t
Strauss : Till Eulenspiege l, Don Juan,
Salome " Dance of the Seven Veil s."
Virtuoso re adings . Leo pold Stokowski, the Stadium Sy m. Orch . of N. Y.
LPBR-6023 SDBR·3023t
Mahler: Symphony NO.5 in C-Sharp
Minor. A majes tic symphony. Ru dolph Schwarz conductin g the reo
nowned London Symphony Orch. **
LPBR-6014·2 SDBR·3014·2t
Johann Strauss : HA Nig ht in Venice."
Ori g inal cast recordin g of Mike
Todd 's colorful Jon es Beach production . Thoma s Martin, conductor.
LPBR· 6028 SDBR·3028t
Eddie Foy, Jr. in "Mi nstr el Da ys."
Gershwin in Brass. A spectacul ar as ..
semblage of the finest brass men in
th e country. " America n in Pari s,"
" Rhapsody in Blue " and others.
Th e good old days in song and story
-a complete mi nstrel show. With
Davi d Burn s and Haro ld Adamson.
LPBR-5039 SDBR·l039t
Product of 8elock Recording Co., Division of Belock I nstrument Corp.
t Stereo
* T.M.
"Two-disc set
'capped by wind players wbo err too oft en.
Mr. Wa rd must be a Savoyard himself for
th ere is obvious sympa thy for these musical
spark1ets. Isadore Godfrey on London (LL.
398) reads the scores with more grace, but
then he of all musicians should direct G & S
with authority since he is the regular con·
ductor with the D'Oyly Carte. But RCA
Victor has the advantage of much better
sound , and to my knowl edge London has
not yel issued a stereo disc of G & S over·
tures. Also add to the merits of this playing a fin e technical stereo job; thi s fares as
one of RCA Victor's best to date.
HANDEL-Judas Maeeabaeus: My
arms! Sound an alarm ; Thanks to my brethren; How vain is man; Jashua: So long the
memory shall last; While Kendron's brook;
Jeptha: Deeper, and deeper still; Waft her,
angels; For ever blessed; Ads and Galathea: Would you gain the tender creature;
Alexander's Feast: War, he sung , is toil
and trouble; Samson: Total eclipse!; Semele: Where'er you walk. Ri c hard Lewis
(tenor), with the London Symphony Orchestra. Sir Malco lm Sa rgent, c ond o Capitol SG
7170 $5.98
Mu sica l Interest: Definite
Performance: Impressive
Recording : Good, with some flaws
Stereo Directi onality: None
Stereo Depth: Good
Richard Lewis, one of England's best
tenors, has been heard to good advantage
on discs before, but this may be his most
impressive effort to date. In th ese taxing
arias he displays secure . mu sicality, clear
diction, and a fin ely ringing voice equally
effective in th e rousin g "War, be sun g, is
toil and trouble" and in the exqUlslte,
gentle music of the J eptha arias. Evid ently
he has the style and technique of a tru e
Han delian sin ger and, to quote George
Gob el, "you can't hardly get them no
more . . ." Wh en his legato is polished to
an even fin er degree-eliminating th e occasional "shakes" in the flor id passages,
and when an even steadier ton e in th e
cantabile is ach ieved, he may give us interpretations in this Handelian year, and
hereafter, performances that will be long
remembered. If this be qualified praise,
this is what comes from listening to John
McCormack discs all th ese years.
Th e sound, spacious a nd resonan t, ha s no
noticeable directionality. There are several
noisy spots indicative of faulty processi ng,
and the surfaces are not very silent. Still, a
success ful disc owing to a substantial degree, to Sargent's firm a nd vigorous backing.
G. T.
HANDEL-Water Music (Complete).
Am ste rdam
C on certgebouw
Eduard van Beinum condo Epic BC 1016
Mu sical Interest : High
Performa nce : Hearty
Record ing: Excellent
Stereo Directi o nality : Excellent
Stereo Depth: Excellent
It would take a large barge to float the
orchestra involved in this recording. There
obviously are more players here than were
available to Handel when he mad e this
legendary peace offering to his monarch.
Despite the modern makeup of the Amsterdam ense mble, its late leader achieved a
Baroque feel in this performance. The music glows with health and spirit, and the
stereo recording gives it a spaciousness that
sounds as if out-of-doors.
W. D.
HAYDN-Flute Concerto in D Major;
Oboe Concerto in C Major. Kurt Redel
(flute), Kurt Kalmus (oboe) with th e Munich
C hamber Orchestra, Hans Stadlmair condo
Deutsch e Grammophon DGS 71200 I $5.98;
Mono-DGM 1200 I $4.98
Mu sical Interest : For the curious
Performance: OK
Recording: OK
Stereo Direction ality: See below
Stereo Depth: OK
The renowned Haydn scholar H. C. Robbins Landon, has all but proven conclusively tha t neither of these scores is by Haydn.
(How many of you, incidentally, know that
Landon is an American, still in hi s midthirties, although he has made his hom e in
Europe for about a decade?) Truth to tell,
these concerti are both fairly undistinguished products of typical mid.eighteenth
cen tury Mannheim style. The Flute Concerto was available on an early Urania release, and the Oboe Concerto appeared recently on Mercury played by Evelyn
Rothwell (Lady Barbirolli) with tlle Halle
Orchestra under Sir J ohn Barbirolli's direction.
The performances on this Deutsche
Grammophon disc are neat and orderl y,
b ut very, very prim. Since Redel has been
makin g a name for himself as a cond uctor
of Baroque repertoire, there is novelty in
his appearance here as flute soloist. Despite
very pl"Ominen t brea th intak e, perhaps
caused by too close a microphone, his playin g is tasteful and secure, yet without a ny
r eal character. And much the same is true
of Mr. Kalmus, the oboe soloist.
Concern ing placement of th e soloists,
Redel is firmly placed to the left of center
throughout the Flute Concerto. In the Oboe
Concerto the left-side placement of the
soloist seems to have been just a bit overdone. There is preciously little solo oboe
M. B.
coming from the right channel.
HINDEMITH-Concert Music for
Strings and Brass, Op. 50; Symphony in B
Flat for Concert Band (1951) . The Philharmonia Orchestra, Pa ul Hind emith condo
Angel S 35489 $5.98
Musical In terest : Strong, modern
Performa nee: Authoritative
Recording: Excellent
Stereo Directiona lity: Fair
Stereo Depth : Good
Although Hind emith is often considered
ruggedly a bstrac t, if not academic in his
music, it is worth noting that he conducts
it with more lyricism than many others.
Compare this rendition of th e Symphony
with Fennell's on Mercury (MG 50143) .
The composer'·s version is far warmer and
more accessible. Hindemith is a fine conductor, so both performances are entirely
auth oritative, and the recording allows
th em ful l opportunity to be heard in good
p erspective.
W. D.
HINDEMITH-Mathis de Maler (see BARTOK)
• KODALY - Quartet No.2; VILLA·
LOBOS-Quartet No.6. Hollywood. String
Quartet. Capitol Stereo SP 8472 $5.98
Musical Interest: Colorful moderns
Performance: Superb
Recording: Excellent
Stereo Directionality: Reasonable
Stereo Depth: Good
This is the second time the Hollywood
group has recorded the Villa-Lobos for
Capitol. The earlier rendition was not
played with the easy virtuosity and impeccable ensemble of this version and, of
course, the recording, as such, lacked the
rich sonic quality of this one. There is a
beautiful transparency in the sound that
the engineers have engraved, with the stereo
spatiality contributing much to the happy
effect. Both the Hungarian and Brazilian
compositions are immediately attractive,
with modernisms that are more coloristic
than sheerly technical. The performances
W. n.
are sensitive, assured and fresh.
• KORNGOLD-Suite from "Much Ado
About Nothing," Op_ II. AUSTRIAN
bert, Krenek, Berg, J. Strauss. Boston Chamber Artists and Boston Concert Band, Eric
Simon, condo Boston 1012 $5.98; Mono-B
411 $4.98
Musical Interest: Delightful rarities
Performance: Fine
Recording: Good
Stereo Directionality: Just right
Stereo Depth: A little shallow
Korngold's sparkling sketches for Shakes.
peare's comedy are given fine treatment by
The Boston Chamber Artists. This group
happens to be among the outstanding musicians here or abroad as most of them hold
first chair positions with the Boston Symphony Orchestra. Their musicianship is
impeccable. Thus, Korngold's attractive,
and almost unknown score, sounds delightfully fresh. It was originally written for
19 musicians ( the size of the ensemble
which recorded it for Boston Records).
Most of the Austrian Marches are reo
corded for the first time: two by Beethoven;
one by Schubert, that has a bucolic dancelike second section; three by Krenek;
Berg's March from W ozzeck, and Strauss's
Radetsky March. The sound of the marches
is not quite up to that accorded the Korngold; but the playing is good, and the
works rare-an item for the collector who
likes the unusual on his shelf.
J. T.
• LlSZT-Les Preludes; RESPIGHI-The
Pines of Rome; BERLIOZ-Roman Carnival
Overture. Philharmonia Orchestra, Herbert
von Karajan condo Angel S 35613 $5.98;
Mono-35613 $4.98
Musical Interest: Program chestnuts
Performance: Spotty
Recording: Very good
Stereo Directionality Expertly divided
Stereo Depth: Just right
Admittedly, all of the music included
hlue is essentially descriptive. But then, we
have good and bad theater, and, good and
bad descriptive music. Karajan comes up
with a stupendous reading of The Pines 01
Rome, and a thrilling account of the Roman Carnival Overture, but sadly he renders a routine treatment of the old, tired
Les Preludes. Despite all of Karajan's
well-known abilities, and the expertness of
the Philharmonia, Les Preludes sounds as
monotonous as ever_
But that "Pines" music! The control
Karajan has over the - ensemble in the
long and overpowering finale, which builds
from a whisper to a wild and wooly finish,
is a hair-raising experience. The reading
rivals the best in the catalog, including
Toscanini's pre-stereo RCA Victor disc.
And the stereo sound is a vast improvement
over Angel's previous work.
J. T.
Night's Dream: Overture, Scherzo, Nocturne,
Wedding March; SCHUBERT-Rosamunde:
Overture, Entr'acte No.2, Ballet Music No.
2. Amsterdam Concertgebouw Orchestra,
GeorgeSzell condo EpicBC 1023 $5,98
M usica I Interest: Considerable
Performance: Highly efficient
Recording: Excellent
Stereo Directionality : Very good
Stereo Depth: Very good
Szell is hardly the conductor to weave
magic spells with fanciful music. However,
he is a musician of rare competence, and
these familiar numbers are played with
exciting precIsion and vitality. This stereo
version has a decided edge in realism over
the previously issued monophonic disc; the
transparency of texture that the conductor
achieves is conveyed without the slightest
MENDELSSOHN-Symphony No. 4 in
A Major, Op. 90 ("Italian"); TCHAIKOV.
SKY-Capriccio Italien, Op. 45. Orchestra
of the Vienna Music Society, Eduard van
Remoortel condo Vox STPL 511,210 $2.98
Musical Interest: Yes
Performances: Good
Recording: A little too brilliant
Stereo Directionality: Good
Stereo Depth: OK
These are well-drilled performances, released for a limited time at the bargain
price of $2.98. Both scores are available
elsewhere in more penetrating performances. (RCA Victor's stereo of the "Italian" by Munch, and Columbia's of the
Capriccio Italien by Mitropoulos are examples.) However, Remoortel presents them
both · in a forthright, honest manner. The
sound is a little shrill for my taste, but
otherwise it is well-balanced and has good
M. B.
• MOZART-Pian.o Concerto in C minor
K. 491); Piano Sonata in B Flat (K. 333).
333). Denis Matthews (piano) with Vienna
State Opera Orchestra. Hans Swarowsky
condo Vanguard VSD 2025 $5.98; MonoVRS 1037 $4.98
• MOZART-Piano Concerto inD minor
(K.466); Piano Sonata in A minor (K. 310).
Same performers. Vanguard VS'D' 2028$5~98;
Mono-VRS 1040 $4.98
M usica I Interest: High
Performance: Polished
Recording: Very good
Stereo Directionality: Excellent
Stereo Depth: Excellent
The concertos are two of the most dramatic in the Mozart catalog. There are two
ways to perform them: as forerunners of
Romanticism, or as examples of Classicism.
The performances here incline to the latter
view. They are more elegant than turbu-
lent; their sentiment offers little conflict.
Denis Matthews and Hans Swarowsky
seem completely as one in this conception.
Their readings are silky, smooth, and refined. The piano tone and the orchestral
tOIle vie with each other in polish, and the
resonant recording caresses the ear. In the
sonatas, Matthews maintains his claSSIC
poise. His rendition of the A mmor seems
less adventurous than the version he did
some years ago on an English Columbia
record that never was released here. There
is much beautiful playing in these two
discs, with some of the beauty achieved at
the expense of emotional involvement.
• MOZART-Sinfonia Concertante in E
Flat (K. 297b); HAYDN-Sinfonia Concer·
tante in B Flat, Op. 84. John de Lancie
10'Ooe), Anthony Gigliotti (clarinet), Bernard Garfield (bassoon), Mason Jones
(hbfiJ), _Jacob Krachmalnick (violin), Lorne
Munroe (cello), with the Philadelphia Orchestra., Eugene Ormandy condo Columbia
MS 6()6t $5.98
Musical Interest: Captivating
Porformance: Surprisingly good
Rllcord ing: Good
Stereo Directionality: OK
Stereo Depth: Excellent
Despite the fact that the Philadelphia Or·
chestra has what amounts to a Mozart-less
tradition, this marvelous Sin/onia Concer~'te has found favor with both the present
custodian of the Orchestra's destinies and
his predecessor. If memory serves correctly,
the Stokowski-Philadelphia Orchestra recording of this work, released by Victor in
the summer of 1941 (and once available as
an LP re-issue on Camden CAL 213), is the
only sample of Mozart that Stokowski has
ever recorded.
The reason for the favor which the SinIonia Concertante has found in the City of
Brotherly Love is not too hard to determine. The four solo woodwind parts call
for virtuosity of the very highest order.
Ever since one can remember, Philadelphia's
woodwind soloists have been masters of
their craft, and the quartet in the present
recording is no exception. (Mason Jones
is the lone hold-over from the 1941 quartet.) What is rather unexpected is Ormandy's nice, easy treatment of the music,
which allows it to expand and breathe properly. This is no souped-up, hard-driven
reading, and for that, one is very thankful.
Ormandy is similarly successful with the
Haydn Sinlonia Concertante, which is another of the gems that came into being
during the composer's sojourns in England. Here, too, we have solo performances
of the highest caliber mated to perceptive
and musical insight. It is a most rewardM. B.
• PROKOFIEV-Symphonic Suite of
Waltzes, Op, t 10; The Stone Flower Ballet,
Op. 127; Gypsy Fantasy. Kansas City Philharmonic Orchestra, Hans Schwieger condo
Urania USf030:-$5:9S=' -Musical Interest: High
Performance: Outstandin,
Recording: Urania's bestStereo Directionality: Razor sharp
Stereo Depth: Close-in but not shallow
Urania brings us -here, by far the best of
its stereo catalog to be heard by this re-
THE BALLAD, Model A230: Dual 15 watt amplifiers and dual
preamplifiers in a magnificently ·styled instrument. FrictionClutch Tone Controls: Bass and treble controls adjust separately
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permits addition and operation of a third channel speaker in
local or remote stereo systems. Also permits simultaneous operation of virtually any combination of speakers - stereo and
monaural - in local and remote installations. Illuminated PushButton Onl 0 fJ Switch: Wonderfully convenient device permits
amplifier to be turned on and off without upsetting careful
setting of controls. Speaker Phasing Switch: Corrects for improperly recorded program material. Subsonic Filter: Eliminates phonograph rumble.
The Ballad, Model A230
• $109.95
Optional Enclosure. Model AC23
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THE SONNET, Model T230: Stereo AM/FM tuner. The ideal
stereo companion for the A230 amplifier. Separate, and Highly
Sensitive AMIFMSections: Permit superb reception of AM/FM
stereo broadcasts through this one instrument. Multiplex Input:
Conveniently located multiplex jack accommodates multiplex
adapter for receiving Crosby compatible multiplex (FM stereo)
broadcasts. High-Q Ferrite Loopstick: Provides high AM pickup sensitivity. Automatic Frequency Control: Locks each station
into its proper position every time. Improves manual tuning by
a factor of 10 to 1. New Low Noise Front End and Wideband
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and low harmonic and intermodulation distortion. The T230
features a brilliantly contoured new escutcheon and a superbly
styled new enclosure.
The Sonnet, Model T230 .
• $119.95
(Complete with Enclosure)
(Prices slightly higher in the West)
Westbury. N. Y.
viewer. Musically, the repertoire is interestingly conducted by Hans Schwieger, t~e
Kansas City Philharmonic's regular mUSIC
director. The Suite consists of selections
from various Prokofiev scores arranged by
the composer, and is cast in six movements.
The Fantasy is an arrangement of a late
score (1950), from which several symphonic
suites have been culled.
The Kansas City Orchestra strings, in
particular, acquit themselves beautifully.
Schwieger has been in this country for a
score of years, eight of them in Kansas City.
Organizer of two orchestras-the Southern
Symphony and Fort Wayne Philharmonic,
Schwieger is revealed on this Urania disc
as a musician of excellent taste and outstanding ability. His beat is firm; he main·
tains a tightly disciplined control over the
ensemble; and he conducts with imagina.
tion. Urania has turned out a superior recording. Accordingly, the improvement,
50nically and musically, over many of its
J. T.
foreign recordinf,!;s, is vast.
• PROKOFIEV-Symphony No.7, Op.
131; Russian Overture, Op. 72. The Paris
Conservatory Orchestra, Jean Martinon condo
RC6, Victor LSC 2288 $5.95; Mono-LM
2288 $4.98
Musical Interest: High
Performa nee: Great
Recording: Tops
Stereo Directionality: Exact
Stereo Depth: Full
Prokofiev's last major work is given its
first stereo release on RCA Victor and it
represents the first competition to Ormandy's older monophonic version on Columbia
(ML 4683). The new edition wins all-theway-around. It is one of RCA's best sounding stereos, and Martinon's reading is
much more sensitive. His tempi are preferable too, showing the difference between an
imaginative approach to the work, and a
routine performance by a greater orchestra.
Martinon makes the Paris Conserva_ory Orchestra sound the disciplined way it should,
and gets the same warm response from the
Parisians as did the late Ataulfo Argenta.
Prokofiev follows somewhat Shostakovich's lighter symphonic manner, eschewing
the large scale of his own Fifth and Sixth
Symphonies_ The Seventh is nevertheless
a score of charm and interest. The first and
last movements are splendid examples of
Prokofiev's satiric way with the orchestra.
The Russian Overture was written when
the composer returned from Paris to his
native land in 1935; and it abounds in
folklike tunes and dances, brilliantly and
powerfully scored. The music will delight
the hi-fi owner who longs for something
J. T.
new and exciting.
• PUCCINI-Turandot (complete opera).
Inge Borkh (soprano)-Turnadot; Renata
Tebaldi (soprano)-Liu; Mario del Monaco
(tenor)-The Unknown Prince; Nicola Zaccaria (bass)-Timur; Fernando Corena
(bass)-Ping; Mario Carlin (tenor)-Pang;
Renato Ercolani (tenor)-Pong & others. The
Chorus and Orchestra of L'Accademia di'
Santa Cecilia, Rome, Alberto Erede condo
London OSA 13083-12" $17.94
Musical Interest: High
Performance: First rate
Reco'rding: Good
Stereo Directionality: Elusive
Stereo Depth: Satisfactory
This Turandot has been with us-mono·
phonically-since 1956. For a while it dominated the scene, then became a strong second to Angel's more recent and even more
successful presentation of Puccini's final
opera. The artistic values are thus well
established-Tebaldi's Liii is the cast's
strongest asset, del Monaco and Borkh contribute characteristic performances, unobjectionable but definitely not unsurpassable.
Nor is Erede's leadership the last word on
the subject. All things considered, however,
this is a good performance-I, for one,
would gladly settle for its counterpart at
the Met.
1956 will probably not go down in history as a vintage year for stereo. This is
evidently an early and exploratory effort
and comparison with the well engineered
"mono" edition failed to establish a distinct
enough superiority to justify the price
G. J.
RAVEL-Mother Goose (see STRAVINSKY)
Pines of Rome
SAINT·SAENS-Cello Concerto
• SAINT·SAENS - Samson and Delilah
(abridged). Rise Stevens (mezzo-soprano)Delilah; Mario Del Monaco {tenor}-Samson;
Clifford Harvuot {baritone)-The High
Priest; Ezio Flagello {bass )-Abimelech;
Metropolitan Opera Orchestra and Chorus,
Fausto Cleva condo RCA Victor LSC 2309
$5.98; Mono-LM 2309 $4.98
Musical Interest: Rousing stuff
Performance: Square
Recording: Good
Stereo Directionality: Reasonable
Stereo Depth: Good
Del Monaco and the chorus are the stars
of this production_ They sing with vitality
and power, and as they perform during
most of the time allotted to these excerpts,
this disc emphasizes the oratorio nature of
Saint-Saens' curiously constructed operaoratorio. Stevens sings two big arias,
"Amour! viens aider rna faiblesse!" and
"Mon coeur s'ouvre it ta voix" with dramatic fervor that somewhat lacks true sensuousness. Cleva conducts with little virtuosity, not like that infused performance
by Stokowski done a few years ago for RCA
Victor (LM-1848). That was recorded before the days of stereo and RCA Victor's
association with the Metropolitan Opera.
The recording in the new disc has more
clarity, and in stereo has much more realistic spaciousness.
W. D.
• SCHUBERT-Mass No.5 in A Flat Major (D. 678). Anne Bollinger (soprano); Ursula Zollenkopf (alto); Helmut Kretschmar
(tenor); James Pease (bass); North German
Philharmonic Chorus and Orchestra, Carl
Bamberger condo Urania USD 1028 $5.95.
Musical Interest: Relatively rare Schubert
Performance: Good
Recording: Poor
Stereo Directionality: Fair
Stereo Depth; Fair
This is not great Schubert, but it is good
Schubert. The performance is straightforward, well sung and well played. Unfortunately, the recording is substantially be·
low Urania's usual standard. Balances are
awry and the recorded sound lacks clarity.
If these faults are not in the original tapes,
the disc should be re-mastered. I fear,
however, that they are and that good intentions have gone down the drain because of
inept engineering.
W. D.
• SCHUBERT-Rosamunde, Incidental
• SCHUBERT-Symphony No.9 in C Major ("The Great"). Vienna State Opera Orchestra, Rene Leibowitz condo Westminster
WST 14051 $5.98; Mono-XWN 18806 $4.98
Musical Interest: Tops
Performance: Enigmatic
Recording: Clear
Stereo Directionality: Good
Stereo Depth: Good
The tempi Leibowitz set, fit the music
like a glove. The melodies purl along winningly and the felicities of the score are
pointed up knowingly. The over-all impression, however, is one of lightness, and
this Symphony does have weight. More
strings might have helped, especially as the
transparent recording does not strengthen
their tone.
W. D.
SCHUMANN-Cello Concerto in A minor, Op. 129; SAINT·SAI!NS-Cello Concerto in A minor, Op. 33. Janos Starker,
with the Phil harmonia Orchestra, Carlo
Maria Giulini condo Angel S 35598 $5.98
Musical Interest: Choice cello repertoire
Performante: Expert
Recording: Fine
Stereo Directionality: Good
Stereo Depth: Good
As in the earlier monophonic issue,
Starker's fine sense of style is readily apparent. His phrasing is elegant, his tone
full, and his intonation impeccable. Of the
two concerti, it is the Saint-Sa ens that is
the more breathtaking performance--even
Starker can't endow some of the longeurs
of the Schumann with more genuine interpretation. The stereo sound is well-spread
and solid.
M. B.
• SHOSTAKOVICH-Symphony No_ I,
Op. 10; The Age of Gold Ballet Suite, Op.
22. London Symphony Orchestra, Jean Martinon condo RCA Victor LSC 2322 $5.98;
Mono-LM 2232 $4.98
Musical Interest: Shostakovich, the prodigy
Performance: Excellent
Stereo Directionality: Classic set-up
Stereo Depth: Fine
Two early works of Shostakovich are offered under the tasteful direction of Jean
Martinon, whose musicianship is quite
something! The Symphony performance
does not have the great muscularity of the
recent United Artists edition, which had
Stokowski recording his best effort in years
with the Symphony of the Air. Martinon's
way is deft where Stokowski is more dramatic. But both readings have great appeal.
Martinon's treatment of The Age 0/ Gold is
quite revealing.
The biting orchestral satire, which pokes
grotesque and acid fun at us miserable capHIFI REVIEW
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italists, is presented in a dry style that is
just right. Recently, Capitol recorded the
same music with Kurtz and the Philharmonia. There is simply no comparison. The
Kurtz attempt made the music sound dull
and old-hat, but Martinon, with his Gallic
sense of irony, makes it a fitting companion
for the more serious First Symphony. Sound
is spread with well-balanced spatiality,
with a nice bass pickup to give the orchesJ. T.
tral line vast solidity.
tellingly. The Intermezzo waltzes are played
W. D.
with schmalz.
SIBELIUS-Violin Concerto in D minor,
Op. 47; TCHAIKOYSKY-Serenade Melancolique; Scherzo, Op. 42. Ruggiero Ricci with
the London Symphony Orchestra, Oivin
Fjeldstad condo london CS 6067 $4.98
The Reiner manner bears little relation
to the usual Viennese style. His conducting
is crisper than that of most wielders of the
haton on the hanks of the Danube. "Till" is
a rather purposeful rogue in this incarnation; the final verdict against him is more
understandable here than in those interpretations where his antics are amiable. The
hattle over the soul in the philosophic masterpiece is on a heroic scale that is very
W_ D.
impressive. So is the recording.
Musical Interest: Chiefly Sibelius
Performance: OK
Recording: Good
Stereo Directionality: Good
Stereo Depth: Natural
One of the great recordings of the preLP era was the performance of Sibelius'
Violin Concerto by Heifetz with the London Philharmonic under Beecham-a definitive performance if there ever was one.
Other violinists have recorded the score
since then-notably Ginette Neveu and
Isaac Stern, but as good as these editions
were, neither performance mustered the
flair and penetration of the Heifetz.
About the same thing may be said of the
new Ricci version. In and of itself, it is
a worthy performance. But beside the old
Heifetz edition (which was re-issued for a
short time in RCA Victor's Golden Treasury
series as LCT 1113) it pales, especially in
the last movement where Ricci allows his
rhythm to go just a trifle slack and much
of the electric momentum of the music is
The two Tchaikovsky trifles are handled
with taste and poise; and the recording
quality of the whole disc is first-rate.
You may be interested to know that in
Chicago last February Heifetz made a new
recording of the Sibelius Concerto for RCA
Victor with the Chicago Symphony Orchestra under Walter HendI's direction. Apparently no final release date has yet been
fixed for the performance, so I advise anybody interested in the Sibelius Violin Concerto to wait for the Heifetz recordingassuming that Heifetz has not forgotten
what he once knew about this piece! M_ B.
RICHARD STRAUSS - le Bourgeois
Gentilhomme Suite; Intermezzo: Waltz Scene.
The Philharmonia Orchestra, Wolfgang
Sawallisch condo Angel S 35646 $5.98
Musical Interest: Charming and witty
Performance: Flavorsome
Recording: Very good
Stereo Directionality: Good
Stereo Depth: Very good
Strauss' Bourgeois Gentilhomme music
represents a fusion of romanticism and
classicism that has a distinctive nostalgic
charm. Three of the nine sections are based
on music Lully had written in 1670 for the
same Moliere play. In this context, however, they become as "Straussian" as their
fellow numbers. Sawallisch conducts with
verve and a light touch that never smothers
the wit of the score. The members of the
orchestra perform with their reputed virtuosity, which the clear recording reveals
• RICHARD STRAUSS- Till Eulenspiegel's Merry Pranks, Op. 28; Death and
Transfiguration, Op. 24. Vienna Philharmonic
Orchestra, Fritz Reiner condo Victor lSC
2077 $5.98
Musical Interest: High
Performance: Very good
Recording: Very good
Stereo Directionality: Good
Stereo Depth: Satisfying
STRAYINSKY-The Fire Bird Suite;
BIZET-Jeux d'Enfants; RAYEL-Mother
Goose Suite. Philharmonia Orchestra, Carlo
Maria Giulini condo Angel S 35462 $5.98
Musical Interest: Colorful fare
Performance: Sensitive
Recording: Mostly inadequate
Stereo Directionality: Sharp
Stereo Depth: Good
After a time gap of some months, Angel
has released the stereo version of this
Giulini disc. A quick comparison showed
a serious deterioration from the mono version. Rough-sounding noisy grooves plus low
volume level makes the going hard for the
delicately wrought pages of these pieces.
King Kastchei's furious dance in Fire Bird
is thrillingly played and recorded, but the
"Dance of the Princesses" and the "Lullaby" scenes must he amplified out of proportion to overcome poor "signal-to-noise"
and groove swish. Likewise, in Bizet's
minor masterpiece feux d'Enfants, the
"Berceuse" and "Duet" are seriously handicapped hy the same problems. Ravel's
Mother Goose fares a little better. The
monophonic disc played through stereo
equipment will give you no true spatiality,
hut the sound will be a great deal hetter,
and you will be better able to appreciate
Giulini's fine hand on the podium. J. T.
TCHAIKOYSKY-The Nutcracker Ba/•
let, Op. 7/ (Complete). L'Orchestre de la
Suisse Romande, Ernest Ansermet condo london CSA 2203 2 12" $9.96
Musical Interest: Captivating
Performa nee: A bit too meticulous
Recording: Good
Stereo Directionality: Fine
Stereo Depth: OK
Mercury, which has pioneered in recording of complete ballets, some years ago released a complete Nutcracker by Dorati
and the Minneapolis Symphony Orchestra.
The Dorati recording was and still is a
"gassed" It has humor, fire, sparkle and
sensitive poetry, and Mercury's recorded
sound is brilliant.
The new Ansermet, then, has some stiff
competition. In general, Ansermet is most
successful in the delicate sections of the
score such as in the "Snowflake Dance" or
"Arabian Dance." He hrings a keen sense
of characterization to the various dances or
potables. Where a light touch is required,
he is just what the doctor ordered. What
I miss, though, is the exuherance and "geewhiz" attitude with which Dorati infused
most of the score, and which made his performance such a spontaneous delight.
London's stereo sound is full-hlown and
well-balanced, and the special sound effects
of the score come through vividly. Incidentally, even though Switzerland has a tradition of neutrality, and all that, couldn't
anyone in Geneva find a more frightening
weapon than the meek cap pistol, or whatever it is, that is used during the hattle
scene in the first act? This is a very
pale noise, indeed, beside Dorati's formiM. B.
dable weapon.
TCHAIKOYSKY-Overture /812, Op.
49; Marche Slave, Op 31; Francesca da
Rimini, Op. 32. Royal Philharmonic Orchestra, Paul Kletzlii condo Angel S 35621 $5.98
Musical Interest: Pops favorites
Performance: Brilliant
Recording: Brilliant
Stereo Directionality: Fair
Stereo Depth: Very good
The performances of the two warhorses
and the frenetic tone poem that make up
the program on this disc are superb. Kletzki
conducts with broadness, lyricism and tension. His vigor is without bombast, while
his climaxes are extremely powerful. There
is not much spread in the stereo, but there
is adequate depth, and the recorded sound
W. D.
is satisfyingly full.
• TCHAIKOYSKY-The Swan lake Ballet,
Op_ 20 (Substantially Complete). L'Orchestre de la Suisse Romande, Ernest Ansermet
condo london CSA 2204 2 12" $9.96
Musical Interest: But of coursel
Performance: Suave and stylish
Recording: Good
Stereo Directionality: Good
Stereo Depth: Fine
As with his new issue of The Nutcracker,
reviewed before, Ansermet's new Swan Lake
humps into competition against the earlier
Mercury release by Dorati and the Minneapolis Symphony Orchestra. Where Dorati's
recording is absolutely complete according
to the original score, Ansermet's omits some
sections. Generally the new recording conforms to the version danced by the Royal
Ballet (formerly Sadler's Wells).
Ansermet gives us a very stylish performance replete with character and penetration.
The recorded sound, aside from some tightness in the fortes, is big and clean. The
solo violinist leaves much to he desired, and
there are some patches of less than perfect ensemble; but Ansermet's illumination
of the score is hoth valuable and penetratM. B.
• TCHAIKOYSKY - Swan Lake Ballet:
Highlights. Utah Symphony Orchestra, Maurice Abravanel condo Westminster WST 14064
$5.98; Mono-XWN 18851 $4.98
Musical Interest: Tops in ballet
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Perfo rmance: Superior
Reco rd in g: Adequate
Stereo Directionality: Too sharply divided
Ste reo De pth: Good'
From th e viewpoint of orchestral virtuosity, Swan Lake mu st be considered the
prize of Westminster's r eleases with the
Utah Symphony, with the possible exception of th e Gershwin Porgy and Bess Suite
(WST-14063 and XWN-18850). The T chaikovsky ballet scor es demand a great deal
from principal players, and the strin g
bodies have plenty of demands made on
them in Swan Lake. It is pleasantly surprising that the Utah strings acquit th emselves so nobly, and the sum total of efforts
there adds up to an impressive sound. Th e
performance does not crackle, nor does it
carry the impact of the Mercury edition
with Dorati and the Minn eapolis orchestra.
Section for section, neither can the Utah
Symphony compete with the Philadelphia
Orchestra, the Philharmonia, London Symphony, nor should it be expected to. On
the basis of engineering competence, things
become much more equal, and here, Westmin ster does not have to play second chair
to anyone, at least on the mono version.
Stereophonically speakin g, the orchestra
seems sprea d out too much, and the division between channels too sharply etched,
with not enough middle fill-in sound. J. T.
TCHAIKOVSKY-Symphony No_ 3 in
D Major, Op. 29 {"Polish"} _ Vienna State
Opera Orchestra. Han s Swarowsky condo
Urania USD 1026 $5.95
Musical Interest: Growing
Performance: Very good
Re co rd ing: Excellent
Stereo Directiona lity: Considerable
Stereo Depth : Reasonable
Having done the First and Second Symphonies to the satisfaction of practi cally
everybody, Swarowsky continues his triumphal Tchaikovsky tour with the Third.
This makes him probably the first cond uctor to have recorded the first three
T chaikovsky symphonies. This is a good,
strong performance. The work does not
call for th e emotional outpourings that were
to come later in the composer's symphonic
career and Swarowsky plays it with rhythmic vigor and impulse. Th e engineering
has been accomplished with considerable
W. D.
VILLA·LOBOS-Quartet No. 6 [see KODALY}
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WAGNER-The Flying Dutchman:
Chorus of the Sailors; Spinning Chorus;
Chorus of Norwegian Sailors; Tannhauser:
Entrance of the Guests; Chorus of Pilgrims;
Lohengrin: Arrival of the Swan; Procession
to the Minster; Bri'd al Chorus; Die Meistersinger: Wach auf and Final Chorus; Die
Gotterdammerung: Hagen Summons the
Vassals ; Parsifal: Entrance of the Knights
of the Grail. Bayreuth Festival Ch orus an d
Orchestra. Wilhelm Pitz condo Deutsche
Grammophon DGS 712000 $5.98; MonoDGM 12000 $4.98
Mu si cal Interest: Specialized
Pe rfo rmance: First-rate
Rec ording: Very good
Stereo Directio nality: Effective
Stereo De pth : Excellent
Here's an interesting collection of well-
and lesser-known choral scenes from six
Wagner opems, and the only one of its
kind . The Bayreuth F estival musician s
function as the well-coordinated ensemble
we'd expect th em to be. There are some
questionable moments~such as when the
opening a nd closing choruses of Die M eistersinger's final act ar e spliced in continuity, or when choml concentrations obscure
orchestral passages that should be more
prominent. But on the whole this is an excellent production. In the Gotterdammerung scene losef Greindl contributes a vigorous Ha gen, though not without some
wobble in his sustained tones.
The recorded sound is excell ent, a nd for
once, the stereo presents distinct advantages
not only in its richer and broader spread
of the tonal mass, but al so in the very
effective handling of 's eparation in th e Gotterdiinunerung and Lohengrin choruses.
The surfaces, however, are more silent in
the mono, and the groove echoes are less
audible. Full texts and good translations by
Maria Massey are provided.
G. J.
WAGNER-Die Walkiire: Wa r es so
schmahlich; Deinen leichten Sinn; Leb'wohl du kuhnes, herrliches Kind! {Finale of
Act III}; The Flying Dutchman: Wie aus
der Ferne {Act II , Scene 3}. Br igit Nilsson
(sop rano) and Hans Hotte r (bass-baritone)
with th e Philh armonia Orchestra, Leopold
Lud wig condo Angel S 35585 $5.98
Mu sica l Interest: Choice Wagner
Pe rformance : Imposing
Recording: Opulent
Stereo Directionality: Slight
Stereo Depth: Effective
There is little to a dd to my very favorable review of this issue',s monophonic alternate (February, 1959) _ Nilsson's star is on
the rise, Hotter's is beginnin g to fad e, but
still radiates a ma jestic luster. The two
make a powerful combination. Th e volume
level here is below the monophonic; furthennore, the orchestra tends to engulf th e
voices on occasion. Th e orchestra's climaxes toward the end of Die Walk are, on
the other hand, are registered with fuller
impac t and more revealing detail in stereo.
Still, essentially, the difference between th e
two, as played through two speakers, is very
G. J.
BEN WEBER - Fantasia (Variations),
Op. 25; Concertin o for Flute, Oboe, Clarinet
and String Quartet, Op_ 45; Serenade for
Strings, Op. 46. William Masse los (pi ano ) ,
solo ists and Galimir String Quartet. Epic
Stereo BC 1022 $5.98
Mu sical Inte rest : Important contemporary fare
Performance: Authoritative
Rec ord ing: Excellent
Stereo Directiona lity: Proper
Stereo Depth: Considerable
This record is one of the seri es sponsored
by the Fromm Music Foundation to encourage an interest in contemporary music and
composers. The Fantasia is for solo pia no
and was written in 1946 for Willi am Masselos, who performs it here. St. Louis-born
Ben Weber employs twelve-ton e techniques,
and in this pi ece, he uses them in bravura
style, giving the performer plenty of opportunity to display his keyboard virtuosity_
Masselos displaY'S musicianship as well.
Since Weber's music lacks neither melody
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feel it, talk it ... and take it home on
tape. It won't be easy. There are sudden switches from muted lows to
screaming highs. There are level
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is background sound that belongs.
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• •• WHERE
nor emotion, the Concertino and the Serenade are not at all forbidding. In fact,
they are attractive, though not obvious. The
performances are assured and undoubtedly
W. D.
WEBER-Invitation to the
• WEBER-Overtures: Preciosa; Oberon;
Euryanthe; Abu Hassan; Der. Freischiitz; The
Ruler of the Spirits. L'Orchestre de la Suisse
Romande, Ernest Ansermet condo London
CS 6074 $4.98
Musical Interest: Variable
Performance: Detailed
Recording: Excellent
Stereo Directionality: Excellent
Stereo Depth: Excellent
Ansermet performs these overtures with
impressive attention to detail. Nothing escapes examination and it is indeed a wonder that the music flows. Flow it does, and
that is the beauty of these interpretations.
The orchestra plays well and the recording
is superb, with natural spaciousness and
depth. As to the desirability of hearing
overtures one after the other, that is another
matter. They are far more ' effective when
W. D.
heard individually at intervals.
THE ORCHESTRA-Brass: DUKASLa Peri: Fanfare; Strings: BARBER-Adagio
for Strings; Woodwinds: STRAUSS-Gavotte from Wind Suite in B Flat, Op. 4; Percussion: FARBERMAN - Evolution: First
Movement; Brass & Woodwinds:
Scherzo alia Marcia; PERSICHETTI-March
from Divertimento For Band; Brass, Woodwinds & Percussion: TCHAIKOVSKYSymphony No.4: Scherzo. Full Orchestra:
MOUSSORGSKY-RAVEL-Pictures at an Exhibition: The Hut on Fowls Legs and the
Great Gate of Kiev. Leopold Stokowski Orchestra. Capitol SSAL 8385 $5.98
Musical Interest: Varied
Performance: Consistently good
Recording: Best Capitol sound
Stereo Directionality: Well-demonstrated
Stereo Depth: Close-in
An album, dedicated to the pioneering
spirit of Leopold Stokowski, which doubles
in brass (no pun intended) as a stereo
sampler, is now being offered. Included
without charge is a twelve-page brochure
filled with fascinating information and pictures. As a "3-D" demonstrator, it is one
of the best of its kind; for not only does
Capitol do a creditable technical job, but
Mr. Stokowski turns in a very creditable
conducting job as well. The record is no
item for the casual collector, but rather for
the more serious fan who wants to learn
all about this miracle of LP stereo, and
who thirsts for additional knowledge to
help whet the edge of his perception. Notes
are interesting without being verbose, and
aimed at an average level, not on the "expert" plateau_ Of all the items, the Barber,
Farberman, Tchaikovsky, and Moussorgsky
scores receive the best treatment.
There is a world of fascinating listening
here. Constant exposure, not only for the
music's sake, but to train the memory to
recognize characteristic color and timbre,
makes this Capitol demonstrator invaluable
as a tool for music appreciation.
J. T.
• YIENNESE DANCES. (Yol. II) Waltzes: ZIEHRER-Wiener
GUNGLAmoret - tentanze
- Danube
Waves; ZIEHR
eln; LANNER-Die Schonbrunner;
- Gold
and Silver. Philharmonica Promenade Orchestra, Henry Krips condo Angel S 35665 $5.98;
Mono-35665 $4.98
Musical Interest: High and handsome
Performance: The best yet
Recording : Angelic
Stereo Directionality: Very good
Stereo Depth: Likewise
After reviewing many so-so Angel stereos
(mediocre for technical reasons not musical), it is a pleasure to report that Volume
Two of the series entitled "Viennese
Dances" is a fine effort on all accounts. The
sound is Angel's soft-sheen type; the spatial
spread is perfect; and the volume level is
up to normal. Furthermore, Henry Krips
leads the Philharmonia in some of the best
waltz performances ever committed to mi·
crogroove. At last, no huge dynamics, no
great clashes, no overblown interpretation
that make the waltz sound like it should
be danced by Gargantuans. Robust and
delicate by turn, swirling and intoxicating,
bright, gay and flowing are these readings
of Maestro Krips. As an added attraction,
much of the music is "new."
J. T.
-"The Devil's Trill"; CORElLl-la Follia;
-Sonata in A Major. Nathan Milstein (violin) and Leon Pommers (piano) _ Capitol SP
8481 $5.98
Musical Interest: Streamlined Baroque
Performance: Very good
Recording: Very good
Stereo Directionality: Reasonable
Stereo Depth: Reasonable
The emphasis here is on the violinist's
playing rather than on an authentic recreation of Baroque music and style. Conceding this limitation, much pleasure can
be derived from Milstein's beautiful tone
and sensitive musicianship. His accuracy
of pitch and control of the bow are virtually perfect. He can spin a melody so that
it floats effortlessly and can play runs with
awesome virtuosity. Pommers gives him
able support and the recording is elegant.
W. D.
ly balanced.
(Act I); La luce langue (Act II); Una macchia e qui tuttoral (Sleepwalking Scene) (Act
IV); Nabucco: Ben io t'invenni, Anch'io
dischiuso un giorno (Act II); Ernani: Sorta
e la notte; Ernani! Ernani, involami (Act I);
Don Carlo: Tu che la vanita. (Act IV). With
the Phil harmonia Orchestra, Nicola Rescigno, condo Angel S 35763 $5.98; Mono
35763 $4.98
Musical Interest: Grand scenes
Performance: Exciting
Recording: First-rate
Stereo Directionality: Some
Stereo Depth: Good
Four Verdian heroines are portrayed in
this gallery, neatly and evenly divided between good and evil. Among them, the
noble, lovelorn figures of Elvira and Elisabetta command our sympathies_ But for all
the Callas art and persuasion on their behalf, it is the two hell-cats, Lady Macbeth
and her biblical predecessor Abigaille
(Nabucco) who walk away with !he show.
The vocal characterization offered in
these three scenes is vibrantly three-dimensional, from the coolly dispassionate reading of Macbeth's letter at the beginning
of the disc to the eerie ending of the sleepwalking scene. This is a carefully studied
portrayal, full of revealing insight, and
meaningful shadings and inflections that go
a long way to place a flesh·and-blood char.
acter on the stage. And in projecting the
scorn and venom that inhabit the hearts of
the Ladies of Scotland and Babylon, Callas
could not be more convincing if she had to
address a cluster of opera managers from
here to Milan.
The vocal demands in this recital are
enormous. The tessitura embraces two octaves, with crucially exposed passages at
both extremes. Two of the Macbeth scenes
and the Nabucco and Ernani excerpts are
of the aria-cabaletta construction, ending
in a blaze of florid passages, extended trills,
chromatic runs-all of which Callas tosses
off with virtuoso accuracy. (There is a two·
octave downward leap in the Nabucco aria
that will remind some old-timers of Schumann-Heink.) For me, it is one of Callas'
singular achievements that makes these dramatically artificial cabalettas seem much
less contrived than they usually are in other
people's hands.
The figure of Elizabetta di Valois does
not hold a similar dramatic challenge. Her
aria is well sung but not particularly memorable. "Ernani, involami'~ has also been
heard with more neatness of execution, but
seldom with such sweeping dramatic force.
As to the soprano's vocal state, the oft·
discussed strengths and weaknesses persist:
haunting tone quality in the low and middle
registers, lessening beauty and steadiness
of tone up to around A above the staff (but
very solid intonation on this record!) and
unpredictability farther upwards. The ominous D Flat at the conclusion of the sleepwalking scene is rather unattractive. True,
a sweetly floating pianissimo note at this
juncture would clash with the devilish char·
acter portrayed. But candor compels the
admission that the harsh sound we get here
is not the result of character study. Nor
will the impact of these exciting interpretations be lessened by eight or nine widely
scattered questionable notes. The disc is
very highly recommended. It is, by the
way, the artist's first appearance in an
Angel stereo and a very respectable effort
G. J.
by all concerned.
STRAUSS-Voices of Spring; Tales from the
Vienna Woods; Die Fledermaus: Laughing
Song; Spiel ich die Unschuld vom Lande;
SAINT-SAENS-Le Rossignol et la Rose;
VERDI - Lo Spano-camino; GODARDJocelyn: Berceuse; ARDITI-Parla Wain;
SUPPE-Boccaccio: Hab' ich nur deine
Liebe: DVORAK-Rusalka: 0 lovely Moon;
MEYERBEER-Dinorah: Shadow Song. Rita
Streich (soprano), with Berlin Radio Symphony Orchestra, Kurt Gaebel, condo
Deutsche Grammophon DGS 712004 $5.98;
Mono-12004 $4.98
Musical Interest: Hard to resist
Performance: Enchanting
Recording: Satisfactory
Stereo Directionality: Hardly noticeable
Stereo Depth: Slight
Few there are indeed, who can rival Rita
Streich in "the art of coloratura" today, and
the "fourmost reasons" why Audax Paraflex·
is not "just another speaker system."
George Silber, as President of Rek-O-Kut and its new Audax D ivision has been a
pioneer in the manufacture of the highest quality components. In Audax Speaker Systems.
you will find the same uncompromising standards that have made Rek-O-Kut StereoTables
the most respected brand in high fidelity.
Saul White, well known design engineer and write?' on transducers and inventor of
the patented Para flex foam compound suspension, the greatest step towards the reproduction of natural sound.
Tom Mulligan, representing the great Union Carbide Company who researched and
developed the Dynel fabric adapted by Audax for its "Acoustiscreen."
George Nelson, one of America's greatest indttst1'ial designers, brilli antly styled the
enclosures and developed the Dynel three-dimensional "Acoustiscreen" grille.
your 'a :e~ ler 's -
CA·8 0 System, 12" x 12" x· 24", $99.95. CA·IOO System, 15" x 12" x 25", $139.9 5.
* PA.T .
E x port : Morhan E x porting Corp. , 458 Broad way, Ne w Yo rk 13, N. Y. Canada: A t las R ad io , 50 Wingold Avenu e. Toronto 19, Ontario
RA ·8
certainl y few th ere are who can make such
a program ullcea-singly enjoyable. S he has
a small, but beautifully con trolled voice
with a fabulou s range (up to F on this
record) and agility to burn. In a shrewdly·
balanced program, where lyr ical selection s
(Suppe, Dvorak and Godard) are added to
prevent monotony, she offers much more
th an just a series of expert trills and flourishes. Most effec tive, however, are the
Strauss excerp ts, which are delivered with
charm a nd unfailing accuracy, as befitting
tb e virtuoso dis play pieces th ey are. Also
she creates impecca ble, artistic phrasing
that appears to be an extension of the
orchestral framework rather than superimposed vocal manneri m.
The orc hes tral accompaniments are rather
matter·oI-fact and not too well favored by
th e engineers. There is a somewhat fuller
sound in stereo, but this sli ght advantage
is offset by persistent groove echoes. G. J.
Song; Aupres de rna blond e; So ngs My
Mother Ta ught Me; Th e Bird's Cou rtin ' Song ;
Scarlet Ribbo ns; Mi ster Frogg ie W ent
A'Co urti n'; Prayer from Ha nse l a nd Gretel;
Fidd le- De-D ee; Th e Fox; Cancio n De Cun a;
Lull a by; Evenin g Prayer; All Th rough th e
Nigh t. Salli Ter ri (soprano) and Laurind o
Almeida (guitar) wi th in str um ental and vocal
accompaniment. Capitol SP 8482 $5.98
Musical Interest : For a ll to enjoy
Performance: Great
Recording: Tops
Stereo Directionality: Int eresting
Stereo Depth: Ju st right
you may now select from
two magnificent
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a ura l or s tereo records, fit a ll 4- lead and
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Salli T erri, featnred soloist with the
Roger Wagner Chorale, and who just made
a hit album with Guitarist Al meida (Due ts
with the Spanish Guitar- PAO 84,06), has
now made an album in her own right, and
it is " wizard." Terri herself is possessed
with a good voice, youthfully clean and
vibrant. But it is what she does with this
instrum ent that establishes her as an artist
of unusual appeal. Also, the arrangements
are ex pertly co ntrived.
Repertoire is well balanced, between
"serious" songs and so ngs of humor, from
such familiars as the R iddle Song and
S carlet Ribbons, to the highly amusing account of the weddings of th e frog and the
mouse, and the fly and th e bee. And if you
tb ink for one moment this outstand ing reo
cord ing is mean t for kiddies, you are quite
Full use is made of stereo effects, with
Miss T erri appearing on one side of the
room , and th e n tbe other. In Mister Froggie Went A-ColLTtin' she does the spatiality
act several times, adding neat showmanship
to the presentation. A clever Capitol i ss u~
to be sure, but it also combines the elements necessary for any super ior disc. It
abounds with good solid musicianship; the
so ngs are done with zest- a charmin g
cover, too of Miss Terri (?) with an encha nting littl e girl on an old-fa hioned
brass bed. (Say, Morn, where's your ring?)
J. T.
• inferior IIllHatlo ns. They can seriously d egrade
·••••.............. ... ... ...... .••••• .·•
: the performance of you r cart ridge.
Literature available : Departm ent 16-'
222 Hartrey Avenu e, Evanston, Illinois
J ENNIE TOUR EL--A French-Itolian
Prog r am. ROS SINI-La Re gata Veneziana
(Three .Songs l ; GLUC K-Parid e ed El ena:
o d el mio dolce ardol; VI VALDI-Un
certo non so ch e; STRADELLA-Per piet",
per . pieta; . BIZET-Adie ux . d e . 1' HOtesse
Arab e; LlSZT-Oh ! Quand je d orsi RAVEL
- Ni co lette ; Kaddi sch; POULE NC-Violon ;
BERLlOZ-Nuit s d'Ete: L'Ab se nc e wi th P'aul
Ulanowsky, piano. Decca DL 7100 13 $5.98;
Mono-DL 100 13 $4.98
Musi cal Interest: Reward ing
Performance : Fai r to ve ry good
Recording: C lear and full
Stereo Dir ecti onal ity: Occas ion a l
Stereo Depth: Imm aterial
Leave it to J en nie TOUl'el to come up with
a stimulating, unha ck neyed prog ram! The
Rossini, Vivaldi and Stradella so ngs are, so
far as I can determ ine, first recordings, and
the otbers are by no means :freq uently
heard. "L'Abse nce" is, of co urse, part of th e
Nuits d'Ete cycle while th e Gluck excerpt
is from the opera Paride ed Elena. A point
of interest, not communicated on the jack et,
is that th e words to both th e Bizet and
Li szt compositions are by Victor Hu go.
The French side of the progra m is the
more successful of the two. Its -selections
seem more congenial to the artist's tem perament and by deft tUl'ns of phrases,
mea nin gful inflection s, and other devices
of her encompassing craft Jennie Tourel
can comm uni ca te the essence of Nicolette
and Violon with particular effectiveness. In
the Italian repertory she is less felicitous.
Although her command of Ross inian fioriture is almost as impressive as in her eal"li er
Columbia recordings, the sustai ned, curving
lines of Gluck, Vivaldi and Stradella call
for tones of more velvety quality a nd stability, and so ex pose the present weakn ess
of the artist's technical equipment- at least
insofar as music of this type i con erned.
The difference between th e 1110no and
stereo so und is infinitesimal. Full texts and
translations are given.
G. J.
- Flo r de Ro ma nces, Ma d rig a ls & Vill a ncicos; Enc ina-Song s of th e Pa lace; Victo ria:
Responsorium V; C a b ezon- Fantasia; Morales ; Sa nctus; La ssus-Ec ho Song ; SenflKl ing , Kla ng . Agrupaci6n Cora l de Pamplona de Espana , Lui s Morondo condo Columbia Ste reo MS 6057 $5.98
M usica I Interest: Cultiv at ed
Perfo rm ance: Exce ll e nt
Recording: Exce ll ent
Stereo Directionality: Sufficie nt
Ste reo Depth: Sufficient
There was a musical Gol den Age in
Spa in in the days when tlle land was a
m elti ng-pot of many peopl es. Th e anonymous songs tba t originated during those
days of the "Catholic Kin gs" are ind eed
charming. The later polyphonic musicchiefly by non-Spaniard s, such as Swissborn Senfl and Flemish· born Lassus- is
neither as individual nor intri nsica lly as important. Th is 16·voice chamber choir sings
beautifully and expressively. The voi ces
bl end harmonio usly and the interpretation
enjoy splendid vi tality. Th e stereo recording provides an aura of realism.
W . D.
Mass. Don C ossack C hoir, Se rge Jaroff con do
Decca DXD 7158 2 12" $ 11.96
RUSSIAN ORTHODOX CHURCH-KRUPITZKY-JAROFF-By the Waters of Babylon; WEDEL-Confession; RIMSKY-KORSAKOV {arr.}-The Only Begotten One; Thy
Dwelling Place; TURCHANINOV-The last
Supper; The Cry of Joseph; Arise, 0 lord;
VOROTNIKOV-The Thief Forgiven. Don
Cossack Ch oi r, Serge Jaroff condo Decca Dl
79403 $5.98
Mu sica l Interest: For choral buffs
Performance: Extraordinary .
Reco rding : Magnificent
Stereo Directiona lity : Superb
Stereo Depth: Cathedral-like
My first hearing of the Don Cossack
Choir was in 1933, and it was the rendition
of the First Psalm 0/ David which made
far more impression on me than all the vir·
tuosi folksong anangements. Though the
Don Cossacks und er their diminutive direc·
tor, Serge Jaroff, have made many records,
only a mere handful have done justice to
the fabulou s range of pitch and dynamics.
This set of three Decca records immediately
takes its place among a handful. We can
be doubly grateful on two counts : 1. that
they are available in stereo; and 2. that the
repertoire is culled from the still too sporadically documented area of Russian Orthodox Church Music. Having experienced
for myself several authentically sung Russian Church services (in the Russian Cathedral at Helsinki, Finland), I am prepared
to say that the liturgies sung on DXD 7158
are the real thing-a virtual re-creation,
though somewhat heightened in dramatic
terms, of what I heard in Finland. The
voices at times, seem to come from nowhere
and echo through infinitely vast spaces;
and then one is suddenly aware of the
chanting of Deacon or Priest before the
sanctuary screen, while bassi pro/undi sustain a long organ point and incredible
male falsetti carry a sweetly harmonized
melodic line to seraphic heights. Such is
the atmosphere created from a hearing of
these Don Cossack discs in stereo.
The two-record set with the Requiem and
Divine Liturgy is the more exciting, because one senses the drama of an actual
service. The Choral Masterpieces set is
very interes ting as historical material, showing first the Italian influences on 18th and
early 19th century Russian Church music
(Turchaninov, Vorotnikov, Wedel), and
then directing the trend toward r ediscovering the spirit of the early Chant (RimskyKorsa kov). Part of the problem with this
set stems from the fact that almost all the
music is from the Lenten liturgy, and therefore, tends toward the lugubrious. A little
more contrast would have been welcome.
The first stereo discs we received for review were defective; but the second offered
great improvement. Neverth eless, at the
present state of the stereo di sc recording
art, we feel certain that only tape can
presently do true justice to what was
originally recorded here. We therefore conclude this review with two requests: firstly,
that arrangements be made to issue a 4track 7V2 ips stereo tape of the RequiemDivine Liturgy album; and secondly, that
the Don Cossacks record the work which
Sergei Rachmaninoff preferred to all his
others, and which was sung at the composer-pianist's funeral-his Vesper Mass.
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For the full story~ write •••
202-4 East 19th St., N. Y. 3, N. Y.
Three Men on a Rescue Mission
three years-e~Qi;;pt maybe for some Toscanini items or Mercury's
"mono" 1812 wilr cannon, which just keeps rollin' along."
"In other words, we're coming to a point where one day people who
want to know how Toscanini, Weingartner, and Furtwiingler conducted,
how Szigeti and Busch played violin, how Chaliapin, Melchior, and
Lehmann sang, how Rachmaninoff, Schnabel, and Cortot played piano,
or Landowska played harpischord, will have to comb the collector's shops
for secondhand copies, or else tape the recordings off the air when tbey
can catch a broadcast over their local good music station."
"That's one possibility. But it seems to me that there must be some
other way of solving this problem, and solving it in a way that the
record industry is able to carry on its normal commercial·business oper·
ations on the one hand, yet display some awareness that the best of its
product has lasting cultural and artistic value."
"That's a mighty tall order. How do we go about this?"
"I'm sure you know that for quite some years, and in quite a
of countries, attempts have been made to assemble complete
of historically and artistically valuable phonograph recordings.
the Library of Congress and New York Public Library in this
UNESCO in Paris, as well as similar projects elsewhere."
"All right, fine and dandy, but how does anyone get to listen to a
record in these archives? From what I gather, most of this stuff stays
in air·conditioned vaults because no one's figured a way to set up a
service, even for scholars."
"When RCA Victor announced its tape cartridge, one thing that came
right to my mind was the thought that this c.o uld be the answer to
servicing a record archive. Suppose you had a tape copying system at,
say, the New York Public Library record archive? Presumably those
who wanted to hear in their own homes a rare recording of Richard
Strauss conducting his own Till Eulenspiegel could send in a cartridge
of blank tape and have the music copied onto their tape."
"OK, but what about the rights to these historical recordings? I can't
see EMI of England or RCA Victor in this country-who, between
them, originally recorded most of this stuff-being willing to just give
up their rights to their product, even if they have kept it off the market
for some time and don't intend to bring it back."
"You've got something there .. And it's a knotty question to try to
answer. We know of some smaIl record labels that have copied stuff
onto LP, recorded by famous singers 30 years ago and more, for the
big European labels."
"How do we stay within the law? Well, here's a thought. Why couldn't
the commercial record companies, who own masters of historically val·
uable recordings, but who don't choose to keep the recording in their
active catalog, be persuaded to assign their rights to a special organ·
ization-perhaps even a foundation, established for the industry through
the Record Industry Association of America or the National Academy
of Recording Arts and Sciences. This organization could take care of
the whole business of supplying discs or masters to major record archives
throughout the world and could collect for the original owners of the
recordings an agreed percentage of revenues derived from the copying
activities undertaken by each archive."
"That sounds interesting and it might work. Maybe if it's too much
for the record industry to set up its own historical recordings insti·
tute, one of the existing major foundations working in the cultural field
could get the ball rolling-Ford or Rockefeller, for instance."
"Well, we've gotten this far in our discussion. Why don't we, each of
us, see what we can do to get a little exploratory action started on some
of these ideas. Speaking for myself, I just can't see most of the best
recordings of the past 50 years going down the drain with no hope of
recovery just because stereo has introduced the element of technical obso·
Reviewed by
Vox offers a best buy for cello fanciers with its /lVox Box/l of all the
Beethoven Cello Sonatas and Variations played by Joseph Schuster and
Friedrich Wuehrer.-/lThey play with insight, power and a deep regard
for the music./I (see p. 82)
BACH-6 Brand e nburg Conce rti . Members of th e Paris Cento Sol i Orchestra, He rmann Sch erc hen co nd o Om e ga OML-1039/
41 3 12" $4.98 each
Mu sica l Inte rest: A fascinating d e midoze n
Pe rform a nce: Variabl e
Recording: Likewise
The enigmatic Mr. Scherchen is revealed
here at his most enigmatic. His perform.
ances range from mediocre (in the Second
Concerto) to superb (in the Fifth). The
chief complaint centers around erratic
tempi which usually are on the impossibly
slow sid e (for example, the final move·
ments of both the Third and Sixth Con·
certi); and yet the op ening movement of
the Second Concerto is taken at a jog·trot
tempo which becomes ludicrous after a
while. Furthermore, in the Second Concerto
the trumpet soloist, th e r es pec ted Roger
Delmotte, goes completely to pieces; how
this performance was approved for r elease
is a mystery.
On th e posi tive side, though, in addition
to a brilliant account of the Fifth Concerto,
with some marvelous harpsichord work by
Ruggero Gerlin, the First and Fourth Concerti also receive superlative performances
that abound in re·creative episodes of sheer
magic (the Polacca section of the First,
for example).
Th e trouble with thi s set of three discs
is that each of the excellent performances
is coupled with an irritatingly poor one.
The adage, "You can't win," was never
more appli cable than it is here. In the
bridge between th e two movements of the
Third Concerto, incidentally, Scherchen is
content merely to play th e two chords as
Bach wTote them, with some very minor
fili gree, rather than allowi ng hi s harpsichordist, the hi ghly qualifi ed Gerlin, to improvise th e cadenza, as Bach surely intended here and as Coura ud does in this
month's other integral edition of the Branden burgs reviewed in th e stereo section of
thi s issue.
A word about the recorded sound: in
general it is bri ght and clear, with good
bass, but th ere are occasional spots of mud diness (th e opening of the jinxed Second
Concerto, for example).
M. B_
BACH-Chromatic Fantasy and Fugue
in D minor IS . 903); Concerto No . 3 in D
minor after Marcello IS. 974); Tocca ta in
United Artists has another stunning Stokowski release in Ernest Bloch's
impassioned Schelomo with George Neikrug as solo ceilist.-/lSchelomo
has never been recorded in such dramatic sound , nor in such vividly
articulate fashion. /I (see p. 82)
• Angel's long-awaited 2-disc set of Gyorgy Cziffra playing the fiendishly
difficult Liszt Transcendental Etudes for Piano lives fully up to expectation.-/lCziffra plays this music with real flair. He believes in every
note." (see p. 86)
C minor IS. 911); Italian Conert o in F
Major IS. 971) . Paul Badura-Skoda ( piano ).
Westminster XWN 18855 $4.98
Mu sical Interest : Consid erabl e
Pe rfo rm ance: Good for piano
Record ing: Very good
Bad ura·Skoda plays these pieces with insight, grace and facility. His ton e is pleas·
ing and his dynamic scale obvio usly is held
within the bounds that are considered proper for the performance of this music on
the piano. Th er ein is the rub. The music
sounds right on the harpsichord and no
allowances need be made for the instrument. Desp ite the actual greater power of
the piano, harpsichord performances of this
music sound more powerful. This begs the
ques tion: unless a performance of these
pieces by a specific pianist is specifically
wanted, and considering the ease of recording harpsichordists today, wh erein li es the
virtue of a piano r ecording? For me, there
is no logic in it. Which does not mean
that others won't prefer piano versio ns,
and this is well· played and well-recorded.
BACH-Organ C oncertos after Vario us
Compose rs: No. 1 in G Major (Prince Johann Ern st of Sachsen -Wei mar) ; No.2 in
A minor (Vival di, Op. 3, No.8) ; No.3 in C
Major (Vi va ld i, Op. 7, No.5); No . 4 in
C Major (Pri nc e Johan n Ernst of Sachs en W ei mar) ; No. 6 in E-Flat (un known) . H ans
All records reviewed in thi s co lumn
may b e play ed on eith er single speaker monophon ic or two sp eake r st ere ophonic eq uipm ent . Th ey are 33 113 rpm
records that should be played with
th e RIAA setti ng .
H e intze (organ) . Deutsch e Grammophon
A rchive ARC 31 18 $5.95
Mu sical Interest: Fo r specialists
Performa nee: Good
Re co rding: Varies with acoustics
Just as many of th e greatest ma sters of
the art of painting made copies of earli er
masterpieces in order to help develop facility in their craft, so did th e young
Johann Sebastian Bach at Weimar (170817) set to pap er a whole series of keyboard
co ncertos based on the music of other men.
Six were for organ solo and sixteen were
for harpsichord. Some drew on ma sters
like Vivaldi, Marcello, and T elemann.
Others were based on compositions by
Prince Ernst, musically gifted so n of hi s
Royal employer at Weimar who died in
1715 at the age of 19.
Quite naturally, the "Vivaldi" pieces are
the most interesting and vital-in particular th e brilliant work in C Maj or after
Vivaldi's Op. 7, No. 5 in D. Indeed, it was
throu gh Bach's arrangements that interest
in the work of Vivaldi was finally stirred
to the point wh er e efforts were made to
locate and collate the original Vivaldi mss.
in Italy, culminatin g in th e current post·
World War II Vivaldi boom.
Herr H ein tze turns out nea t and strai ght·
forward performances, using two fin e baroqu e instrum ents at Ottobeuren- th e bi g
St. Trinity Organ and th e more intimate
Holy Ghost Organ. Th e big in strum ent
sound sup erbly in th e "Vivaldi" scores,
notably where echo eff ects are caJl ed for;
but there is less blurring of texture where
th e Holy Ghost Orga n is used, thanks to
more intimate acoustics. A fin e record for
organ fanci ers, Vivaldi enthusiasts, baroque
music specialists.
D. H .
!JEETHOVEN-Bagatell.es in C
1797; C Major, 1804; "Fiir Elise"; Seven
Bagatelles, Op. 33; Eleven Bagatelles, Op.
119; Seven Bagatelles, Op. 126. George Banhalmi {piano} . Vox PL 10.680 $4.98
Musical Interest: little-known gems of a
well-k~own master
Performa nee : Expert
Recording : Very good indeed
The jacket notes of this disc quote the
dictionary definition of the word "bagatelle"
as "trifle, negligible amount; short unpretentious piece of music . .." Do not be
misled by that definition, however. While
some of these works are light in feeling,
even including the well-known Fur Elise,
there are among them some that bear the
powerful stamp of the late Beethoven. As
such, they are a welcome excursion into the
lesser-trod paths.
I must confess that I had never heard
of the pianist. That in no way lessens my
respect for his artistry, which strikes me
as completely admirable. The recording,
also, is outstanding for the fidelity to real
D. R.
piano tone.
BEETHOVEN: Music for Cello and
Piano (Complete)-Sonatas: No. I in F
Major, Op. 5, No. I; No.2 in G minor, Op.
5, No.2; No.3 in A Major, Op. 69; No.4
in C Major, Op. 102, No. I; No. 5 in D
Major, Op. 102, No. 2;-Seven Variations
on Mozart's "Bei Mannern"; Twelve Variations on a Theme from Handel's "Judas Maccabeus"; Twelve Variations on Mozart's "Ein
Madchen oder Weibchen." Joseph Schuster
{cello} and Friedrich Wuehrer (piano) . Vox
VBX 8 3 12" $6.95
Musical Interest: High
Performance: Very good
Recording : Excellent
This is a real bargain-three records filled
with good music and good music-making.
Beethoven's five sonatas for piano and cello
span almost his entire career as a composer.
The very early Op. 5, No.2, was probably
the first of his works to foretell his future
greatness-a composition of character and
power. Op. 69 is an excellent example of
his lyrical middle period, and the Op. 102
pieces partake of the seriousness and exaltation of the last period. As he originally
conceived the sonatas with the piano up'
permost in importance, tbey are the first
sonatas for this combination in which both
instruments have an equal opportunity to
shine. These performers and the recording
maintain this equality. Wuehrer is a fine
pianist and Schuster is an excellent cellist.
They play with insight, power and a deep
regard for the architecture of the music.
The cello tone is attractively singing and
the piano tone has compelling solidity. The
Variations are performed with ample virtuosity to round-out a highly commendable
W. D.
BEETHOVEN-Piano Concertos: No. I
in C Major, Op. 15; No.2 in B Flat Major,
Op. 19. Emil Gilels with the Paris Conserva.
tory Orchestra. Andre Vandernoot cond o Angel 35672 $4.98
Musical Interest : Very high
Performances: Marvelous
Recording: Good
For my money these are Gilels' most successful recordings of Beethoven. From a
purely technical angle his playing here is
extraordinary: nimble finger work with
machine· like preCISIOn, articulation, and
crispness of attack. The other elements of
his performances are on an equally high
plane. He invests the music with a controlled power which is very much in keeping with the character of the two works.
Gilels makes it abundantly clear that the
composer of these concerti is the same man
who later gave us the poetry and nobility
of the Emperor Concerto. I would especially call to your attention the extraordinary
drama which Gilels conjures up in the
opening movement of the First Concerto
in the bridge passage which leads from the
development into the recapitulation. After
the quiet rumination of the solo piano
against the repeated horn notes, the stento·
rian quality of the eX!Jloding headlong-rush
down the scale made me bolt upright in my
The orchestral performance under young
Vandernoot seconds Gilels' superlative reno
ditions with similarly excellent results, and
the recorded sound is a joy. This is a
marvelous disc!
M. B.
• BEETHOVEN-Triple Concerto in C
Major, Op. 56. John Corigliano (violin),
Leonard Rose (cello), Walter Hendl (piano)
with N. Y. Philharmonic, Bruno Walter, condo
Columbia ML 5368 $4.98
Musical Interest: Fragile
Performance: OK
Recording : See below
The disc raises serious questions con·
cerning the ethics involved in its release.
Here is Columbia ostensibly with a "new"
recording of Beethoven's Triple Concerto.
Actually, it is not new at all; it is the
same performance which began its career
in the middle 1940's as a 78 rpm release
and was later one of the earliest of Co·
lumbia's LP transfers (where it occupied
a lO·inch disc). Yet nowhere in the docu·
mentation that accompanies the record will
you find this information; rather, the impression is clearly created that this is a
new recording. Of course, all you have to
do to dispel this impression is to play the
record and out comes the dry, unresonant,
boxed-in sound which was typical of Columbia's product a dozen years ago. The
sound of the Ttird Leonore Overture, which
fills out the second side, is better because
it is a more recent recording, but this performance, too, is a re·issue. Why shouldn't
something be done to compel the industry
to identify re·issues as such? Columbia is
a consistent violator in this respect, and
is far from being the only one to engage
in this highly suspect practice.
The performance, a basically good one,
is now superseded by the excellent Angel
performance reviewed in the stereo section
M. B.
of this issue.
BEETHOVEN-Symphony No.2; Ruins of
Athens (see p. 6.2)
BEETHOVEN-Symphony No.7; Coriolan
(see p. 62)
BERLIOZ-Roman Carnival Overture (see
p. 62)
BLOCH-Schelomo (Hebrew Rhapsody
for Cello and Orchestra). BEN·HAIM-
From Israel, Suite for Orchestra. Symphony
of the Air with George Neikrug (cello), Leopold Stokowski condo United Artist UAL
Musical Interest: Very high
Performance: The best of Stokowski
Recording: Tops
Stokowski, who has just made a sensational recording of the Shostakovich Symphony No. 1 for United Artists with the
Symphony of the Air, has done it again
with this-the coupling of Bloch and Ben·
Haim. The performances are ice-clear, ex·
citing and carried off with the polish and
discipline of a great orchestra. For the life
of me, I don't know how the Symphony of
the Air retains its ensemble perfection. To
my knowledge it does not function as a full·
time concert and broadcasting organization.
Let's be grateful for large favors, however,
and sound a hosanna for a record that offers magnificent playing and equally mag·
nificent sound.
Ben-Haim's Suite for Orchestra, From
Israel, is his first major orchestral work
to be recorded. He does not indulge in
tonal abstracts; there is very little disso·
nance. Ben-Haim obviously has gone to
Israeli folk material and has expertly
adapted it to his own orchestral palate.
The suite, scored for medium orchestra, is
cleverly instrumented, with a large percussion section, and a harpsichord, which is
used sparingly. Divided into five sections"Prologue," "Song of Songs," "Yeminite
Melody," "Siesta," and "Celebration," the
suite is cast into a mold one might call
romantic. By whatever title, it is pleasant,
straightforward music, heavily flavored with
oriental color. Ben·Haim fled Nazi Ger·
many and settled in Palestine, and is today
the leader of what is known as the Mediterranean School of Israeli composers. He has
devoted himself to the study of oriental folk
music-Jewish, Yeminite and Arabic.
Bloch's Schelomo has never been recorded in such dramatic sound nor in such
vividly articulate fashion! This version
goes to the top of a roster of fine recordings
that have preceded it, and becomes easily
the choice of the lot. George Neikrug plays
with great passion, secure if not brilliant
technique, and a lovely tone. Since Sto·
kowski loves to conduct scores of such impassioned color as Schelomo, I was a bit
afraid at first that he might indulge in
overblown theatrics. He does not. The con·
ducting is Stokowski at his best, full of his
inherent good musicianship. This is certainlya record to own.
J. T.
BRAHMS-Lieder: Op. 94; Op. 105;
Op. 106 (Complete) . Heinz Rehfuss (bass)
and Erik Werba (piano). Westminster XWN
18846 $4.98
Musical Interest: For lieder specialists
Performance: Low plateau
Recording : Very good
Each of these three sets consists of five
songs. Op. 94 : Mit vierzig lahren ; Steig
auf, geliebter Schatten; Mein Herz ist
schwer; Sapphische Ode; Kein Haus,
keine H eimat. Op. 105: W ie M elodien
zieht es mir; Immer Leiser wird mein
Schlummer; Klage; Auf dem Kirchho/e;
Verrat. Op. 106: Stiindchen; Au/ dem See;
Es hing der Rei/; Meine Lieder; Ein Wanderer.
This is not, unfortunately, as wi se a measure as it seems, for ther e is a sameness of
mood in most of them, and th e expressive
range of the vocalist is too limited to infuse
them with consistent interest. A few are
very fi ne, indeed, but they are too scattered
to lend signifi cant variety to the pr ogram
without more assistance from R ehfuss_ Th e
record ed balance between singer and pianist is excellen t.
W. D.
~ ~EL
eOlGRASS-Variations (see GOULD)
DEBUSSY-Jeux: Poeme Danse; Imag e s
pour Orchestre: Rondes de Printe mps;
Trois Chansons de Charles d'Orleans; Trois
Ballads de Fran'i0is Villon . Freda Betty
(contralto ), Bern ard Plan t ey (baritone) with
Chorale Symph o nique de la Radiodiffus io n
F ran~aise and O rchestre Na tional d e la Ra diodiffu sio n F ran~aise. D. E. In gh e lbrecht,
co ndo Angel 35678 $4.98
~,. '.
Listenin g to Inghelbrecht's exq uisitely
controlled performances makes the reviewer
wonder why Angel has not issued more
record ings und er his direc tion, for he remains one of th e world's foremo st interpreters of the mu sic of Cla ude Debussy. Despi te the fact that hi s Jeux is brilliantly and
perfectly executed, and th at th e same cold,
relentless light of perfec tion is apparent in
every measure of Rondes de Printemps and
Cigues, Ingh el brecht fac es stern competition from two sources. Argenta and the
S ui sse Romand e Orch estra on London offer
a tremendous performance of th e comple te
Images (CS 6013/LL 1735), wh ile Manu el
Rosenthal on Westminster (XWN 18871mono) has etched a remarkable r eading of
Jeux. Obviously then , the add ed attrac tion
of this release is the inclusion of the rarely
heard Tro is Chansons for chorus a nd the
Villon Ballades. Trois Chansons for a cap pella chorus is very pleasin g and cheerful
music, beautifully delivered by th e Chorale
Symph onique. Trois Ballades de Franqois
Villon is music of more substance, feat uring
baritone Bernard Plantey, who sings the
solo role firmly, with good ton e, and secure
con trol.
Certainly this new Angel release belongs
with the better recordings of the music of
Debussy. Collec tors will want to add it to
their library for two reasons: Ingh el brecht's
marvelously co ntrolled readings, and the
rarity of the vocal literature. Th e so und,
inciden tally, is unu sually bright and clear
for Angel.
J. T.
Mu si cal Interest : Naturally
Pe rfo rm ance: Ramarkable
Reco rdi ng '. />-mazing
Is Angel changing its engineering ap-
" ",.
~: .',:;l
Sir M alcolm Sargenl conducting nil-sial' all-Brilish casl, plus the
Pro A I''' Orc/ltsll'll and the fam ed Glyndebollrne Feslival Choms
(wh ich ex pertly provides sisters and cousins and aunts b y the doze ns).
2 records with d elightfully illus. libretto
An~el (S) 3589 ~~®
35688 $4.98
~~;~e~uo;,i,)~n, Marjorie Thomas, a nd Monica Sinclair (as "poor
f i.:'.
Brand new, full of fu n! Starring George Baker,
J ohn Cam eron, Richard Lewis, Owen Bra nnigan, J ames Mi lligan,
(S)"~ ~
"What, never? H ardly euer" ... such a treat as this !
. ".
;. ]:.
(S) 35657
J ust about the lustiest bunch of bassos, brasses, bala~1i kas ,a~d ~bu.llience YOf' lil
ht ar lin stereo! The
oV let s , an -pIcked, care u y sc 100 ed c lOTUS and band
a re conducted by Col. Boris Alexandrov in 13 so ngs, includ ing th e Volga Boatman, Russian love so ngs, and a
thunderous Soldier's Ch orus from Russian opera. Worth
the price of the wIlDIe albu m is th eir trea tm ent of Tipperary, in bouncy Engli sh music-h a ll s tyle, with tremolo
"intros" by the bala laikas!
An~el (S) 35t11
DEBUSSY-La Mer; Nocturnes : Nuages, Fetes, Sirenes.
Pa ris' C o nse rva t o ry
Orc hestra, Constant in Silvestri co nd o Angel
(S) 3577-B
More Klemperer in Angel Stereo: Beethoven Symphonies No.1 and No. 8
R eviewers on two continents have acclaim ed Klemperer's
recording of Th e Ninth as "a grea t recording of the century" (Brit. R ecord News) ... "Homeric ! What more can
one want, exce pt slereo?" (H i-Fi Music R eview) . NOWH EA R IT IN ANGEL STEREO ! Klemperer, a t t he
pinnacle of his art, conducting th e Phil harmonia Orch.
and Choru s. Soloists: Liivberg, Ludwig, Km entt, Hotter.
Bonus: Music from "Egmont," Birgit Nilsson, Soloist
authoritative" (G ramophone). La Scala Orches tra a nd
Chorus cond ucted by L ouro von Malacic, who makes hi s
U.S. d ebut this fall.
3 records, with li bretto
An~el (S) 3593 C/L
Musical In terest: Considerable
Perfo rm ance : Brilliantly executed
Reco rd ing: Sharply defined
~~~ (~
Th e "Wild West," as Puccini saw it after his first visit
to the U.S. in 1905, was more exciting than "Gun smoke"
-certain ly more melod ic! In t his "golde n" new L a Scala
Opera recording for Angel of "Girl of the Golden Wes t,"
Birgil Niluon si ngs Minn ie, the saloo n-keeper, with Jono
Gibin as Bandit Dick J ohnso n, Andrea Mongelli as Sh erifl'
J ack Rance. "Excellent production ... to be accepted as
BRAHMS-Piano Quintet (see p_ 64)
% ~! ~
;:~ :~: :r.-::>K?E3~ =======================;:~ :~~K?~~
BRAHMS-Lieder (see p_ 62)
With the Ph ilh armonia Orchestra.
Mozar' Concerlo NO.3 in G) K. 2I6
Russia's greatest violinist plays his own
Cad enzas and conducts!
Prokofiev Concerlo No.2 ill G minor, Op. 63
Alceo Gallier. conduc ting. An~el (S) 35714
Time Magazine called Gerard H ojjnzl11g •
" highbrow Spike J ones ." British aud iences
roared at his 'Ext ra vagant E ucning of Sympho/iic Cnricalure.' You wi ll , too. H ere it is,
d d' I
I F Stl' al H all
in e st:re
P unch cartoonis t, sa tirist, painter, a nd tuba
player H ofl'nung-"Lel's Fake nil Opera. "
Cast includ es Azucena, Otello, Brunnhilde,
Manrico, etc. Scene opens outside a ciga-
~~~~o~. I;as:~f; ~~n~vh::':
In the David Oistrakh Trio
Schuberl Trio No. I ill B fln l
Oistrakh wit h Lev Oborin, piano, a nd
Sviatoslav Kriushevitzky, 'cello.
rette factory in old Nuremberg.
An~el (S) 35713 Enough said. H ear it.
An~el (S) 35800
Stereo albums also available 1II0Ilop/lOllicn//y. Omit prefix S.
proach? The customary and quite satisfac·
tory "softsound" usually associated with
this label has been replaced here with a
"new" sound that is startling. Microphones
have been moved in much closer, and the
results are interesting. La Mer emerges as
the most dynamically exciting version yet
recorded. Silvestri's treatment strips away
all semblance of the vague colors we have
been accustomed to in La Mer. Debussy's
sea under his baton is a nervous ocean. His
reading is restless, quick, and"muscular.
There is no more cleanly articulated La
Mer anywhere, on any label. Of the four·
teen or so LP's available, this new Angel
must certainly go to the top of the list
for engineering accomplishment. If Angel
is going to continue this kind of monitoring,
we are in for many new exciting releases.
Nocturnes is highlighted by a blazingly
delivered "Fetes", a very clean account of
"Sirimes," and a good if not top performance
of "Nuages," wherein Silvestri's ice clear ap·
proach robs the music of some of its essen·
tial warmth. This recording is altogether a
"cracking" good release, and one of the
most brilliant sounding I've ' ever heard.
DEBUSSY-Preludes (see p. 64)
DONIZETTI-Linda di Chamounlx
(c:omplete opera). Antonietta Stella (so.
prano)-Linda; Renato Capecchi (baritone)
-The Marquis; Cesare Valletti (tenor)Carlo; Giuseppe Modesti (bass )-Prefect;
Giuseppe Taddei (baritone )-Antonio; Rina
Corsi (mezzo-sopranoJ-Maddalena; Fedora
(contralto) - Pierotto;
Chorus and Orchestra of the Teatro San
Carlo di Napoli, Tullio Serafin, condo Colum.
bia M3L 403 3 12" $14.94
Musical Interest: For Bel canto fanciers
Performance: Expert and stylish
Recording: Satisfactory
Linda di Chamounix (Vienna, 1842) was
the sixty·first in Donizetti's total of 67
operas. Long a repertory staple as one of
the redQubtable coloratura "vehicles," it
has been relegated since the turn of the
century to occasional revivals in Italy and
very few·and·far·between elsewhere. It is
an ideal opera for a revival via records, and
Columbia is entitled to a hearty round of
applause for such an enterprise-and par·
ticularly; for the good sense in entrusting
the task to such a well-chosen conductor
and ensemble.
"Linda" suffers from opera's deadliest dis·
ease-"librettitis." This particular handi·
work of Signor Gaetano Rossi is, apart
from being dramatically full of holes, down·
right embarrassing in its old· fashioned na·
ivete. There's nothing whatever wrong with
the music. Donizetti, as ever, the astonish·
ingly fertile fountainhead of melody, pours
out one appealing tune after another; some
reminiscent of his earlier scores; some en·
hanced by a fresh melodic turn; some a
little obvious or trivial; some with the po·
tential of "unforgettability". The overall im.
pression is something like a Lucia di Lam·
mermoor with a happy ending. Only "Lin·
da" lacks the fire and passion that enlivens
the earlier score. After all, the all·consum·
ing central issue here is not hatred, rivalry
or greed, but whether or not the heroine
has managed to escape "a fate worse than
death" in spite of some pretty incriminating
circUmstantial evidence. (She has!) This
may seem like slender material for three
long acts, but Gaetano Rossi had no trouble
whatever contriving a charming "Mad
Scene for Act II," and making Linda just
as charmingly recover her ambUlatory
senses an act later so that once all shadows
are removed her unsullied virtue can shine
again for in to admire.
No one ih ,the impressive cast of princi·
"pals needs lin introduction to American
'audiences. · ,:iilntirelf <~ove ,' reproach are
Renato Capecchi in the role of 'the lecher·
ous Marquis-capturing the character's
menacing undertones just as aptly and con·
vincingly as its buDo aspects-and Fedora
Barbieri, who sings the music of Pierotto,
Linda's faithful friend, with tonal security
and velvety richness. In the title role, An·
toinetta Stella is not too happily cast. Since
she is not a coloratura, the florid passages
are not negotiated with the required agility,
and she omits most of the trills. Also, her
voice frequently takes on an edgy quality,
noticeably in the famous first act aria "0
luce di quest 'anima." To be sure, she is an
intelligent dramatic artist who understands
the role and endows it with sensitivity and
poignancy (the Mad Scene is very appeal·
ingly sung). But there's just not enough
dramatic interest here to make this part
fit her considerable talents.
Carlo, the object of Linda's affections, is
the well·known spineless and slow·witted
variety-and a mama's boy to boot. All one
can expect of Cesare Valletti here, is to
sing beautifully, which he does, except for
an occasionally strained high·note or two.
The' flowing romanza "ti: la voce" (Act III)
is one of the high poiIits of the perform·
ance. In the part of Linda's father--once a
Battistini specialty-Giuseppe Taddei must
shoulder a good deal of melodramatic eye·
rolling and posturings, but vocally his is a
sturdy and stylish characterization, as is
Modesti's mellifluous Prefect.
The amazing Serafin, who presided over
the Metropolitan's last staging of Linda di
Chamounix in 1934, conducts with his cus·
tomary sense of balance and consideration
for the singers. If the music does not
sparkle under his guidance, it certainly
flows and undulates elegantly. The record·
ing is not up to the American Columbia
level-insufficient clarity in the highsbut it is generally satisfactory; the illus·
trated booklet and libretto that is provided
with the set is most attractive.
G. J.
• FAURti-Piano Quartet No. I in C minor, Op. 15; MARTINU-Piano Quartet
No. I, (1942). Mieczyslaw Horszowski (pi.
ano), Alexander Schneider (violin), Milton
Katims (viola). Frank Miller (cello). Colum.
bia ML 5343 $4.98
Musical Interest: Uncommon chamber
Performance: Virile
Recording: Very good
T.he Faure was written about sixty years
before ·the .Martinu. It remains the more
lyrically attractive work, and a more sen·
sitive, expressive composition. The four
instrumentalists have played together many
tiInes during the past several years. Their
ensemble work is smooth and flexible. They
perform the Faure with affection and un·
derstanding, and the more athletic Martinu
with similar perception and strength. The
recording is engineered with ' laudable
W. D.
clarity of detail.
of the Shrew
• GOULD-Concertette for Viola and
Band; COLGRASS-Variations for Viola and
Four Drums. Emanuel Vardi and Michael
Colgrass with MGM Orchestra, Arthur Win·
ograd condo MGM E 3714 $3.98
Musical Interest: Considerable
. -l'ertormsflce:-:'Eiccellent
Recording: Very good
The Concertette is a lively and colorful
composition. Written in 1943, it displays
the Gould combination of dance rhythms
and vivid orchestration. The viola stands
out .against the winds and percussion with
far more clarity than it would against a
conventional orchestra, a nice touch of per·
ceptivity on Gould's part.
The Colgrass is a more unusual piece.
This young composer seems to specialize in
the use of percussion melodically as well
as rhythmically. Prior to 1957, when these
Variations were written, he achieved suc·
cess with a percussion nonet, entitled Three
Brothers (Urania lO07-stereo & mono),
and a Chamber Music for Four Drums and
String Quartet.
Both compositions recorded here are
played with skill and conviction. Vardi,
now Audio Fidelity's classical A & R man,
plays a rhapsodic viola. Winograd conducts
with energy, and Colgrass is no slouch on
the drums. Good recording, not as dry as
many other MGM records, rounds out an
W. D.
intriguing off-beat release.
HANDEL - Eight Overtures: Terpsichore; Rodelinda; Theseo; Ariadne; &io:
Jephtha: II Pastor Fido; Alexander's Feast.
Bamberg Symphony Orchestra, Rolf Rein·
hardt condo Vox PL 11.300 $4.98
Musical Interest: A sum smaller than its
Performance: Competent
Recording: Good
Played individually, these overtures con·
vey some grand Handelian moments.
Played through one after the other, as the
LP format compels, monotony tends to set
in. The LP record just isn't suited to
lengthy programs of similarly styled short
pieces. It is too bad that the record manufac·
turers bungled the production and distribu·
tion of classical extended·play 45's; they
are ideal for pieces like these overtures.
Reinhardt conducts in forthright fashion,
and the recorded sound is big and bright.
HAYDN-Flute Concerto: Oboe Concerto
(see p. 66)
HAYDN-Theresa Mass. Catherine Rowe
(soprano), Margaret Tobias (alto), Donald
Sullivan (tenor), Paul Matthen (bass) M.I.T.
Choral Society and Graunke Symphony
Orchestra, Klaus liepmann condo M.I.T.
CS·58 $3.98
Musical Interest: High
Performance: Very good
Recording : Very good
seen such
but never
at these
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Last yea r, th e members of the M.I.T.
Choral Society sa ved theil' pennies, and by
Jul y, had enough mon ey to finan ce an
eco nomy tour of Europe. Th ey sa ng in
P ari s, at th e Brussels World's Fair, and in
several German co mm un ities. In Munich,
their concert co ncluded the city's Intern ational Choral Week, and happy to relate,
it was wholly lTiumph ant.
Hayd n's grea t Th eresa Mass conclud ed
their Mu ni ch program . With KJ aus Li epmann, Directo r of Mu sic at M.LT., wi elding th e baton, a nd assisted by the Graunke
Symphon y Orchestra of Muni ch, the Chorus
and its a ble soloists sang magnifi cently, to
the enthusiasti c approval of tbe critical
Fortunately, tb e performan ce, or a rehem'sal, was taped, and this is tb e di sc deri ved there from . The interpretation is lively and sensitive and th e recording is well
balanced. (It was mastered by Peter Bart6k. ) Th e a mazi ngly polished professionalis m achieved by the choir is a tribute to
th e trainin g a nd standards of Dr. Li epmann.
Th e "Mu sic at M.LT." series seems to
have come back home sin ce Unico rn RecOl'ds is no more. This brilliant, an d only
avail able record of one of Ha ydn 's fine st
Masses, is obtainable only by mail for $4.15
(posta ge includ ed ) from th e Ma ssachuse tts
Insti tute of Techn ology, Cambridge 39,
W . D.
HERBERT-Pa n American a; A me rica n
Fantasy; Iris h Rha ps ody ; Se lections from
"Na ug ht y Marietta"; Se le cti ons fro m t he
"Fo rtun e Te ll e r." Ph ila d elp hia Orchestra,
Eugene Ormandy cond _ C olumb ia ML 5376
Musica l Inte rest: Senti me ntal
pie ces
Pe rfo rm a nce : Te rrific
Reco rding: G re at
when it 's in an enclosure. So why ma ke
it with f ancy frills that may look good,
but costs more and adds nothing t o t he
SPEAKERS put t he emphasis on qua lity,
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mean? For literature, write ...
202·4 Easl 19 1h St.,N. Y.3, N. Y.
ma ster-
One of the best symphony orchestra s in
the world , un der an intelli gent an d often
inspiring condu ctor, takes seriou sly th e
job of playing the sentimental scores of
Herbert. The r esult is magnifi cent. There
have been scads of r ecords mad e of H erhert's mu sic-transcription s of all kinds,
but when you assign the magic of hi s
spl endid period pieces to an orchestra of
th e caliber of th e Philadelph ia, yo u ge t
some of th e most bea utiful so undin g sentiment ever committed to mi crogroove.
American Fantasy was conducted by
Herbert at the Broadway Th eater in 1893
when he led the Gilmore Band. Th e work
was overwhelmingly rcceived-a hit of the
tim e. It is nothin g more than an expert
arran gement of old American tunes :
Swanee River, Th e Girl I Left Behind Me,
and Dixie lea din g up to a rousin g Star
Spangled Banner final e. Th e score brin gs
back those gay old tim es with splendidly
dramatic so nics.
Pan Americana is not quite on th e same
mu sical level as the r est of th e repertoire,
but the Irish Suite will surely raise some
goose-bumps. Selec tions from Naughty Marietta an d Fortune Teller round out a record of surpri sin gly sup erior qualities. It is
sentim ental, and somewhat dated to be
sure; but what is wrong with that? Herbert m ust rank with Porter , Gershwin ,
Kern, Foster, Berl in, as one of America's
popular greats, and mu ch of hi s best mu sic
will be al'ollJ1d for decades to come. J. T .
KO RNGOLD- Muc h Ad o A bout N oth ing ;
p .68 )
LISZT- Etud es d ' E".k utfo n Tra nscend ante (Com plete). Gyorgy Cziffra ( piano ) .
2 12" Angel 359 1·8 $9.96
Musical Interest: The pia nistic g a mut
Perform ance : In th e vein
Reco rdi ng : Excellent
Now, here's somet'h'i ng . U szt n eld these
pi eces in hi gh regard; he turned to th em
on-and -off for a quarter of a century, polishing, pruning and perfecting them. In a
sense, th ey co nstitute a monum ent t.o what
he accomplished in d evelopin g the art of
piano playing-and nobody quarrels with
his pre-emin ence in that field. Cziffra plays
thi s mu sic wi th real flair. He believes in
every note. Th e mi ghty chord s are th undered out wi th passion; the pearly run s are
deli cately strun g with intense affection. He
senses the poetry in th e mu sic and pl ays it
with feeling. He justifi es these pi eces musicall y as well as techni cally. In thi s, his
rendition differs from that of J orge Bolet,
who did most of th ese Etudes on a Victor
di sc (LM 2291) a few month s ago. Bolet's
version wa s played brilliantly, but it was
all techniqu e, with littJ e poetry and less
heart. Cziffra's has th e poetry and th e
heart. Angel's r ecording is very fine, but
four si des do seem rather over-generou s for
these twelve pi eces.
W . D.
Ll SZT-Six Pa g a nin i Et ud es; A nn ees de
Pe leri nage; Three Petra rch So nnets; Ta ra ntella . Alfred Bre nd el (piano )_ Vox PL 10.800
Mu sica l Interest: More for pia no fa ns
Performance : A nea r miss
Reco rdin g : Ve ry good
Brend el is th e Vox entry in th e Liszt
sweepstakes, runnin g against Angel's Cziffra and Wes tmin ster's Farnadi. This is th e
fifth LP in hi s series, titled "Brend el P lays
Liszt." Th e mu sic here is a decid ed cut
above mu ch of Liszt's ou tput. The P etrarch
Sonnets are among his most poetic composi tions, whil e th e Paganini Etudes are
h ighl y successful pianistic tran sformations
of the demon -fiddler's Caprices, plus a
movement from hi s B minor Violin Concerto. Brendel has techniqu e, style and
sweep, but not very much fire. Without this
last ingred ient, ther e isn' t as mu ch point
to t.h e music as th ere could be. The recorded piano tone is creditable.
W. D.
LlSZT-Les Pre lud es (see p. 68)
MANF REDINI : Six Conc ertos, Op. 3.
I Mu sici with Robe rto M ich e lucci (violin ) _
Epic LC 351 4 $3.98
Mu sica l Interest: Little·know n fare but
p leasa nt listen ing
Perfo rm ance : First rat e
Recordin g : Exce ll e nt
Again we are indebted to thi s enterprisin g group of pl ayers for givin g us lesserknown earl y Italian music. Allhough t.h e
date of Manfredini 's birth cannot be determin ed with certainty, it is believed to be
about 1685, which would make him a COll temporary of Bach and Hand el.
All the concertos are for strin gs, for the
most part with solo violin. T o these ears
th e Concerto No. 10 is the most impressive
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of the six works on the disc, not merely
because it employs two solo instruments,
but because of the music itself. Also note·
worthy is the Concerto No. 12-easy going,
gentle music, with a "pastoral" opening
movement suggestive of the Pastoral Sym·
phony in Handel's Messiah.
All the performances are impeccable, as
the recording is spacious, yet clear. D. R.
MARTINU-Piano Quartet (see FAURE) .
MASSENET-Manon (complete opera).
Victoria De Los Angeles (soprano)-Manon;
Henry Legay (tenor)-Des Grieux; Michel
Dens (baritone )-Lescaut; Jean Borthayre
(bass·baritonel-le Comte Des Grieux ;
Rene Herent (tenor}-Guillot; Jean Vieuille
(baritone I-De Bretigny and others. Chorus
and Orchestra of the Theatre National de
l'Opera Comique, Pierre Monteux condo
Capitol-EM I GDR 7171 4 12" $19.92
Musical Interest: High
Performance : Excellent
Recording: Good
This is a most welcome return to the
active catalog of an exceptionally fine per·
formance first released in 1956 by RCA
Victor. Captured in this set is the unsurpassably authoritative treatment of this
most Gallic of French operas by the Opera
Comique, enhanced by the formidable contributions of two distinguished non·mem·
bers, Pierre Monteux on the podium and
Victoria De Los Angeles in the title role.
It is undoubtedly to Monteux's credit that
the individual virtues of his cast are fused
into a splendid ensemble and that the entire
performance radiates the charm, spirit and
tenderness that the opera reveals to those
who have long and lovingly lived with it.
Half of the battle is won, of course, when
you have an artist of the De Los Angeles
caliber to portray Manon-both in charac·
terization and tonal beauty this is an
achievement one wouldn't know how to im·
prove upon. Henri Legay triumphs over
his considerable vocal limitations with
miraculous skill. "Ah! fuyez douce image,"
with its high tessitura, causes a few uneasy
moments, but these are easily forgotten.
Here is a Chevalier of taste and elegance
whose phrasing is a delight and whose
respect for the composer's markings is ex·
ceptional. His duets with Manon (the St.
SuI pice scene, the final farewell, to say
nothing of their first meeting) are, in my
opinion, the peaks of the entire performance.
With a strong supporting cast, an over·
all dramatic presentation that suggests a
remarkable degree of stage illusion for a
monophonic set, and a recorded sound that
is above reproach, this, clearly, is pretty
much an unqualified triumph.
G. J.
MORENO TORROBA-Guitar Suite (see
• MOZART-Horn Concerto No. 3 in E Flat
(K. 447): Serenade No. 6 in D Major (K.
239) ("Serenata Notturna"): March in D
Major (K. 445): Divertimenti for Flutes,
Trumpets, and Timpani in C Major (K. 187):
C Major · (K. 188). Jean-Marie Leclair Instrumental Ensemble, Jean-Franc;ois Paillard
cond o Westminster XWN 18833 $4.98
Musical Interest: Diverting
Performance: Competent
Recording : Bright
The ceremoniously style Divertimenti for
Flutes, Trumpets, and Timpani are the main
items of interest here, for there are better
competitive versions of both the Horn Con·
certo (Brain-Angel 35092) and the
Serenade (Klemperer-Angel 35401). For
all the soloist's unerring agility, the saxophonelike tone characteristic of Parisian
French horn remains discomforting to my
ears; and the Serenade performance has
none of the vitality of Klemperer's and
several other versions. The Divertimenti
are intriguing curiosities, scarcely major
Mozart, but fascinating as sheer soundespecially if one imagines them being
played out of doors far from the staircase
of a great rococo palace hall. Bright and
clear recording with performances to match.
MOZART-Piano Concerto in C minor (K.
491 ): Piano Sonata in B Flat (K. 333): Piano
Concerto in D minor (K. 466): Piano Sonata
in A minor (K. 310) (see p. 68)
MOZART-Church Sonatas for Organ
and Orchestra (K. 67: K. 68: K. 69: K. 144:
K. 145: K. 212: K. 224: K. 225: K. 241;
K. 244: K. 245: K. 263: K. 274: K. 278:
K. 328: K. 329: K. 336). Christiane Delisle
with Instrumental Ensemble Sinfonia, Jean
W itold cond oWestminster XWN 18804 $4.98
Musical Interest: Fair
Peformance : Good
Recording : Good
These Church Sonatas are hardly showpieces. More often than not, the "King of
Instruments" just plays along while the
orchestra leads the way. They are short,
single.movement pieces, at times resem·
bling overtures or movements from ' a symphony. They were composed to be played
during High Mass, between the Gloria and
the Credo, so that the priest and the con·
gregation might rest for a few moments and
gain inspiration for the remainder of the
service. Most of the Sonatas are rather
lightweight, but a few of the later ones
are examples of Mozart at his best. Witold
conducts with spirit and an understanding
of Mozartean style, while the recording
balances orchestra and the organ effcctively.
• MOZART-Sonatas for Piano, Four
Hands in F Major, (K. 497) C Major, (K.
521 ). Paul Badura-Skoda and Joerg Demus .
Westminster XWN 18813 $4.98
MOZART: Piano Music for Four Hands
(Vol. I)-Sonatas G Major (K. 357): D
Major (K. 381): B Flat (K. 358): C Major
(K. 19d). Ingrid Haebler and Ludwig Hoffmann. Vox DL 432-1 3-12" $19.50
Musical Interest: Delightful
Performances: Both sensitive
Recording : Vox bass better
Along with Schubert, Mozart was responsible for a considerable body of litera·
ture for four·hand piano. Both discs con·
tain delightful examples of his output.
The performances can all be recom·
mended without reservation. There is excellent ensemble and a wonderful affinity for
Mozart's style. Since the records contain
no duplication of repertoire, there is nothing to prevent the lover of four·hand music
from acquiring both recordings. They are
beautifully clear, but Westminster's bass is
D. R.
a little shallow.
MOZART - (Piano Music: for Four
Hands)-Sonata in C Major (K.521): Andante with Five Variations (K. 501 ): Sonata
in F Major (K. 497). Ingrid Haebler and
Ludwig Hoffmann (pianists). Vox DL-432-2
Musical Interest: Moderate
Performance : Amiable
Recording: Very good
Four·hand piano music undoubtedly is
more interesting to the performers than to
the listener. It has an informality about it
that tends to relax the players and the
audience to the point where the listener's
attention wanders. These two' sonatas are
among the best Mozart wrote for the keyboard-for two or four hands-and they are
played nicely, with an easy give·and-take
and ample technical proficiency. There is
more excitement in this music, however,
than the amiability of the performers indicates. Perhaps it is the medium itself that
militates against a performance of passion
and intensity. However, that may more
properly be a subject for psychologists or
philosophers. The music· making here is
pleasing, and the recording communicates
it truthfully.
W. D.
MOZART-La Finta Giardiniera, K. 196
(Highlights). Dodi Protero (soprano)-San.
drina/Violannte; Andor Kaposy (tenor 1Belfiore ; Ruth Nixa (soprano )-Arminda;
Thea lovrencevic (soprano)-Ramiro; Kurt
Seywald (tenor)-The Podesta; Walter Ran·
inger (bass)-Nardo; Karin Kuster (so·
prano )-Serpetta. Camarata Academica of
the Salzburger Mozarteum, Bernhard Paum·
gadner condo Epic LC 3543 $3.98
Mus ical Interest: Minor Mozart
Performance : Capable but unexciting
Recording : Satisfactory
Mozart composed this three·act opera
buffa for the Munich Carnival in 1774 on
commission of the King of Bavaria. He
was in his eighteenth year and could al·
ready look back on a number of fairly sue·
cessful operas, among them the astonishing
Bastien and Bastienne, written at the age
of twelve. La Finia Giardiniera occupies a
modest niche in the Mozartean output, but
it shows considerable invention, wit and
musical characterization in addition to the
felicities we have come to expect in even
the least significant Mozartean trifles. The
libretto, written by Ranieri di Calzabigi,
Gluck's expert collaborator, is a compli·
cated but thoroughly predictable succession
of situations arising from the usual mis·
taken identities.
This Salzburg performance guarantees
careful scholarship under the authoritative
baton of Paumgartner, but fails to bring
sparkle to the proceedings. The singers,
all of whom are unfamiliar, perform their
tasks with earnestness but prove inade·
quate to the challenging opportunities. This
is most flagrant with the interpreter of Ar·
minda, whose Donna Elvira·like bravura
aria in the second act is clearly out of her
reach. Nor is Kurt Seywald able to sum·
mon the requisite subtleties, or humor for
that matter, in the delicious buffo aria
"Dentro il mio petto."
In addition to the leading arias-one of
which {Nardo's indictment of the fair sex
"A forza di martelli") is a precursor of Fi· .
garo's "Aprite un po' quegl' occhi"-these
highlights include the finale s of all three
acts in which the ensemble work is very
creditable. Libretto is not provided and,
whil e the notes and synopsis are helpful,
the similar vocal characteristics of the principals make it difficult to keep up with
the situations. The sound is occasionally
thinnish, generally acceptable hut below the
good Epic standard.
G. J.
MOZART-Symphonies: No. 29 in A
Major (K . 20 I); No. 36 in C Major (K. 425)
("Lintz") . Columbia Symphony Orche stra,
Bruno Walter condo Columbia ML 5375
Mu sical Interest: And how!
Performances: Affectionate
Recording: OK
Here Columbia goes again, passing off
a re·iss ue as though it were a new performance. This recording of the "Linz" Symphony is the same one that was released
about four years ago in Columbia's Birth
0/ a Performance album (which also included a large chunk of the rehearsals at
which the performance was prepared).
Are we to assum e, then, that the performance of the A Major Symphony was also
recorded at about the same time?
The performances are typical of Walter's
way with Mozart symphonies : warm and
affectionate and perhaps a shad e overripe
according to the contemporary view of the
music. But Walter is a persuasive spokesman , and it is hard not to be charmed by
his attitude. The recorded sound in both
M. B.
cases is clear and bright.
OFFENBACH-Gait.. Parisienne (Complete). Th e Ph ilad elp hi a Orchestra , Eu gene
Ormandy condo Columbia ML 5348 $3.98
Musical Inte rest: Bright ballet fare
Perfo rmance: Good
Recording: Good, not brilliant
Categorically speaking, Manuel Rosenth al's ballet score to Gaite Parisienne arranged from Offenbach belongs in the class
of music.to-listen.to·high-fidelity-by. In contrast to those who try to overwhelm the
listener with breakneck speed in this brilliant score, Mr. Ormandy takes his time,
and he allows Offenbach's melodies to exert
their full measure of provocative enchantment. Engineering is adequate-good, solid,
if not stunning. All told, an excell ent performance of "Gaile," but I still think the
recent relea·se on Capitol is the best both
monophonically and stereophonically by
virtue of better balanced so und (PAO 8405;
SP 8405).
J. T.
Overture (see p. TK)
of the Shrew. Rome Symphony Orchestra.
Domenico Savino condo Kapp KCL 9026
Mu si cal Interest: Moderate
Performance: Competent
Recording: Sharp and clear
My preference distinctly calls for opera
with words. Eviden tly, however, there is a
public for these Kapp series, and Savine's
orchestrations are both well-intentioned and
well executed. In the present disc the lively
and extremely melodious Giannini score
lowers the
into the
groove ...
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comes off more effectively than It Tabarro
because the instrumental treatment tend s to
dull the edges of Puccini's sharp realism
and the prettified violin and cello s olos are
no substitute for the raw passion inllerent
in the vocal writing. The Taming 0/ the
Shrew, which had a resounding success at
its 1953 premiere and at subsequent showings, deserves to be heard and recordedwith words.
G. J.
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RIMSKY-KORSAKOV - Capriccio Espagnol; Russian Easter Overture . TCHAI·
KOVSKY-1812 Overture; Capriccio Italien.
Vi enna State O pera Orchestra , Mario Rossi
cond o Vanguard SRV 110 $1.98
Musical Interest: Colorful sampler
Performance: Fine capriccios
Recording: Superior
Vanguard turns out a record clearly designed to stim ulate mass inter est in their
label and equally interesting catalog. They
have put together a quartet of chestnuts
served up with plenty of sonic steam. Mr.
Rossi turns in the right kind of perform.
ances, too-in the 'hi-fi' sense of the word.
If you have a friend who is new to music,
and whose eyes lightup with the mere mention of "high- fi delity", then thi s is certainly
his cup of tea. This is a unique "demo"
record in that it offers so mu ch for so little
cost. The playing is pretty good, too, and
includes a really sup erior performance of
the Capriccio Espagnol.
J. T.
RODRIGO-Concierto De Araniuez for
Guitar and Orchestra. MORENO TORROBA
-Suite Guitarra Espanola . Renata Ta rrago
wi th Orquesta de C o nciertos de Madrid.
Odon Al o nso cond o Columbia ML 5345 $4.98
Musica l I nterest: Fascinating
Performance : Clean, subtle
Reco rding : Marvelous
Some years ago the Rodrigo Concerto appeared on the London International label,
coupled with Falla's Nights in the Gardens
of Spain, with the late Ataulfo Argenta
conducting. The issue sold exceedingly
well, ca ught the attention of English Decca,
which in time recorded it anew-mono and
stereo-for the London label. Again the
LP (LL 1738) sold in large quantities, and
in du e course London released it in stereo
(CS 6046). It has still remained one of
the most interesting in the catalog. Now,
at last, the recording com panies are aware
that this Guitar Concerto by Spain's blind
contemporary master is a d elightful score
of decided commercial valu e. Th e Columbia r elease may be late, but it is top-notch,
with a brand·new and quite attractive guitarist in R ena ta Tarrago. In 1951 she was
awarded the Premia Extraordinario, an
award for extraordinary achievement, by
the Conservatory of the Lycee, where she
teaches. She plays with co mpetence and
icy-bright technique in the Rodrigo, and
with much grea ter subtlety and warmth in
the Moreno Torr6ba Suite. By comparison
with the London LP, Senor Narciso Yepes
renders a more thou ghtful performan ce;
but Argenta and the National Orchestra of
Spain are a littl e overshadowed by the
magnificent playing of Orquesto d e Conciertos de Madrid. On side two, in the
ten·part Moreno Torr oba S ui te, R enata
T arrago reveals fully the r eason for her
Conservatory award. Here, in a score that
calls for grea ter virtuosity, she is magnifi·
cent in technique, and her "r eading" is
sheer poetry.
J. T.
(Abridged) (see p. 70)
SCHUBERT-Wanderer Fantasie, Op.
15; 3 Klavierstiicke, (D. 946) Cl au d io A rrau
I piano ) . Angel 35637 $4.98
Musica l Interest: Considerable
Pe rfo rm ance: Excellent
Reco rd i ng : Excellent
The piano music of Schub ert does not
reveal its secrets r eadily to all who play
the notes. I t demands a ra pport on the par t
of the performer that is as urgent as
Chopin 's, if not of the sam e type. Jud ging
from his success with thi s program, Arrau
possesses that rapport. He is entirely con·
vincing in these compositions, whi ch can be
obdura tely un communica tive, indeed, in
less sym pa thetic circumstances. He plays
the Schuber tian measures with warm tone
and gr anite strength, phrasin g and orga n·
izing alon g the way so that each work is a
unity. Th e performan ces have spirit, an d
th e spirit is Schubert's. Th e sound of the
piano is in no way falsifi ed by the record·
VIVA LDI-Conc e rt o' in A Majo r, Op. 3,
No.5; Concerto in D minor, Op. 3, No. II;
Conc e rto in F Majo r I P. 320); Concerto in
D mino r I P. 280); Concerto in F Major (P.
321). Vi rtuos i di Roma; Renato Fasano con ci.
Angel 45030 $3 .98
M usical Interest: First-rate
Pe rformance: Exquis ite
Recording: Exce ll e nt
Along with all the unfa mili ar works of
Vi valdi tha t are now appearin g on discs,
thanks, in part, to th e efforts of thi s gro up,
th ere now appea rs what was perhaps the
most familiar of th e works of this composer,
before the era of the long.playing record.
Th e Co ncerto in D minor, Op. 3, No. 11, is
th e one tha t had previously beco me well·
known, ma inly throug h the fac t that it had
been played by full symphony orches tras.
It is gratifyi ng to hear i t played b y a
smaller group, approximating th e number
of performers th at must have been em·
ployed in earlier ti mes. As a result of the
use of reduced fo rces, the ear is a ble to
hear the individ ual lin es of the score. In
th e playing of this well schooled gro up,
mo reo ver, those lines emerge with bea utiful
to ne, as welL Lest anyone think tha t these
are mere scholarl y recreations, I call to your
a tten tion th e roma ntic feeling with which
th e solo par t of the slow movemen t is
T he other concerto from L'Estro Armon·
ico- the Op. 3 No.5, while it is less fa·
TCHAIKOVSKY-1812 Overture; Capriccio
TELEMANN-Concerto for Four Violins in D Major; Concerto for Flute, Oboe
d 'amore, Vida d'amore in E Major; Concerto
for Three Oboes and Three Violins in B Flat;
Concerto for Recorder and Transverse Flute
in E minor. Ka mm e rmu s ikk reis Em il S e ile r.
Archive ARC 3109 $5.95
produced for connOIsseurs ...
priced for everyone ...
Mu sica l Int e rest : Both rare and delightful
Perfo rmance: Spirited
Re c o rding: Good
Here is a gem of a record ! T elemann,
who was four years older than Bach a nd
a much more widely known personality in
his own time, certainly wrote some delight·
ful music. He also enjoyed exploitin g in·
strum ental color, as the listin g of solo
instrum ents indi cates. The sound of th e
four solo violins, and of the three oboes, as
well as the bl end of the flu te a nd the reo
corder are completely ca ptivating.
There is also a strok e of originality in th e
fact that the concerto fo r four violins begins
with the four solo instr uments unaccom·
pani ed. What's this we hear about Beetho·
ven's Fourth Piano Concerto being the first
instance in which a composer began a
concerto wi th the solo instrument?
Nothin g can hide th e fact that this is
completely appealing music-not even Ar·
chive's fri ghteningly scholarl y packaging,
with compl ete musicological details down
to th e date of manufacture of every solo
instrum ent! Musicology be ha nged! This
is mu sic to enj oy ! For proof, listen to the
rollickin g fin al movement of the Concerto
for recorder and flute. Mr. T elemann was
obviously a man who enjoyed life.
And a word of tha nks to th e performers
for thei r readings, which leave no thin g to
D. R.
be desired.
VERDI ARIAS-Callas Isee p. 76)
$29~" lP'S
Ste reo
NADE FOR STRINGS . SY lllp bo ny O"beslrll of
'Jbe Belgia n :National Radio - 1"III z And n;.
Mon, TC8001
Stereo, TCS18001
'Jbe Ulu e DtU lld}(.; ; EUI/ )eror 1t' aIt z; 1Ville. 1"0", ell
and SO ll g. Bamberg Symphony Orchestra - Joseph
Keilberth .
Mon, TC8018
Stereo, TCS18018
TAINS OF RO ME. SY lll pbollY Orcbestra of 'Jbe
Belgian :Nll tiolwl Radio - 1ranz Andn;.
Mon, TC8002
St.,eo, TCS 18002
Beethoven , SYMPHO NY No. 3 (Eroica). } Ialll"u r!!
Slcl te Pbilbarlll onic Orcb"trll - Josepb Xe il bertb.
Slereo, TCS18003
Delibes : SYLVIA AND COPPELlA - O rcbestrlll
Suites. SYlllpbony O rcbestrll of 'l be Belgic,,' :Na·
tional Radio - ' 1ranz A ndre.
Ste reo, TCS18006
_ Preludes to )/cts t and 3. Hamburg State Phil·
harmonic Orchestra - Joseph Keilbe rt h.
Mon, TC8019
Stereo, TCS 180 19
Dvofak : SLAVONI C DAN CES. O p. 46 , :NoS. 1,
O p. 72, :Nos. I . 2. ·1 . 7. 8. Bntn berg
SYlllpbony O rcbestra - Josepb Xe ilbertb .
Slereo, TCS 180 15
MARCH TI ME IN G ERMANY. O ld CO lll rades, .
g lory Of Prussia, Radelzky ·~" arcb, Reg illl ental
~"arcb, 1-Iocb - und Deul scblll eister, } Ii s ~ I ajes l y' s
111inn ing Band, ~"oo nli g bt O n 'lbe Ege r , O nly a ile
} Ialf J lour, O derfurter Prolll ell ade I TI Mte nber ge r
Po lkll , 1" 'Jbe J learl , 1-I0lllelalld greelillgs, Sweet ·
beMt , A/noli 1l1a ltz , 'Jbe 'V illage Blackslllitb. Ernst
Mosch and His Bohemian Band.
Mon, TP25 11
y uard ;
Beethoven: SYMPHONY No. 5. " llIlII burg Stll te
Pb ilbllrlllonic Orcbestra - Josepb Xcilbert b.
Ste reo, TCS18005
3. 4, 6. S,
l leidecksburg;
P"rll de
~"" rcb , Lieder" "trsc/J, 'lbe Rijlelllnt\' Balld Of The
Be rlin G uard.
Mon: TP2508
10r cOIII/l lefe cil lalog of Po pular and Cl assical records wrile 10:
TELEFUNKEN RECORDS A div ision of LOlldolt Records, 'llc.
Dept . N K 140 West 22nd St., N. Y. 11, N. Y.
miliar, is no less appealing. It has a jaun ty
first movement and a very expressive slow
movemen t. There is nice interplay of the
two violins in the fin ale.
The two concertos in F Major both feature a pair of horns in solo capacity. Int erestingly, thou gh, despite the fact that
Vivaldi gives prominent parts to the horns
in the lively outside movements, the solo
role in the slow movement of the P. 320
is given to a cello! And what a beautiful
solo it is !
The performances are all that we have
come to expect from this expert group, and
the recording is up to Angel's hi gh standards.
D. R.
• WAGENSEIL- Concerto for Cello,
Strings, and Continuo in A Major; HAYDN
-Cello Concerto in 0 Major, Op. 101. En e
rico Mainardi with the Munich Chambe r Orchestra . Archive ARC 3110 $5.95
Mu si ca l In terest: Slightly disappointing
for Wagenseil ; High for Haydn
Performance: Excellent in Wagenseil;
stodgy in Haydn
Recordi ng: Good
In view of the fa ct that Georg Christoph
Wagenseil is supposed to be one of the more
important but forgotten pre-Mozart composers, and in view of th e additional fact
that the manuscript of this Concerto came
to light as recently as 1953, it would be
nice if I could report a masterpiece_ Unfortunately, however, I found the first and
third movements quite !'Ouline_ Even the
somewhat more expressive slow movement,
and the fine performance, do not make the
Concerto more than historically interesting.
Hayd n's familiar Concerto emerges as the
far supel'ior work. But here, the slow tempo
at which the first and third movements are
played make for a not-too-exciting performance_ The slow movement, though, is very
D. R.
expressively played.
22 are discussed in ne w
Roberts booklet
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posed in an infinite variety of moods. Singer and pianist adjust r eadily to the mood
of the moment and each song becomes an
individual little tone-poem. As the words
are so important in these lyrics, it is gratifyin g to note the clear diction of the vocalist and the uncanny way in which the
words come through the web of piano tone
whi ch Wolf has woven around them. W. D.
ZANDONAI-L'Uccellino d'Oro "The
Little Golden Bird" (Complete opera). Ond ina Otta (soprano) -The Little Go ld e n
Bird; Nino Ad ami (te no rl-Riccardin o; Luciana Pi o- Fu magalli (soprano)-Rosabella;
Giuliano Ferrein ( bass ) -King of Terziglio;
Wanda Madonna (contralto )-The Stepmother & others. Angelicum C horus and Orchestra of Milan . Silvio de Florian condo
Westminster OPW 11034 $4.98
Mu sical Interest: Light
Performance: Fair
Recording: Poor
Riccardo Zandonai (1883-1944) was one
of tb e major fi gures of modern Italian opera
whose works are still frequently played in
his native country (two of them, Conchita
and Fran.cesca da R imini appeared briefl y
in the Met repertory a generation ago)_
L'UcceZZino d'Oro was his first effort (1906)
and is so little known that its reactivation
by cond uctor de Florian is something of a
di scovery.
In this melodious, unpretentiously appealing score, spoken dialogue alternates with
set musical numbers of songlike simplicity.
The story, a fairy tale of the Sleeping
Beauty-Cinderella variety, would make an
ideal presentation for children. Musi cally,
aside from pleasant listening, it offers little
of sub stance; and the singing, which moves
along on a "workshop" level, fail s to make
it more memorable.
The weakest fa ctor of all is the recordin g-distant, indistinct, and mystifyingly
short of today's standard.
G. J.
p, 74)
WOLF-Heiss mieh nicht reden (Mignon I) ; Nur wer die Sehnsucht kennt (Mignon
II); So lasst mich scheinen (Mignon III);
Kennst du das Land (M ignon) ; Anakreons
Grab; Blumengruss; Oer Schafer; Epiphanias;
Nur bin ich dein ; Fiihr' mich , Kind , nach
Bethleh e m!; Miihvoll komm' ich und beladen;
Acli, wie lang d ie Seele schlummert!; Herr,
was tragt der Boden hi er; Morgentau; Wiegenlied. Hilde Roessel-Maida n (contralto)
and Erik Werba (p iano ) . Westminster XWN
18847 $4.98
Mu sical Interest : For lieder specialists
Perfo rm a nce : Very good
Recording: Very good
The first eight of th ese fifteen songs are
settings to Goethe, while th e following five
are from the Spanisches Liederbuch. Hugo
Wolf had excellent literary taste and a sensitive perception of the inner meaning of a
poem_ His songs, probably more than those
of any other composer, are true duets for
voi ce and piano. The pianist must he more
than an accompanist; he must be a collaborating artist if the music is to be effective. Fortunately, Werba's playing is fi ne
artistic company for th e intelliO'ent sin O'inO'
of Ro essel-Majdan. These songs"'are som"'be;'
gay, dram atic, sad, happy ; for Wolf com-
FESTIVAL: GLiERE-Concerto for Voice
and Orchestra , Op. 82; PAKHMUTOVAConcerto for Trumpet and Orchestra; MANEVICH-Concerto for Clarinet and Orchestra ; GORDELLI-Concerto for Flute and
Orchestra . Members of Le nin grad Ph ilharmonic and State Radio Orche stra s. Monitor
MC 2030 $4.98
Musica l Interest: Not much
Performance: Good
Recording: Inferior
Th e old master Gliere, contrib utes a toolong concerto for coloratura voice and orches tra, a vocalizing without words, consisting of some ravishing melody that fin all y
just gets wearisome, with a soloist who
possesses lovely tone but who delivers it
with an unsure technique. All the rest is
nond escript, with just fl ashes of superior
music making_ An interestin g compilation
of scor es, this-that would have worked
wonders if the performance sta ndard had
been hi gher, the engin eerin g better. Soloists for the most part are adequate, with
trumpeter Popov the best of the quartet.
Much is lost through a r ecording that
r eveals limi ted response. I hope it is tri ed
again with better literature and with th e
advantage of superior engin eerin g.
J. T.
(Continued from page 45)
For some unknown reason, nearly all of
the importa nt record collec tors are men.
Th e only woman who ·has been found to
own a sizable collec tion is Aida Favia.
Artsay, of Valhalla, N. Y.
Mrs. Favia.Artsay, who describ es herself
as a housewife, sin gi ng coach, and writer on
vocal music, possesses some 6,000 record s,
nearly all of which are 78's. In the best
di scop hil ean trad ition, she is a hunter and
will travel anywhere within rea sonable dis·
tan ce to augment her collection. "Once,"
she r ecalls, "a woman calJed up at 11 p.m.
offering some choice items. My husband
and I immediately started on a 20·mile
drive to ge t th em."
The most valn ed r ecords on Mrs. F aviaArtsay's shelves are a set of recordings by
th e baritone Titta Ruffo. She also prizes
her private pressings of Gerald in e Farrar,
Francesco Tamagno, and Emmy Destinn ,
and a set of Mapleson cylind ers, recorded
at the Metropolitan during performan ces in
the very early part of the century. "I like
the satisfaction of having thousand s of
perform ances at my fingertip s," she says. " I
love record s, and good singin g to me has
always been a most sati sfyin g form of art."
Not all of the great collectors, of co urse,
stick to the classics. The area of jazz has
prod uced a num ber of important collec·
tions. And al though the jazz buff enjoys
a different type of mu sic, his way of li fe
differs Ii ttle from that of his longhair colleagues.
Most jazz collectors seem to live in a
world of stati sti cs. Th ey thrive on th e
knowledge of recording da tes, sizes of
ba nd s, and pseudonyms used by famous and
obscure sidemen . They also thrive on sharing th eir jazz lore wi th other collectors.
Until recently, th ere was no cen tral information agency where the jazz follow er co uld
pick up data on hi s special interests. To·
day, however, there is the Institute of J azz
Studi es, in New York City, wh ich owes its
existence to Marshall Stearns, a college professor and perhaps the most res pec ted of all
jazz collectors.
Stea rn s began coll ectin g in 1922 and
steadily built up a library which now boasts
more than 15,000 78's and 5,000 LP's. H e
also has accumula ted thousa nd s of j azz
articles and photogra phs.
Stearns has donated nearly all of his j azz
records and material to the Institute, of
which he is presid ent. His avid interest in
jazz has inspired a vari ety of oth er proj ects,
incl uding the writin g of a very well-received book, Th e S tory 0/ Jazz, and a series
of lec tures on the subj ect at N ew York
Uni versity.
Althou gh Stearns takes a schol ar's interest in hi s recordings, his r easons for collectin g are simple. "Yo u find yo u have a
passionate interes t in th e music," he explains, "so you amass as ma ny examples as
possible. Pretty soon yo u have a collection
that's quite valu able."
F ew men have more to say about records
and colJ ectors than M. J. Prospect, of New
York City. "I am prepared to match my
k nowledge of r ecord coll ec tin g, my 45 years
of experien ce, and my personal collection
against anyone," he asserts. "I am ready
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Prospect's first encounter with phonograp h records was in 1910. His family was
composed almost entirely of opera-lovers.
On e of his uncles ran a record store. The
other was a shoemaker who supplied footwear for Caruso and other stars of the
Metr opolitan. Both uncles owned sizable
record collections, a nd when they died they
left th em to Prospect. Later, Prospect
worked for Charles Schwab, founder of the
Bethleh em Steel Corporation, and also an
avid collector. Schwab, too, left his collection to Prospect. With these collectio ns
serving as a nucleus, Prospect plunged into
his hobby with a passion. Today he possesses between 40,000 and 50,000 78's. Althou gh he specializes in serious vocal music,
he also owns a substantial number of jazz
and perso nality items. "I don't know of a
more valuable collection," he says, "and I
have been closely associated with records
and record collectin g furth er back than anyone else in America. I have brought more
records of international rarity to this country than anyone else I know."
One of these records of international
rarity is a disc which Prospect values ahove
all others. It is a 1900 recording by the
Russian tenor, Joachim Tartakoff. "I have
b een offered $1,300 for my Tartakoff," he
says, "but I would never sell it. Last year
(Vladimir) Horowitz visited me and I
played the record for him. He couldn't believe I had it. H e'd bee n looking for it for
One of Prospect's greatest hopes is to
see record collecting eventually rank in stature with the collecting of rare books, paintings, stamps, and antiques. "This is where,"
he says, "it most honorably belongs. Interest in rare and historical records is greater
than ever_ They preserve our history and
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Sibelius .• _•• _•. from Finlandia
de Falla • • _•• _• Dance of Terror,
Ritual Fire Dance
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Brahms . " • _••• from Symphony No.
4 in E Minor
Khatchaturian •• Saber Dance
Stravinsky ••••• Infernal Dance,
Finale (Fireblrd
Beethoven ••. •• Ode to Joy
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"Blood and Thunder Classics" is available RIGHT NOW from Audiotape dealers
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Th e largest private collection of phonograph records in the world is hou sed in a
doubl e basement beneath the offices of a
New York City attorney, Jacob Schneider.
It is a collection so large tha t it almost
staggers th e im agina tion. Schneid er owns
450,000 records.
It would be assumed that such a giga ntic
accumulation would not lend itself to specialization. Stretching the point, som ewhat,
Schneider does specialize. Except for 10,000 or so classical items, all of his records
are popular numbers pressed between th e
years 1880 and 1946. Th ey are all 78's and
includ es jazz, sw ing, hillbilly, marching
bands, th eatre, and the s poken word.
Schneider travels all over the country in
search of records. " Most of the time," he
says, "I go and get nothing. P eo ple eith er
don't know what th ey have, or don 't know
what I want. A mediocre item to me is a
big find for most p eople."
There are, of conrse, many duplicates in
Schn eider's colJ ec tion. H e can't avoid this,
sin ce he must often buy up huge collections
at a time to achieve his goal. And Schneider's goal is "to own 100% of everything
mad e by any artist of importa nce sin ce
1900." Often, there are a dozen duplicates
of the same disc. In the case of one record
-Sophie Tucker sin ging "Some of These
Days" with the Ted Lewis OrchestraSchn eider has more than 100 copies.
F ew of the important collectors have go ne
into p ersonality recordings. But Schneider
has, and hi s non-musical numbers are perhaps th e most distinctive part of his coll ec tion. Hi s most prized record contains th e
voice of Kaiser Wilhelm. It was taken off
an old recording made in the early 1900's.
Schneider also cherishes a record of Charlie
Chaplin, taken from a p erso nal appearance,
and Qne of the Dionne Quintuplets singing
on a Canadian charity program.
If all of his r ecords were played continuously, it would take Schneider more
than five years to h ear every item in his
collec tion. A few years ago, he was forced
to move his records to a new location. Although the di stance was a m ere twenty
blocks, the move took four month s and cost
him $2,500. Today, Schneider isn't sure
wheth er he owns a collection or whether
a collection owns him. " My way of life is
completely changed," he admits. "I have
no soc ial life to speak of. I used to go to
the thea tre and visit friends. All that has
been eliminated until I can get my collection in order. I ca talog Monday, Tuesday,
and Thursday evenings and all day Saturday and Sunday. All my records are in my
office. I have no records at home, so I'm
never hom e. Record collecting is something
that gets into your blood. There are a lot
of things illogical about it, but at th e time
it seems the thing to do. Why do I keep
buying records? It's like drinking. You
say you won't do it any more, but continue
doing it. I need more records like I need a
hole in the head."
Although Schneider trades with and sells
to other collectors, he refuses to call himself
a dealer. "I can't make any money out of
this," he says. "I'm a la wyer, and that's my
profession. My records are a big so urce of
sa tisfaction. If someone offered me a substantial sum for my collection, I wouldn't
sell. If I did, all the fun would be gone."
-Frank Jacobs
Jazz, Pops, Stage and Screen
Reviewed by
World Pacific's prize jazz combo, The Mastersounds, has come up with
another of their outstanding discs-this one of Ballads and Blues . . .
"pretty, also strong and gutty." (see p. 96)
RCA Victor strikes TV jazz gold again with More Music from Peter Gunn .
-"There is no denying the very strong musical impact and feeling of excitement throughout." (see p. 102)
featuring JULIAN "CANNONBALL" Adderley. Our Delight; Fu lle r Bop Ma n; Stay On
It; If I Love Aga in & 3 others . Mercury SR
80018 $5.95
Mu sical Interest: Strong
Performa nce : Excellent
Recording: Top-notch
Stereo Directiona lity : Fine
Stereo Depth: Excellent
" Cannonball" is the best young altoi st in
jazz today and plays with enviable individuality. His brother Nat, who is a fa scinating cornetist, and the rest of th e gro u pare
well suited to th e blues-oriented approach,
which they obviously prefer. Junior Mance's
piano solos are a deli ght. Sam Jon es on hi s
bass solo on Straight, No Chaser, is masterful. This is a fine jazz LP. The stereo is
good , a nd tbe illusion of presence is of remarkably hi gh degree.
R. J. G.
LAR-Ray Anthony (trumpet) and orchestra . Deep River; Dry Bones; Swin g Low & 9
othe rs. Capitol ST 1200 $4.98
Musica l Inte rest: Moderate
Perfo rm ance: Crisp and efficient
Reco rd ing : First-rate
Stereo Directionality: Excellent
Stereo Depth: Well planned
In an album specially prepared fOl' ster eo,
Anthony heads a band that ranges from
22 to 25 pieces with two separate brass section s, right and left. Soloists are Ray Anthony, an undistin guished trump eter, a nd
Plas Johnson, a "booting" tenor saxophon e.
The uncredited arrangements vary from
a good straightaway swinger of the Tommy
Dorsey kind to th e rather cute scorin g in
which the overall form is distorted. The
playing by a crack-pick up ba nd is excell ent
as th e musicians are better than th e material. It might have al so helped had Anthony allotted more solos to hi s sidemen.
YARD Strike Up the Band; Ju st in Time ;
Sa tin Doll; Get Happy & 8 othe rs. Audio
Fidelity AFSD 590 I $6.95
Mu sica l Inte rest: Slight
Performance: Slick
Recording: Good
Stereo Directi o nality: OK
Ste reo Depth: Thin
Although he has good technique, and
now and then manages to set a swinging
Carlton Records-known best for its pops-offers something offbeat, the
Laurence Rosenthal music for the Japanese play Rashomon. "A strikingly atmospheric score that stands up remarkably well on its own ."
(see p . 102)
beat, this vibes pl ayer does not have much
to say. Also, th e rhythm sec tion is stiff,
which hampers him even more than usual
The recording, however, is good. R. J. G.
with Count Basie and his Orch estra . J ust in
Time; Taking a Chance on Love; P enn i ~s
from Heaven; Fir efly & 8 othe rs. Columbia
CS 8104 $4.98
Mus ica l Interest: Limited
Performance: Uneven
Recording: On location
Stereo Directional ity: Good
Stereo Depth: Good
When Nat Cole recorded with Basie, the
result was an unu sually good Nat Cole record. He seemecl spurrecl to grea ter heights
by proximity to Basie. Bennett, however,
firstly does not have what it takes to be a
j azz sin ger, ancl would be better off with
the usual studio accompaniment. Th e recording is good, and the stereo version is a
lot livelier in sound than the monophoni c.
KENTON DAYS-June Ch risty (vocals)
with Orchestra dir. by Pete Rugolo. The
Lonesome Road; Willow Weep for Me; How
High the Moon & 7 othe rs. Capitol ST 1202
Musica l Interest : Stereo nostalgia
Performance: Well done by all
Recording: Superior
Stereo Directionality : Convincing
Stereo Depth: Very good
All records reviewed in this column as
stereo must be played on stereophonic
equipment. They CAN NOT be
played on old style monophonic (single speaker) equipment without permanently damaging the record. Play
at 33 113 rpm with the RIAA setting.
F orm er K enton arranger P ete Rugolo,
has re-orchestra ted songs Jun e Christy used
to sin g with the Kenton band. A number
of Kenton alumni are in the orchestra as
well as several other crack Hollywood session men. Th e results are thoroughly professional, and should certainly be warmly
received by most coll ec tors of the original
records. However, in the perspective of
jazz history, the siI) gin g and writing ca n
scarcely be call ed ori ginal or lastingly in flu ential.
N. H.
Rosemary Clooney with the Buddy Cole Trio.
'Deed I Do; Bl ue Moo n; Too C lose fo r Comfo rt ; Th is Can't Be Love & 8 othe rs. Coral
CRL 757266 $5.98
Musical Interest: Good pop singing
Pe rformance: Excellent
Recording: Excellent
Stereo Directionality: Too sharp
Stereo Depth: Shallow
Th e voice is too much restricted to th e
rio-ht chann el and the trio background
m:kes the left seem weak. As fa r as the
sin o-in o- O'oes I'll agree with Earl Wilson,
wh~ ;n;'te ;he notes, and say that Mrs.
F errer never did anything better. But
so mehow, even in her best work th ese days,
she lacks the fire of, say, Come On-a My
HOl£se. Th ese are son gs of th e s,ving era.
The accompa nim ent is orga n and rhythm ,
and th e result is mu sicall y good.
R. J. G.
featuring the CY COLEMAN JAZZ TRIO .
This Time the Dream's on Me; Smile; Tan gerine; Crazy Rhythm and 6 others, W estminster WST 15037 $4.98. Mono-WP 61C'5
Musical In terest: Slick, cocktail piano
Pe rformance: Tinkling
Recording: Bright
Ste reo Directiona lity: OK
Stereo Depth: Shallow
Cocktail-lounge background lllU sic with
coming soon ...
The Big, Exciting
no jazz content whatsoever, but quite pleas·
ant to hear and which does not dull when
audited at length. The piano is on the
left ; the rhythm on the right and the sound
R. J. G.
is good throughout.
South ; Old Man River; Down by the Riverside & 9 others. Audio Fidelity AFSD 5892
Musical Interest: Thin
Performance : Just competent
Recording : First-rate
Stereo Directionality: Tasteful
Stereo Depth : Fine
The theme for this ninth Dukes of Dixieland .album ties together a dozen tunes more
or less connected with rivers. There's considerably less hokum than in several previous sets by the Dukes; but when they are
left to largely musical concerns, the Dukes
indicate tpey are undistinguished jazzmen,
no matter ho,,'; successful they are with the
general public. None of the soloists has distinctively individual imagination and the
group as a whole drives more than it
swings. While there is no denying that the
Dukes seem to have a message for a lot of
people, I doubt that rriany serious jazz collectors are among them.
N. H.
public Fri., Sat., Sun., 1 to 10 P.M.
Admission 75c, children free.
MILWAUKEE-Sept. II, 12, 13
Pfister Hotel
ROCHESTER, N. Y.-Sept. 25,
26,27. Sheraton Hotel
BUFFALO-Oct. 30, 31, Nov. 1
Statler Hotel
SEATTLE-Nov. 6, 7,8
New Washington Hotel
14, 15. New Heathman Hotel
22. Benjamin Franklin Hotel
RIGO Enterprises, Inc.
500 N. Dearborn St.
Chicago 10, Illinois
-ELLINGTON SUITE. Take The "A" Train;
Perdido; Lucky So and So & 7 others. World
Pacific 1016 $5.98
Musical Interest: Better go to Duke
Performance: Polished
Recording: .Good
Stereo Directionality: Well balanced
Stereo Depth: Rather shallow
The original Chico Hamilton Quintet
(with alternate Paul Horn) was reunited
to perform a series of Ellington compositions. The :result is disappointing because
the chic, salon-music approach of Hamilton
misses the vitality and high humor of much
Ellington. Even when Ellington is being
sensuously romantic, his scores aren't so
self-consciously perfumed as some of Hamilton's.
The playing is good-particularly Jim
Hall's, but the arrangements are more
akin to mood music than jazz. Nobody yet
has been able to interpret Ellington's works
with anything like the flavor and strength
of the men for whom Duke wrote them.
This attempt scores one of the larger misses,
although it is pleasant enough as background music.
N. H.
& blues. Bluesology; Solar; Monk's Ballad ;
The Champ & 6 others. World Pacific 1019
Musical Interest: Broad
Performance: Top-notch
Recording: Beautiful
Stereo Directionality : Excellent
Stereo Depth : First-rate
Oct. 16, 17, 18
Statler Hotel
This is a fine stereo jazz LP as well as
being one of the most pleasant and pleasing collections of ballads and blues to appear in some time. The Mastersounds can
be pretty, also strong and gutty with their
playing; and this collection is designed to
give them all the best of it so far as material is concerned. The recording is fully
up to the level of their King and 1 LP
(405), which was one of the best in recent
R. J. G.
-LOU McGARITY QUINTET_ By the Beautiful Sea; Sugar Blues; Some Like it Hot & 8
others. Jubilee SDJLP 1108 $5.98
Musical Interest : Spotty
Performance: Barnes mars unit
Recording : Good
Ste reo Directionality: Acceptable
Stereo Depth : OK
Lou McGarity is a warm, fluent trombonist with a tone that is lusty but also
sings. Dick Cary is a consistently tasteful
pianist. Electric guitarist George Barnes,
however, is not in context. While technically accomplished, his jazz conception
is much less attractive than McGarity's or
Cary's. Barnes lacks subtlety and his ideas
are too often obvious and not freshly developed. The uninventive arrangements also
limit the album's interest.
N. H.
THE PIANO SCENE OF DAVE Me:KENNA. This Is The Moment; Fools Rush In;
Secret Love; I Should Care & 8 others. Epic
BN 527 $4.98
Musical Interest : Broad
Performance: Brilliant
Recording: Excellent
Stereo Directionality : Very good
Stereo Depth: Fine
This is the first piano-with-rhythm stereo
LP that has made sense to me. With closed
eyes one can imagine the three musicians
in the room. There's no ping-pong and no
sharp split-just a gradual melding of direction~ Aside from the excellent stereo,
the music itself is top-notch. McKenna is a
highly individual musician whose approach
to ballads and standards is fascinating.
12TH STREET RAG featuring Jad
Paul's Banjo' Magic. Ballin' the Jack; limehouse Blues; Alabamy Bound; D;ga Diga Doo
and 8 others. Liberty LST 7107 $4.98
Musical Interest: Academic
Performance: Adequate
Recording: Adequate
Stereo Directionality: Good
Stereo Depth: Adequate
The label says this is "the ultimate in
transistorized stereophonic high fidelity
sound." Goodness! It sounds just like the
others: the drums on the right; the bass
in the middle and banjos all over the place.
It's pleasant enough if you can take banjo
albums and the tunes are interesting and
even, on occasion, unusual.
R. J. G.
BOB PRINCE TENTETTE-CHARLESTON 1970. Ain't She Sweet; My Charleston ;
Heebie Jeebies; Black Bottom & 9 others.
Warner Bros. WS 1276 $4.98
Musical Interest: Negligible
Performance: Imaginative
Recording: Notable
Stereo Directionality: Noticeable
Stereo Depth: Not noticeable
As the liner notes admit, this is a hybrid
creation: the mating of mid-Twenties ragtime with modern jazz. It is clever enough
at times, even fun, and the players are all
expert. But a gimmick is a gimmick, and I
doubt if it will satisfy either the hip or the
hip-flask se t. The s tereo is pretty well defined_
S. G.
Rene and his Orchestra featuri ng Hymie
Shertzer (alto saxophone); Doc Seve rin se n
(trumpet); Urbie Green (tro mbone); Walt
Levin sky (clarinet); AI Caiola (guitar ) . RCA
Victor LSP 1947 $4.98_ Mono-LPM 1947
$3 .98
Musica l Interest : Moderate
Perfo rmance: Expert
Recording: Very good
Smreo Directionality: Excellent
Stereo Depth: Superior
Build This Superb flJcItok4
Organ From Simple Kits and
The Beautiful
There may have been a "compulsion to
swin g" in Mr. Rene's mind, but it was not
fulfIlled in thi s album_ Th ese are highly
profes ional, polished big-band arrangements, skillfully played_ They involve only
th e surface of the emotions, however, and
are rarely memorable in term s of imaginativeness_ Son icall y, the stereo version is
cl early the more sa ti sfying experience_ Rene
is a careful orchestrator and his co ntinuous use of varied devices to brighten a nd exand the in strumental colors are much more
e "ective in a stereo achievement as wellalanced as thi s_
Some of the occasional, obviously comn ercial touches li ke the "over-echoey" alto
s xophone, and the keening elec tric g uitar
c uld have been omitted. There is, inci ( en tally, vigorous drive in some of these
p~rformances, but they hardly ever pulsate
ilr the jazz sense of swi ngin g_
N. H.
- tile only small organ with two full 61note keyboards and
22 stops. Re quir es
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MULLIGAN. I Feel Pretty; Give Me Th e
Simple Life; It Don't Mean A Thing & 7 others. World Pacific 1020 $5_98
Mu sical In terest : Entertaining
Perform an ce : Annie can do better
Reco rding: Good
Stereo Directionality: Effective
Stereo Depth: OK
Give Your Family A Lifetime of Musical Joy
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An nie Ross, curre ntly a member of the
ex ub erantly skilled Lambert-Ross-Hend ricks Singers (Sing A Song 0/ Basie, etc_,
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that Annie's fIrs t American solo album
co ul d have been more memorable_ Here,
Anni e sings with her customary mu sical intelli gence, urbane charm, and a se nsiti ve
actress's co ncern for the sense of the lyri cs_
There are wholly beguili ng hi gh points,
but by and large, Annie has shown herself
elsewh ere to be capable of more than most
on this album. More stimulatin g arrangements might have hel ped beca use Annie has
incisive ima gin a ti on when properly challenged. It should be noted, however, tha t
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ha ve been more interplay be tween Anni e
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SHANK. Simpatico; Little Girl Blu e; Lonely ;
I Didn't Know What Time It Was & 6 others.
World Pacific 1018 $5_98
Mu sical Interest: Broad
Perfo rm ance : Slick
Recordinq: Top -notch
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Stereo Adapters
(Continued from page 41)
fairness to G.E., it must be emphasized that the RG·1000 is not
being offered as an adapter, but rather as a multipurpose device.
Yet it does lend itself to use as a stereo adapter of a limited
sort. It must be connected into the tape output jack (or jacks)
of the amplifier (or amplifiers) in question. Obviously, during
a recording session in which those jacks have to be used, the
RG.1000 must be disconnected. Aside from this, the remote control idea may appeal to many.
The most advanced and versatile of the "inside.the.amplifier"
adapters is the Model KT.31S, offered as a kit for $27.S0 by
Lafayette Radio. This adapter can be used between any pre·
amps or power amps. It can a1£o be used with single.chassis
amps having tape output jacks with the monitor-play facilities.
(If the integrated amps do not have those facilities, they must
be modified by a technician to be used with the KT·31S.) The
two mono amplifying channels do not have to be identical.
The KT·31S is unique in being an e!ectronically active, rather
than a passive device. It uses two type 702S twin-triodes (these
are the new, improved version of the 12AX7), plus a selenium
rectifier for its power supply. The output impedance of these
stages is very low and permits remote operation for distances
exceeding SO feet. Additionally, the tubes permit stereo control
of a very advanced sort. The stereo function switch is a dualconcentric type. Provision is made for mono signals from either
channel to go through either or both channels; for combining
both input signal~; for normal stereo; for reverse·channel stereo;
for phase reversal (as well as the unusual switch position that
provides both channel and phase reversal at once!). An equally
useful and unusual feature is a "calibration" setting which enables the user to balance the two channels electronically by means
of an aural null, i.e., zero output obtained as a result of equal
but phase·opposed signals in both channels.
Finally, the KT-31S has a "bridge" control and a third·chan·
nel output. With the former, variable amounts of signal may be
cross·fed between the two channels to fill the hole·in.the·middle.
With the added output, a b!ended signal may be fed to a third
amplifier and speaker-and the level of that signal may then be
controlled by the front panel "bridge" control on the adapter.
This adapter has no provision for furnishing power to the amplifiers under its control; they must be turned off and on in
the usual manner. The Lafayette KT-31S, by the way, is a replica
version of the last stages of the Lafayette KT -600 stereo preamp.
If anything could be called a "best buy" this adapter-in view of
its price and performance and actual adaptability-would merit
that label. Remember, though, it is a kit and will take S to 7
hours to assemble.
"Outside-the-Amplifier" Adapters
For those whose mono amplifiers won't permit the use of these
adapters, there are other kinds of adapters that connect at points
outside the amplifiers. First is a very serviceable Knight adapter,
the $14.9S model KN.7S0 sold by Allied Radio. This is a compact
device that is connected into the speaker leads. The only limitation
here is that the KN-7S0 may be used only on low·powered am·
plifiers, specifically those rated up to 12 watts output. Connected
to such amplifiers. the KN-7S0 does a creditable job. It provides
for stereo balance, master volume, channel reversal, phasing, and
a choice of stereo or mono signals. It does not provide for com·
bining the output of a stereo cartridge when playing mono records
(but there's a solution for this one. too!), and it does not furnish
operating power to the respective mono amplifiers.
Very similar is the Knight·Kit model 83-Y-778, also from Allied.
Priced at $9.9S, this adapter comes as an easily built kit (one
hour at the most). It connects into the system exactly as the
KN-7S0. It has the same functions, with the addition of being
able to play either channel through one speaker or both. And it
can be used with amplifiers in the 20·watt class. Both this adapter
and the KN-7S0 appear to be similarly made. In each, the volume
control is a four.section variable resistor; the balance control, a
two-section unit. In the KN.7S0, stereo functions are worked out
on three separate slide switches. In the lower·priced kit, a twin·
wafer rotary switch is used instead. Each appears equally effective
and convenient. In view of its higher power.handling ability, the
lower-priced 83-Y-778 would appear to be the better buy of the
two, at least for a kit builder who doesn't mind spending a couple
of hours (at most) putting it together.
A unit that appears to perform in exactly the same manner as
the KN-7S0 is the Audiotex "Stere·O-Sound." Cat. No. 30·286,
list price $39.S0. The functions are divided among four identical,
high-styled knobs, appropriately labelled. This adapter. too, con·
nects between the amplifiers and the speakers.
Any of these adapters can be used at some distance from the
rest of the system, since this type of adapter is actually termi·
: nated by the low impedance of the speakers. In this regard, the
same general wiring distances can be obtained (up to 70 feet)
as in regular speaker hookups. But remember that the distance
from amplifiers to adapter is part of the total distance coveredand the distance from the adapter to the speakers must be added
to it.
One criticism leveled against the kind of stereo adapter inserted
into the speaker line is that it may reduce the damping factor,
which, in turn, may impair the sharpness of transient response
and the clarity of the bass.
Now to nail down a point left unresolved a little earlier, none
of the "outside·the·amplifier" adapters provides the function of
combining the output signals of a stereo cartridge for playing
mono records. Actually, they can't since this function must be
accomplished before amplification.
The answer to this one is the Model SOS by Electro·Voice
($11.S0). This tiny unit is intended for use before the preamp
inputs, just after the cartridge itself. In fact, it is so constructed
that it may be installed flush on the mounting board or base of
turntable or changer. or alternately in any convenient spot. The
cables from the tone arm plug into it; its single knob then selects
mono, stereo, or reverse stereo. The 50S works with crystal or
ceramic cartridges. It happens to be a very neat and an essen·
tial, supplementary unit for use with any of the "outside·theamplifier" adapters. With it, and one of those, the converted
stereo system attains an impressive degree of flexibility and con·
This completes the present roster of adapters. It contains a
sufficiently wide variety of units so that any mono hi·fi system
can be converted to stereo without becoming obsolete in any
sense. The kind of mono amplifier presently in use and the type
chosen for the second channel determine which adapter will best
do the job.
Useful as they can be, stereo adapters as a class of components
are by no means universally admired. Many companies steadfastly
refuse to produce them, contending that-in the long run-it is
easier and only a shade more expensi'1'8 to buy a dual·channel
amplifier or preamplifier in which all control functions are com·
bined in a single unit. There is no denying that a stereo adapter
plus two amplifiers takes up plenty of space and increases the
profusion of knobs, wires and switches. Undoubtedly, many buy·
ers would find a single, unitized, and neatly styled stereo control
panel much more to their liking.
However. those now owning a good mono system might favor
the adapter because it permits them to retain the mono system in
its entirety and still have the facilities for enjoyment of the burgeoning world of stereo.
• Norman Eisenberg was one of the editors of Popular
Electronics (another ZiD-Davis publication) when he fell so
completely under the spell of high fidelity that he now devotes
himself fully to free-lance writing (Saturday Review, Electronics Illustrated. Living for Young Homemakers, etc.) on
his favorite subject. Crowded out of their home by a mount·
ing heap 0/ assorted hi-fi hardware. Norman and his wife are
taking temporary refuge in Europe, reporting on sound overseas.
Stereo Directionality: Good
Stereo Depth: Good
ESL Dust Bug
D e s p i te the soun d, it i s NOT Pau l Desmond but rath er th e Latin accompanim en t
that makes Bud Shank sound te n times as
good as usual. In fact, this is the best
Shank I have heard in years. The so und is
very good throu ghout. Th e stereo effects
are sharp and enhance the mu sic. Th e tun es
are interestin g, and the treatment of them
fresh and bright.
R. J. G.
than f)DD DOD delighte d users throughout the
world ha~e-with the ingenious ESL Dust Bug,
which cleans the record as it is being played.
~ As dust
MARTIN DENNY GROUP-AFRODESIA. Jungle Drums ; Aku Aku; Simba & 9
others. Liberty LST 71 I I $4.98
M us ica I Interest: Not much
Performance: Stereophonic
Recording : Clean
Stereo Directionality: Sure it has
Stereo Depth: No it hasn't
~ No longer is it necessary to place fond hopes
in inadequate or injurious attempts at cleaning
records, such as liquids, sprays, brushes,
cloths, and sponges.
The ESL Dust Bug installs instantly on
turntables or record changers, gently removing
all dust and lint at the moment of playing,
and reducing surface noise (especially
evident on stereo discs).
~ It prevents distortion caused by stylus
clogging, and dramatically improves the sound
of old records. Every point on a twelve-inch
stereo or mono lP record is cleaned by the
Dust Bug approximately one hundred times
during a single play! The Dust Bug also
minimizes static which would attract more
dust. Only $5.75, complete (record changer
model only $4.75), at your dealer's.
D ept R· 35-54 36th Street
Long Island City 6, NY
~ If your stereo system often sounds unbalanced,
TRIO-AI Russell
(piano), Buddy Hawkins (drums J. AI Moore
(ba ss ). My Lucky Day; Little Girl ; Blue Sk ies
& 9 others. Ste re- O-Craft RCS 508 $5.98
the fault may lie in the arm. In many cases,
proper channel balance can be. achieved by
replacin g your present arm With the
superlative new ESL Gyro/ balance.
Musica l Interest : Slim
Pe rformance: Cocktail lounge experts
Recordi ng : Good
Stereo Directionality: Distinct
Stereo Depth: Shallow
~ For balanced playback of stereo discs, !he '
stylUS must be kept in perfec! contact With the
record groove. No turntable IS alw~ys level;
with a conventional arm , even a tmy tIlt
may result in gravitational pull which adds
pressure on one side of the groove. ThIS
uneven pull deteriorates the sound, and
greatly increases wear on valuable records
and styli.
is always present in the air, it settles
on records as fast as it can be removed. Any
wiping of a record grinds dirt into the groove
and also increases the charge of static
electricity normally present, and attracts more
and more dust to the record.
Martin Denny, that in trepid explorer, has
invad ed th e hear t of Africa (located somewhere near Hollywood and Vine), and has
come up with some rare mu sical specim ens.
They in clude all kind s of noi ses, of course
-from a tsetsefiy bu zzi ng from speaker to
speaker to what so und s like Catalin a mating calls. And while its m usical valu e may
be sli gh t, thi s is still a pretty colorful
stereo package. Incid entally, the Afr ican
theme is broad enough to take in mu sic by
Cuban, Brazilian and Hollywood composers,
and even includ es one item, Ra/tero, named
for old " bwana" George Raft himself. S. G.
.. Have you solvedthe problems of dust, I~~t,
and staticbuildup on records and styli . More
ESL Gyro/balance arm
This trio is composed of Philadelphians
who do a co nsid erable amoun t of work at
home as well as in Las Vegas, T oronto, and
oth er places. Buddy Hawkins is th e featured vocalist with occasional assists fr om
hi s coll eagues. This is an inn ocuous unit.
It often doubl es for dance and show music
in the lounge of a night club whose main attractions are downstairs or nearby. Th e
approach is frothy, bouncing, and essentially empty. This is not a record to live with.
TRA-A NIGHT WITH SIGMUND ROMBERG with vocals by Earl Wrightson and Lois
Hunt. Song of Love; Go lden Days; One Kiss
& 9 others . Columbia CS 8108 $4.98
Mu sical In terest : Romance a la Romberg
Pe rformance: Faithful
Recording: Satisfactory
Stereo Directiona lity: Good enough
Stereo Depth : Not too much
Apparently inspired by the series of programs at th e Cotillion Room of New York's
Hotel Pierre, P ercy Faith lushes up a
dozen Romb er g melodi es, and Earl Wrigh tson and Lois Hunt are on hand to give
them their proper interpretation s. Th ere
are no unu sual items here, but if you're
looking for a recording of th e basic Romberg this one has practically all of it. S. G.
~ A Gyro/ balanced arm can eliminate
gravitational pull caused by an unlevel
turntable, and only the ESL arm is
Gyro/ balanced. Even with the turntable tIlted
ninety degrees, the ESL Gyro / balan.ce arm
keeps the stylus perfectly centered 10 the
groove , and the output of both channels
~ Join the thousands of musicians, engineers,
and music lovers whose records sound better.
and last longer with the ESL Gyro / balance
arm. Only $34.95 at your dealer's.
~ It's no secret that the most advanced stereo
pickup-for the Gyro / balance or anx other
arm-is the world-famed ESL Gyro / Jewel
electrodynamic cartridge. At only $69.95 (far
less than the cost of a comparable stereo
amplifier or pair of speaker systems), ?can
you really afford not to own the fmest.
Dept R· 35-54 36th Street
L.c: ng Island City 6, NY
DO YOU WAtUU, OANCE'? featuring
BOBBY FREEMAN. When You're Smiling;
Ebb Tid e; On Th e Su nny Side of th e Street ;
Because of Yo u & B othe rs. Jubil ee SDLP
1086 $5.98
Mu sical Inte rest : ???
P'erforma nce : Energetic!
Recording: O verw he lmed
Stereo Directionality : Bifurcated
Stere o Depth: Qu estio nabl e
If you have a fri end .who hi's stereo and
a rock-and-roll fan in th e hou se, he might
co nceivably want thi s demonstration of
strength of voice. On the other hand , h e
might not wi sh to eith er ali enate his nei ghbors or blow his tub es. Better in quire first.
SINNERS BALL arranged and conducted by
Jerry Fiel ding. Ch icke n H awk; Ba sin Str eet
Bl ues; Blackbe rry Boogie & 7 othe rs . Warne r Brothers WS 1267 $4.98
Mu sical Inte rest: Very mi xe d
Performance : Self-conscious
Recording: Best for Betty
Stereo Directionality: Intellige nt
Ster eo Depth : Very good
The liner notes make much of th e long
and careful preparation for thi s album, including loca tion stud y in New Orl eans
beca use it "gave birth to more saints an d
sinners than most." The sin ging nonetheless, sounds like Lindy 's. This is a "showbiz" approach 1.0 both legitimate blu es and
gos pel songs and it offers some new imit ali ons of both.
Whatever she sin gs, Miss Hulton undeni ably projects mu ch boun ce and force, but
almost al ways th e seam s show. The exuberance so unds calculated, and some of the
phrasin g is all too exaggerated. A stunni'1g
contrast to th e strainin g Miss Hutton is the
one number in th e album on which she's
absent-a gospel performance by Od essa
McCastle and Catherine Burks with the
Antioch Evangeli·s t Temple Choir. H ere tbe
emotion rises naturally in glowing fre edom
and the beat is contagiou sly gladdening.
Most of Miss Hulton 's backgro unds, by the
way, are aggressively comm ercial.
N. H .
YOU ARE MY LOVE featuring
FRANKIE LAINE, with Orchestra cond o by
Frank Comstock. You Are My Love ; Side by
Sid e ; Th e Touch of Yo ur Lips; Try a Little
Te nderne ss & 8 othe rs. Columbia CS 8119
$4.98; Mono-CL 1317 $3.98
Mu sica l Interest: Good pop vocals
Performance: Slickly professional
Recording: Top-notch
Ste reo Directionality: Good
Stereo Dept h : Good
Frank ie Laine's voi ce, while never particularly pleasant, is individual and sometimes striking in its ability to transmit emotion. Given th e good accompaniment that
Frank Comstock provides on this LP, the
result is an excellent popular rendition of
ballads. Th e monophonic and stereo versio ns lack suffi cien t difference to make
either one preferable. Each is quite ad equate.
R_ J. G.
Pa t ri ci a ;
To rero;
C otilli o n
Ma mbo and 9 ot he rs. Coral CRL 757258
$5.98. Mono-CRL 57258 .$3.98
Mu si ca l Interest : Disa ppointing
Pe rfo rmance: Pr ec ise
Reco rding : Good
Stereo Directi onality: Comp etent
Stereo Depth: Ve ry good
In th e late forties, Machi to and hi s AfroCuban band was often so polyrhythmica lly
excitin g and played with such an exhilarat·
in " drive that it attracted many jazz
lis~en ers as well as Latin audiences. The
group that plays this pro gram ( presum ably
a characteri stic one for its dates at the
Co ncord a resort hotel outsid e New York
City) is' a shadow of the older band .
Everythin g is performed clea nl y and the
music is easy to dance to , but much of the
former zest and abandon have been diluted
into polite smoothn ess. Maybe that's the
way Concord guests want it, and perhaps
the band lets go more before more·hip
au di ences. In clud ed are examples of the
cha cha samba and mambo. For listenin g,
th e steJ~eo ver sion is preferable beca use of
the clarity with which one can follow the
interweav in g of the rhythm on th e right,
the reeds on the left, an d the brass in th e
middl e.
N. H.
This trio of el ectronic harmonicas works
cleverly and achi eves more di versity of
sound than one would expect from this instrum entation, even thou gh more than three
different kind s of harmoni cas are used. Es·
sentiall y, however, this is more "gimmick·
ry" than mu sic making. People who " dig"
harmo nicas will , however, be overjoyed.
N. H.
Th e La d y Is a Tramp; Ju st in Tim e ; That O ld
Black Magic; J ersey Bounce & 9 othe rs.
Capitol ST 1177 $4.95
M usical Interest: Good repertoire
Performance: Ma nnered
Reco rding: Exce ll en t
Stereo Directional ity: Good
Ste reo Depth: Good
Murphy is a Sinatra-styled singer who
will be well worth hearin g once he avoids
th e tri cks a nd th e manneri sms of his idol.
Here, they merely sound aff ec ted wh en
done by so meone else. It is too bad that
young Murphy hind ers th e effectiveness of
his warm, perso nal sound by th is fault.
Sombrero; Mimi; C louds & 9 others. Cap itol
ST 1194 $4.98
Mu sica l Intere st : Slick
Perfo rmance: Expert
Recordi ng : Up to C apitol standards
Stereo Directionality : Se nsib le
Stereo De pth: Very good
Guitar ist·arran ger Jack Marshall h as
wrilLen a "ste reo showcase" that do es indeed indicate th e add ed brea dth and depth
of stereo. He al so ha s a band of superior
sidemen, but hi s arra ngements, while clever,
are emotionally and imaginatively bland.
Th ere are some pleasant moments, but th e
overall result is more that of hors d' oeuvres
than a main course.
N. H.
HIS ORCHESTRA-PLAYING THE NUM BERS. 16 19 Broadway; Three O'Clock in th e
Mor ning; O pus # I & 9 others. Epic BN 526
Mu si cal Interest: Attractive writing
Perfo rmance: First-ra te
Recording: Unusua lly alive
Stereo Dire ctionality : Clearly set
Stereo Depth: Very good
Jimmy Mundy, a veteran big band arran ger (H in es, Goodman, Basie, etc.) ha s
scored twelve tunes with numbers in th eir
titles. The writing for the most part, whi le
sli ck and of little jazz interest, is tastefully
conceived. There is also some expert playin g, but it is unfortuna te that none of the
sidemen are nam ed. Much of this is good
for dancing, but skillful as th e writing is,
littl e of it can stand repeated listening.
Toy Trump et; Dance of the Dutch Do ll ; Doll
Dance & 9 othe rs. Mercury SR 60008 $5.95
Mu sical In terest: For "harmonicats"
Pe rfo rma nce: Agile
Rec ord ing: Sharp and clear
Stereo Directionality : Good
Stere o Depth: Effective
(vocals) with Vic Schoen and his Orchestra.
Me mo ri es ; Th e Boy Next Doo r; W o nd e ring
& 9 othe rs. MI>l'c\l~ ':,\\ bl}M9 $5.95
M usica l Interest : Resp ecta ble pops
Performance: Efficient
Reco rdin g : W e ll balanced
Stereo Direction ality : Excell e nt
Stereo Depth: O e 6 S1on all y sha ll ow
PalLi Page trea ts a dozen pop waltz
standards ~.itl~ c1arit.y ot dlc,'lon, res pec t
for th e composers' intenti ons, and a certain amount of verve. As is customary with
Miss Page, there is technically little with
which to quarrel, but emotionally, thi s lis·
tener is left with no burning desire to hear
the album again. For example, th e difference between Judy Garland and Miss Pag ~
is the difference betwee n Al 101son and any
numb er of proficient but forgotten pop
sing.e rs of his tim e. Patti will add little to
show-biz history. Co nscientious though she
is, that ineffable added dimension is missing.
RIVERS with Orchestra cond o by Nelson Riddle. One Minute to One; Three Coin s in the
Fou nta in; Five 0 ' Clock Whistle; Dinner at
Eight & B oth e rs. Capitol ST 1210$4.98
Mu si cal In terest: Limited
Performance: Uneve n
Rec o rding: Exc e llent
Ste re o Directiona li ty: Good
Ste reo Depth: Good
This youn g Samoan girl may yet become
a top·notch singer, but at this point she is
merely an unu suall y good beginner who
does have a feeling for phrasing and lyrics
as well as warmth in her voice. Th e Nelson
Riddl e accompa nim ent helps make her
sound her best.
R. J. G.
SYNCOPATORS. Sugar Blues ; Am I Blu e;
Sweet G eorgia Brown and 9 others. United
A rtists UAS 6029 $4.98
~ ----~~----------~----------_
ra U~ retie,Superior;Quality Hi:.Fi Kits
Music al Inte rest: For dancers only
Performance : Competent
Record ing: Clear and bright
Stereo Directionality: Effe ctive
Stereo Depth : Good
Ma rilyn Monroe is on the cover-as are
her name and those of her co· stars in the
Some Like It Hot film. Neither she nor
they, however, are inside. More's the pi ty.
Th is is a quite ordinary instrumental pro·
gram of cha chas. It's dull to listen to but
may be good for background music at
N. H.
The Nea rness of You; You Walk By & 9
others. Capitol ST 1208 $4.98
Musical Interest: Submerged
Perfo rman ce: Soporific
Recording: Splendid
Stereo Direc'ionality: Well surrounded
Stereo Dept', : Satisfactory
Fred Waring has plucked a dozen rich,
ripe choral pieces for his K eystone State
crew to sink its teeth into, but th ey ar e all
taken at such a ploddin g pace that at times
(as in Jad a) he seems to be kidding in the
whole idea. Gordon Goodman's pl easant
vo ice is the fea tured attrac tion on six num·
bers. The s ter eo soun d has abetted the
progra m admirably.
S. G.
• RESPONSE 1721.,000 CPS ±1 DB (at normal Ibtenlng
• ~REMIUM "EL86 OUYPU! TUllES .•'/1. SEPA.
KT -500 FM-AM
More than a year of research, planning and engineering went into the making of the lafayette
Stereo Tuner. FM specifications include groundedgrid triode low noise front end with triode mixer,
double-tuned dual limiters with Foster-Seeley discriminator, less than 1 % harmonic distortion, full
200 kc bandwidth and sensitivity of 2 microvolts
for 30 db quieting with full limiting at one microvolt.
The AM and FM sections have separate 3'9ang
tuning condenser, separate ·flywheel tuning and
separate volume control . Automatic frequency
control "locks in" FM signal permanently. Two
separdte printed circuit boards make construction
and wiring simple. Complete kit includes all parts
and metal cove r, a step-by-s tep instruction manual, schematic and pictorial diagrams. Size i5
13'A" W· X TO'/. " 0 X 4% " H. Shpg. wI., 22 Jbs.
Kr.500 ........ ... . 7.45 Down ... ....... .. Net 74.50
1T-50. Same as above, completely factory wired
and lested ..... ... 12.45 Down .. ...... Net 124.50
CAFE with the Milt Shaw Trio. Anima e core;
J'atten drai; Non dim e ntic a r & 9 others.
Capitol ST 1209 $4.98
Musica l Interest: Harry Lime-stuff
Performa nc e: Expert
Reco rding: Very fine
Stereo Directionality : Good enough
SJe.re.a Depth : So is this
{ tl1ls'a ' t nd a't 'be prima,rily back·
ml1 ~1(!-H. z i tl1er " rjtJJ ~l'jo :l CC?ln~
pnn im nt, I'm not exactly sure why CapJtol
hothered to r el ease it in stereo. Anyway,
it's sort of intimate stereo, and it makes for
very pleasant listening. Miss Welcome is
a sensitive zitller ist, and her r epertoire is
well calculated to put you in th e prop er
continental mood.
S. G.
d rl'ru nlff
SDlves Every Stereo/Monaural
Control Problem!
Romel. O rigina l ca st recording. Dec ca DL
79075 $5.98
Musical Interes t: Competent job
Performance : Top-notch
Record ing : Needs bass
Stereo Directional ity: Well done
Stereo Depth: Fine
On th e whole, Decca gives us a good
stereo treatment of Destry R id es Again,
which was reviewed last month in its mono·
phoni c version. "Are Yo u Ready, Gyp Wat·
son? " comes across th e most effectively by
placin g the male membeJ's of the chorus
at the ex tr emiti es, with th e girls in the
middle. I al 0 like the instrumen tal de·
ployment on " Every Once In a While."
EL 'EMIGRANTE. Juanito Valderrama
con la Orquesta Montilla, Maestro Solano
A completely new stereo high fidelity amplif ier
with a high quality of "reproduction, versatility of
operation, and distinctive styling.
A full range of controls enables you to enjoy the
utmost in listening pleasure in any situation . De·
luxe features include: unique "Blend" control
for continuously variable channel separationfrom full monaural to full stereo, 4-position
Selector, Mode, Loudness and Phase switches.
Also provided are outputs for 4 , 8 and 16 ohm
speakers. Hum-free operation is insured by the
use of DC on all preamp and tone control tubes.
Harmonic distortion, less than 0.25%' 1M distortion, less than 1 % , Hum and noise, 74 db below
full output. Designed . with the kit builder in
mind, assembly is simple-no special skills or
tools required . Complete with deluxe cabinet and
legs, 011 parts, tubes ond detailed instruction
manual. Shp9. Wt., 26 Ibs.
KT.250 Stereo Amplifier KiI .......... ...... 6.4S Down
Net 64.50
LA·250 Stereo Amplifier, wired ... ......... 8.95 Down
Net 89.50
CPS ± 1 DB
Provides such unusual features as a Bridge Control, for variable cross-channel signal. feed for
elimination of "ping_pong f l (exaggerated separation) effects . Also has full input mixing of monaural program sources, special "null" stereo bolancing and calibrating system·. Also has 24 equalization positions, all-concentric controls, rumble
and scratch filters, loudness switch. Clutch type
volume controls for balancing or as 1 Master
Volume Control. Has channel reverse, electronic
phasing, input leve l controls. Sen~itivity 2 .2 millivolts for 1 volt out. Dual low"mpedance out·
puts (plate followers). 1500 ohms. Response 5·
40000 cps ± 1 db. Less than .03"/0 1M distor·
tio~. Uses 7 now 7025 low-noise dual triodes .
Size 14" x 4'{," x 10'!.". Shpg . wt., 16 Ibs .
Complete with prin ted circuit board, cage, profusely illustrated instructions, all necessary parts.
LAFAYETTE Kr .600-Stereo Preamplifier kil7 .95 Down ....... ..... .. .............:.... ........... . Net 79.50
LAFAYETTE LA·600-Stereo Preamplifier, Wired
-13 .45 Down .. ....... ........... ..... .. ........ ... Net 134.50
- - - - - -:-".- - -
Send FREE LAFAYETTE Catalog 600
I Address ...•....•.•. , . . . . . . • . . . . . . . . . . . . . • . . • . • . • POSTCARD
I City
... ................ .... ., ...... ........... .
Zone .... State..............
producers 0/
SFM (Society !OT Forootten
We've just celebrated our 10th
anniversary. Our Good Time Jazz
label began operations May 1949
with the first Firehouse Five Plus
Two session, and the FH5+2 still
records exclusively for GTJ!
In 1951 we started the Contemporary label to do modern
classics (we still do them), and in
1953 began recording modern jazz.
Our fi rst exclusive CR recording
stars were Shelly Manne and Barney Kessel, and we are happy to
report they have just signed new
long-term r ecording contracts.
The big news this month is that
Shelly Manne & His Friends are
back with a n ew album, Bells Are
R inging. The Friends are Andre
Previn and Red Mitchell. Anyone
who digs Shelly & Friends' My
Fair Lady will certainly want this
latest collaboration. (Contemporary M3559 & Stereo S7559).
On Good Time Jazz, The Famous Castle Jazz Band of Portland, Oregon, comes up with 12
happy and hi-fi Dixieland performances of tunes featured in the
new Danny Kaye picture Th e
Five Pennies. Four new tun~s and
eight old favorites: My Blue
H eaven, Indiana , J a-da, That's
A Plenty, etc. (Good Time Jazz
M12037 & Stereo S10037).
Sonny Rollins, the "colossus" of
the tenor sax, is back for his second Contemporary album this
time with the top stars who {.ecord
fo r CR : Shelly Manne, Barney
K~ssel, Hampton Hawes, Leroy
Vmnegar, and Victor Feldman
(on one tune). Naturally the
album is called Sonny Rollins &
The Contemporary Leaders. Sonny
picked eight tunes, all standards.
It's a must for Rollins fans
Our latest issue of the GTJ &
CR NEWS, now in its fourth year
is being mailed to 85,000 friend~
throughout the world. It will keep
you posted on our new releases
and the doings of our artists. It's
free! Simply mail the postagepaid card from any of our factorysealed albums.
Our records are available at
record stores everywhere, Nationally advertised manufacturer's
list prices are $4.98 for all our 12"
monophonic albums, and $5.98 for
all our stereo albums.
Editor. GTJ & CR NEWS
8481 Melrose
los Angeles
Dirigida. C omo Cadiz ni Hablar; Vali e nte
Ca stig o; EI Em igrante & II others. Montilla
FMS 2044 $5.95
Mu sica l Interest: Mucho
Pe rfo rmance: Con fervor
Recording: Muy bueno
Ste reo Directi ona lity: Izquierda prevale
Stereo Depth: Suficiente
Juanito Valderrama has a high, whiny
voice that is perfectly suited to the Flamenco melodies he sings on this record,
though I don't quite understand why he
should be confined so exclusively to the left
speaker. There isn't much information on
the jacket regarding El Emigrante which,
in addition to being the name of a wellknown Spanish song, is apparently also the
name of a movie.
S. G.
MY FAIR LADY (Frederick Loewe>.
Wild Bill Davis Quartet. Everest SDBR 1014
$5.95. Mono-LPBR 5014 $3.98
Musica l Interest: High Loewe
Pe rformance: Uninspired
Recording : Loverly
Stereo Dire ctionality: Too pronounced
Stereo Depth: Fine
I'm afraid that no matter how gifted the
player may be, a Hammond organ still remains a lumbering, unswinging instrum ent.
Mr. Davis evokes little lightness from it,
and the generally plodding nature of the
recital is further emphasized by Maurice
Simon's puffing away at his tenor saxophone
as if it were a meerschaum pipe.
With such a small group, the stereo effects
seem unnecessarily too directional, with the
drums to the left, the saxophone to the right
and the organ somewhere between the
drums and a point midway between the
speakers_ There is a far greater feelin rr of
rapport in the monophonic release. S. G.
(Henry Mancini!. Orchestra conducted by
He nry Mancini. RCA Victor LSP 2040 $598Mono LPM 2040 $3.98
. ,
Musica l In terest: Well maintained
Performance: Expert
Recording: Great
Stereo Di rectiona lity: Very effective
Stereo Depth: Sufficient
If we are to have television's pri vate eyes
responsible for the return of big jazz band,
there can surely be no objection-especially if it is in such expert hands as Hank
Mancini's. There i ; of course, a hi ghly
polished professional sheen to thi s kind of
thing, but there is no denying tile very
strong musical impact and the gen uine
feeling of excitement throughout. RCA
Victor has obliged by listing the performers on the back of the jacket, thou gh it's a
little confusing trying to figure out who
does what on what.
S. G.
JONES. Summertime; Bess, You Is My
W o man Now; It Ain 't Necessa rily So ; I G ot
Pl enty 0' Nuttin' and 6 others_ Capitol ST
1175 $4.98
Musical Interest : Mild jazz
Perfo rmance: Slick
Recording: Good
Stereo Directionality: Indistinct
Stereo Depth: Sha 1I0w
These are quite pleasant piano-withrhythm versions of the Gershwin numbers
and they wear well. Capitol's stereo, however, is littl e more than a slight emphasis
on the leading instrument. It sounds almost the same on either channel. J ones is
a very good pianist; ta steful, swingin g
with bursts of lyric feeling. The guitar of
Kenuy Bun-ell is utili zed occasionally, and
is also quite nicely handled.
R. J. G.
RASHOMON (Laurence Rosenthal).
Conducte d by Laure nce RosenthoL Carlton
STLPX 5000 $5.98
Musical I nterest: Fascinating
Performance: Equally
Reco rding: Great clarity
Stereo Directionality: Imaginative
Stereo Depth: Enough
The trend toward recording music from
non-musical Broadway attractions continues.
For the Japanese play Rashomon, Laurence
Rosenthal has composed a strikingly atmospheric score that stands up remarkably well
on its own. The back of the record jacket
contains enough of the incidents of the
story to make things easy to follow, and
stereo enhances the drama immeasurably_
Incidentally, in addition to the musical insU'uments native to Japan, Rosenth al -san
has used a pretty wide variety of others, including items from such far off places as
Nigeria, Bali, Burma, China, and Tu rkey.
VICTORY AT SEA, Vol. I (Richard
Rodgers!. The RCA Victor Symp hony O rchestra, Robert Russell Be nnett cond o RCA
Victor LSC 2335 $5.98; Mono LM 2335 $4_98
Musica l Interest : Aye Aye
Performance: Shipshape
Record ing : Top. id e
Stereo t)1T'ettiona lity: Impr
Sfereo Del'fh : ~~c911"1\~
For the sake of historical accuracy, thi s
release should be labe1ed Victory at Sea,
Vol. T, No.2, as it is nothing more than a
brand-new recording of th e venerabl e Victory at S ea, V ol. J, No.1, which was all
of six years old when RCA Victor decided
to scuttle it. Well, it's still a good, rousing
piece of music, expertly performed, and
there is no doubt that the addition of stereo
greatly heightens its power and effectiveness. In case you're worried, at this writing
Victory at Sea, Vol. II, No_ 1, (LSC/LM
S. G.
2226) is still very much alloat.
FODEBA-Nina; Aloa; Diaka & 9 Others .
Coral Stereo CRL 757280 $5.98; MonoCRL 57280 $3.98
Musical Interest: Intriguing
Perfo rmance: Easily assimilable
Recording: Good
Ste reo Directi onality: Skilled
Stereo Depth: Good
This is a chaTming collection of gentle
but ardent music from Guineau, Casamance,
Dahomey, the Sudan and the Congo performed by singers and musician of those
aTeas who were collected by Keita Fodeba
for his troupe which has been very successful in Europe and this country_ Unfortunately, the notes are not complete. There
are no full translations and far too littl e of
regional background for the material given.
Special to
our readers
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The m usic, therefore, is bound to be superfi cially understood by th e non·exper t lis·
tener. It makes little sense to release a set
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an d tra nslations th at F olkw ays could have
provided. In any case, the m u ic is melo·
dically appealing and the performances,
both by soloists an d chorus, are warml y relaxed. The im pression persists, however,
that some r efining of rough edges has been
N. H .
C hanuke 0 C hanuke; Margaritkes; Yome
Yo me & 10 othe rs. Vanguard VSD 2024 $5.95;
Mono-VRS 9045 $4.98
M usica I Interest : Frequently affecting
Performan ce : Pleasant, but hokey
Recording : No complaints
Stereo Directionality: Tasteful
Stereo De pth: Ve ry good
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For A
Th ere is a nice sprea d ou t stereo so und
here, wi th th e strin gs coming at you from
all sides. This compilation of Yidd ish folk
songs per formed by a rather flamboyant
gro up may not be to everyone's ta ste, but
the basic, freq uently movin g spiri t of the
origin al melod ies is hard to eclipse. S. G.
All My Sorrows; Blow Ye Winds; G ood
News; Early Morning & 8 othe rs. Capitol ST
1199 $4.98
Mus ical Interest : Nearly universal
Performance : Excellent
Reco rding: Excell e nt
Stereo Directionality : Very good
Stereo Depth : Ad equate
This gro up of collegiate-styled ToYk sin gers has the AlI·American so un d ; whatever
tb ey do is pleasan t, in good taste-artisti·
cally sterile but bea utifully contr ived.
"Brooks Bro th ers folk singers," one man
calls them. Never th eless, they are pleasa nt
to hear, offer a fin e voice blend, and pick
splendid repertoire. The Capitol record·
ing is fine.
R. J. G.
THE SOUND OF NEW YORK IKenyon Hopkins-C reed Taylor Orchestra.
ABC Paramount ABCS 2269 $5.98; MonoABC Paramount ABC 2269 $4.98
Mus ical Interest : Holds it
Performanc e : Effectiv e on stereo
Rec ording: Spl e ndid
Stereo Directio nality : No doubt of it
Stereo Depth : W ell don e
An aural portrait of New York wi th this
comb ination of m usic and sound is made·
to·order type of program ming tha twas
made for stereo. What arranger and partco mposer Kenyo n Hopkins has done (along
wi th special effects man Keene Crockett) is
to u tili ze the m usical se ttin gs for various
locations in the city more or less as a framework for the actual (or studio·made)
sounds usually emanatin g f!'Om between the
speakers. F or exam ple, the Take the "A"
Train m usic is heard from th e left and the
right, while a suln ay u ain comes cr ashing
up to us through the cen ter. Another nu m·
ber, Penthouse S erenade, begins with the
voices of people in a between·the-speakers
elevator; then, a'S th e car reaches Ih e pent·
house, we hear the cha t ter a nd noise at a
gay party spilling out all over.
A word of cau tion: the mo no se t does not
contain all the sound effects.
S. G.
Jazz, Pops, Stage and Screen
Reviewed by
Epic's 2-disc Lester Young Memorial Album is the obvious pick this
month from a half-dozen really nne jazz LP's.-"Certainly the best single
collection of the invaluable work of the late Lester Young." (see p. 110)
Atlantic's latest offering from night club diva Mabel Mercer-Once in a
Blue Moon- is another notable prize.-"A lesson in the nne art of singing
popular art songs." (see p. 112)
BLUES SUITE, featuring Nat Adderley,
Phil Woods, Seldon Powell and 6 others. 7
blues numbers composed a nd co nd o by A . K.
Sal im . Savoy MG 12132 $4.95
Mu sical Interest: Fine, mod er n jazz
Perfor mance: Excellent
Recordi ng: First-rate
This is another good example of how the
folk tradition of the blues can be rework ed
in skilled hands into vital and fresh-so und in g material. Although this is a small band
(9 pi eces) it has a full sound and th e arran gements strike one as being, like Basie,
based on the blu es but utilizing m ore modern harmonic concepts. There are excell ent
solos throughout.
R. J. G.
And erson (trumpet) with Ernie Royal , Ray
Cop e land, Reunald Jones and on four, Clark
Terry (trumpets); Jimmy Cleveland, Frank
Rehak, Henderson Chambers (trombon es );
Earl e Warren, Ernie Wilkins, Jimmy Forrest,
Sahib Shihab (reeds); Jimmy Jones (p iano) ;
Georg e Duvivier (bass) ; Panama Francis
(drums) . Little Man; Jun e Bug; Nina & 6
others. Mercury MG 36142 $3.98
Mu sical Interest: Disa ppointing
Performance: Slick
Recording: Adequate
It's long been evident that th e leas t tasteful soloist in the Duke E llin g ton orch es tra
is trumpe ter "Ca t" Anderso n w hose specia lty is high r egister acrobatics. I n his own
albu m, he has even more room than usual
for his narcissism , and manages to mar the
session. Th e pi ckup band is a reaso nably
swinging one with effective sec tion work .
The writi ng a pproach of composer-arranger
Anderson ( Ernie Wilkins scored two) produces relatively uncomplicated , h ard-rocking big band jazz. Appropriate to the texts
is an earthy, booting tenor sax ophoni s t.
Jimmy Fonest i s the most frequent soloist next to the l eader. It is th e lead er
t'noug'h, who d estroys the shape a nd fl ow of
a performance again and again by walking
The enterprising Kapp label scores a real hit with its original cast recording of Once Upon a Mattress (based on Andersen's "Princess and the
Pea").-"A charming, witty score for an offbeat, off-Broadway musical."
(see p . 114)
on hi gh wires in stead of co ncenu'atin g on
makin g well-proportioned music-a somewhat harder task. Th ere are several moments during whic h "Ca t" indicates he
could be a very pl easing, {at-toned trumpeter, in a somewhat modernized Louis
Armstrong tradition- if he would only forget his skywriting.
N. H.
CHET-featuring ballads by CHET
BAKER. Al o ne Together; It Never Entered
My Mind; September Song; Time o n My
Hands & 5 others. Riversi de RLP 12-299 $4.98
Musical Interest: Broad
Perfo rm ance : Good
Reco rdi ng: Good
This is the bes t Baker LP in som e tim e.
His ball ad work has always been hi s stron gest point a nd this LP offers him a chance to
work on some of the best. His inclu sion of
If You COldd See Me Now, that haunting
jazz ball ad of the 40's, is particularly felicitous. Th er e are good solos, too, from B ill
Evans, pianis t a nd Herbi e Man n, fluti st.
All records reviewed in this column
.may be play ed on eith er single speaker monophonic or two speaker stereophonic equipment. Th ey are 33'13 rpm
records that should be played with
the RIAA setting.
Joe Jones (drums and tympani); Art Taylor
(drums and gong) ; Sabu Martinez (bongo
and conga) ; Ray Barretto, Chonguito Vicente
(congas); Victor Gonzales (bongo) ; Andy
De la nnoy (maracas and cencerro); Julio
Martinez (conga and treelog); Fred Pagani ,
Jr. (timbales ) ; Donald Byrd (trumpet ); Ray
Bryant (piano) ; Wendell Marshall (bass).
Chants by Art Blakey, Philly Jo e Jones, Sabu
Martinez, Austin Cromer, Hal Rasheed . Th e
Feast; Agh3no; Lamento Africano; Mirage.
Blue Note 4004 $4.98
Musical Interest: Buoyant rhythmic fun
Performance: Zestful
Reco rding: Exce llent
This is the firs t of two volumes recorded
at one all-ni ght jam session involving three
jazz a nd seven Latin-Am erican drummers.
The pia nist and bassist are j azzmen and
trump eter Donald Byrd fits in with verve
a nd rhythmic drive on two numbers. Rudy
Van Gelder's engin eering captures in vivid
clari' y the wide range of percussion colors
c hurn ed up in this polyrhythmic round elay.
As Ar t Blakey says in the notes, much
mor e remains to be done to broad en th e
rhythm ic possibilities of j azz. " Do you ever
notice how a band will play a tun e that
has a very complicated rhythm, but whe n
it comes time for the solos, th ey go back
into stra ight four? Why? Because they
can' t play it, they aren't rhythmically advanced enough."
J oe Goldberg's liner is an illumina ting interview w ith Blakey, but he should have
commented in detail on each selection. It
would be valuable to know what rhythms
are being used, which drummers are in the
foreground, and what if anything the chants
N. H.
and his MEN. My Walking St:ck; Willow
Weep for Me ; Someday You'll Be Sorry; This
Is My Lucky Day & 7 others. RCA Victor
LPM 1966 $3.98
Musical Interest: Quite
Performance: Freshly Lyrical
Recording : Good
This is a very pleasant album of mod·
erately intense jazz in which the players
are more concerned with melodic interpre'
tation than anything else. Ray Eldridge
joins Ruby Braff and his assistants now
and then and the result is some sparkling
trumpet exchanges. One can grow very
fond of this sort of LP. It does not demand,
but gives; this alone is a relief from much
of the jazz heard today.
R. J. G.
SHAW TRIO. The Trolley Song; Mangoes ;
Blues for Jim & 6 others. Riverside RLP
12·296 $4.98
Musical Interest: Fragmentary
Performance : Too much rhetoric
Recording : Good piano sound
This is the second album by a young
Memphis·born pianist who has gained much
of his experience in Flint, Michigan. Evans
Bradshaw possesses considerable technical
fluency and plays with vitality, but he very
often substitutes finger dexterity for ideas.
His conception is brittle. He rarely sus·
tains ideas interestingly, and frequently be·
comes .quite dull. Bradshaw is more flash
than substance. He has to learn the values
of space and of construction that involves
personal, and musical ideas rather than
concepts that could just as easily be piano
exercises. And he certainly has to dive
deeper into his own emotions, if he can.
RAY BRYANT. Lover Man; Me and the
Blues; Rockin' Chair & 4 others. New Jan
8213 $3.98
Musical Interest: Fine blues piano
Performance: Excellent
Recording : First rate
Not many pianists can be as effective,
even with the help of a rhythm section, as
Ray Bryant is all by himself on this LP.
He is a full bodied. forceful pianist with a
keen feeling for blues. This is one of the
most satisfying piano LP's of the year.
DaVIdson (trumpet). Stan Wrightsman (piano), George Van Eps (guitar). Nick Fatool
(~rums), Mo~y Korb (bass). Ida; Mood IndIgo; I Can t Get Started with You & 9
others. Gene Norman Presents OJ 508 $3.98
Musical Interest: Very hot jazz
Performa nce: Bristling
Recording : Good
Wild Bill Davison is apparently somewhat out of fashion, but he remains one of
the most uncompromisingly inflammatory
improvisers of the Dixieland persuasion.
He interprets here a dozen tunes associated
with various famed trumpeters from King
Oliver to Bobby Hackett. He doesn't try
to emulate the style of each, and it's
doubtful if he could. He blows through all
the numbers with his customary gusty
abandon, alternated occasionally with surprising tenderness. There is discreet but
firm accompaniment by a rhythm section
that is anchored tastefully by the welcomely
un amplified guitar of George Van Eps.
with Leroy Vinnegar (bass). Lawrence Marable or Bruz Freeman (drums). Clash by
Night; The Blue Room; Poinciana & 7 others.
Dot DLP 3174 $3.98
Musical Interest: Warm, modern jazz
Performance : Honest, swinging
Recording: Good
Last fall 28·year·old Lorraine Geller
died suddenly. She had gradually been acquiring a reputation as one of the most
consistently reliable jazz pianists on the
west coast. While she hadn't yet developed
a strikingly personal voice, her work was
always warm, direct, and pulsating. These
qualities are also evident in this album that
is newly released but which was recorded
four years ago.
She had not yet solved the problem of
sustaining ideas with freshness as well as
drive, especially at up·tempos; but her
work was spirited and intense without being neurotic, and very much alive. It is
shocking that she was prevented so soon
from achieving more, but it is good to have
this as a document of a girl who received
much sustenance from jazz, and gave much
to it. Good, sympathetic rhythmic section
N. H.
HODGES and the Ellington All-Stars without
Duke. Just Squeeze Me; Black and Tan Fantasy ; Take the "A" Train & 6 others. Verve
MGV 8203 $4.98
Musical Interest: Medium
Performance : Good
Recording: Excellent
Even with Ellington's alter-ego, Billy
Strayhorn, substituting for the Duke on the
piano, this album fails to jell. What the
Duke's men can accomplish in small groupings is apparently outside their scope in
larger units. Nevertheless for the beautiful
sound of Johnny Hodges' alto and the witty violin of Ray Nance, this disc is worth
R.J. G.
HUNT:-Pee Wee Hunt (trombone); Lee
CummIns (clarinet); Andy Bartha (cornet);
Jack Condon (piano); Gene Dragoo (bass);
Bucky. Pinarelli. (guitar);. Cody. Sandifer
(drums). St. Louis Blues; Wabash Blues'
Wang Wang Blues & 9 others. Capitol
T 1144 $3.98
Musical Interest: No jazz value
Performance : Deliberately safe
Recording: Good
In the first place, many of these son o"s
aren't blues at all. More important, there\
little blues feeling in the playing, the kind
that can turn almost any material into
blues·nourished jazz. The arrangements are
stiff, and for the most part, are stiffly played.
None of the soloists indicate any particular
individuality. Some perhaps may be better
than they sound here, but they're forced to
playas if they were wearing a too tight
shirt. The album is of no basic interest
to jazz buyers.
N. H.
SON. 111 Wind; Afternoon in Paris; I Remember Clifford; Whisper Not & 2 others. United
Artists UAL 4022 $4.98
M usica I Interest: High
Performance: Excellent
Recording: Very good
Six of the best modern jazz mUSICIans,
which includes Art Farmer, Benny Golson,
Paul Chambers and Tommy Flanagan, join
Jackson in working through a fine program
of originals by Golson, John Lewis, Jackson, Harold Arlen and others. All the musicians are particularly well equipped to
play ballads. The originals by Golson, especially I Remember Clifford, are among the
best jazz ballads of the decade. This LP
is a rare combination of good taste and an
all-around superlative performance.
KESSEL. Stairway to the Stars; Sweet Sue;
Sweet Georgia Brown; Runnin' Wild & 6
others. Contemporary M 3565 $4.98
M usica I Interest: Broad
Performance: Excellent
Recording: Top-notch
It may be the presence of two such un·
compromising jazzmen as Art Pepper and
Joe Gordon, or it may just be a happy coincidence; but this LP is among the best
of the showtune·jazz packages. It has the
basic jazz feeling and good solos to match.
It swings all the way. The tunes themselves,
except for the. title song, are all classics.
This LP should be around for quite a
R. J. G.
Mayl's Dixieland Rhythm Kings. Original
Dixieland One·Step; Caravan; Limehouse
Blues; Solitude & 8 others. Riverside RLP
12-289 $4.98
Musical Interest: Limited
Performance: Dull
Recording : OK
In so~e ways even the Dukes of D:xieland make for better listening than the
wholly spurious "authenticity" offered in
this revivalist music. The lack of humor
is maddening, and a basically square
rhythm makes it even harder to take. The
tunes are all good ones, and even include
R. J. G.
some Ellington.
LONDON HOUSE. Eas'l B!ues; Like
one in Love; Give Me the Simple Life ;
end Lovely & 6 others. Argo LP 640
Musical Interest: Broad
Performance: Sparkling
Recording: Excellent
Not that Marian McPartland will turn
the heads of jazz pianists with this LP, but
she should intrigue the ears of anyone who
"Yes" says Vernon Duke-famed composer of "April in Paris"! "No" says the hardy band of
intellectuals who continue to pour forth with such offerings as atonal electronic music. In "Whither
the Self-Supporting Composer?" , Duke tells about these composers who write for "art's sake"
yet are disappointed when the public fails to accept them. You'll want to read more about the current
tug of war between some modern composers and the suffering ears of the audiences-coming up In
This is the age of the fanatic jazz critic, say-s expert Don Gold-and they may well be on the way to
destroying this important form of music. In next month's HIFI REVIEW, you'll meet "The Jazz
Dissectors" ... see who they are . .. what they write about ... what they are trying to do! And you'll be
amazed to find out the lengths to which some of them go. Here's an unusual look into the world
of jazz criticism that will help you decide for yourself if it's really valid or merely "iashionable."
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434 S. Wabash Avenue
How can two
stereo speakers
cost so little?
likes goo d, pleasant, swinging jazz. She is
very unladylike as a pianist. Her "toughness" makes her solos more interesting
than one might expect, and her agile musical mind keeps one listenin g constantly.
MINGUS. Scenes in the City; New York
Sketchbook & 3 others. Bethlehem BCP 60·26
Musical Interest: Good, modern jazz
Pe rfo rmance : Spotty
Recording: Excellent
Made in England
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At better Hi-Fi dealers.
Buy it ... tTY it ... 'money back guarantee."
(Electronic Division)
16 W. 46 Street, Dept. 43, N.Y. 36, N. Y_
The writing and r eading of words to the
strongly earthy, directly emotional music
that Mingus produces runs th e hazard of
being corny. Unfortunately, neither narrator nor words on Scenes in the City escape
this. As to the other tracks, they are excellent examples of the sort of highly individual, openly traditional sound that has become Mingus' trad emark. Each of them
is rewarding on several levels and bears
r epeated listening. The album title is
singularly inappropriate.
R. J. G.
PETERSON TRIO. Sweet Georgia Brown;
When Lights Are Low ; Easy Listen in' Blues;
The Champ & 3 others. Verve MGV 8287
Musica l Interest: Swinging jazz
Performance: On location
Recording: Good
That this trio can generate an amazing
swing bea t while continuing to be melodic
and even delightfully pretty at times is no
news. Despite these virtues, there is a
monotonous fe eling now and then, as
though being placed in high gear while
the speed never incr eases. Still, as an introduction to the trio's work, this LP will
R. J. G.
do nicely.
-Dizzy Reece, Donald Byrd (trumpets),
Tubby Hayes (tenor saxophone), Terry Shannon (piano), Lloyd Thompson (bass) ; Art
Taylor (drums). Blues in Trin ity; I Had the
Craziest Dream; Close-Up; Shepherd 's Serenade; Co lor Blind; 'Round about Midnight.
Blue Note 4006 $4.98
Musica l Interest: High
Performance: Hot
Record ing: Very live
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1448 N. Goodman street. Rochester 3 , N.Y.
Jamaican-born Dizzy Reece, 28, is one of
the most fiery jazz trumpeters in Europe.
He is identified ,vith the London jazz scene,
but has also worked often on the continent.
R eece has impressed visiting Am erican
jazzmen. The rea$ons are clear in this recording. He s,vings hard, plays with sizzling
emotion, and is developing a personal conception. Also, he is well supported by an
Anglo-American unit, recorded a t a session
in Paris.
British Tubby Hayes, 24, plays a blistering tenor saxophone and appears to be currently influ enced largely by both Sonny
Rollins and Jobn Coltrane. He has a big
tone, good beat, and belies the usual image
of the emotionally inhibited Englishman;
so does pianist Terry Shannon, a harddriving, if still derivative jazzman. Canadian Lloyd Thompson is the efficient bassist.
The American trumpeter Donald Byrd
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Joms in spiritedly on two numbers; the
drummer throughout is th e American, Art
Taylor, who provides some of his most
stimulating work on records so far.
This is an often exciting album, and indicates that from the newes t generati on of
European jazzmen ther e may emerge some
who can convincin gly challenge a number
of th e better Am erican players. It is still
wise, however, for European jazzmen to
spend some time in America to absorb th e
raw sources of this idiom. Reece certainly
wants to come her e. It would be nice if he
N. H.
could come to America soon.
HENRI RENE SWING (see p. 97)
Minor Impressio ns; Wh ispe r Not ; Fran ki e an d
J o hnny & 6 oth e rs. Mercury MG 36145 $3.98
Mu sica l Inte rest: Fleet, pleasant jazz
Pe rfo rm ance: Rodgers is in full command
Recording: Bright and clear
Gene Rodgers is 44 and althou gh not wellknown to jazz aficionados, he has an honorable background. H e recorded with Kin g
Oliver at 16, wa s on Coleman Hawkins'
Body and Soul, and played with Benny
Carter. He has obviously been influenced
by Art Ta tum , and has a techni cal facility
that is all the more impressive beca use it is
exercised without fanfare and with flowin g
sensitivity. In all, hi s playin g is hi ghly
ex pert, with a touch that is much less percussive and more pianistic than is th e fashion among many younger jazz pianists.
Rod gers lacks a stron gly individual -s tyl e.
He tends freq uently to use technique to
fill in when hi s imagination fla gs. Often
his work misses the intensity tb a t might
have propelled Rod ger s into more incand escent company. No neth eless, he is worth
hearin g, and listeners fond of beautifully
played piano will find this disc entertaining.
He l'eceives reliable rhythmic support from
his colleagues.
N. H.
Know; C o me to Me & 9 others. RCA Victor
LPM 1975 $3.98
Mu si cal Inte r e~J-: Swinging pops
Pe rfo rm a nce: Skillful
Reco rding : First-rate
Robert Allen, a former pianist-turned
pop song writer , has provided all the basic
material here. Shorty Roger s did th e arrangements. The clean, cohesive perform.
ances are by a band whose members are
not iden tified, apparen tly for contractual
reasons. Judged as a pop album, it is pleasa ntly " jazz-based" and more tastefully
scored than most pop sets. Rogers' trumpet
is also more preferable than the mann el'isms
of most of the si ngers who usually become
involved with tunes lik e these. As straight
jazz, however, the album is marked by
Rogers' characteristic shallowness, althou gh
he is a polished writer and player. N. H.
SCHAEFER. Hal Schaefer (piano), Marty
Lewis ttenor saxophone and bass clarinet),
Chet Amsterdam (bass), Charlie Persip
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(d rums), Ted Sommer (percu ssion) . Blues fo r
My Leah; Bye Bye Blues ; Blues for Goi n'
Home & 7 othe rs_ Un ite d Artists UAL 3021
Musica l Inte rest: Spotty
Performance : Best on romance
Recording: Good
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As a player and writer H al Schaefer is
at his best on impressionistic, r oman tic
moo d pieces like Blues jor My L eah and
Blues fo r Goin' Home_ Even on these, however, there is little of the rhythmic strength
or pungen t emoti onal depth of th e traditional jazz blues. His approach is more
that of jazz-tinged pop music rather than
the direct lin e of th e back-country blu es
wa nderers, or finally to the styles of Charlie
P arker and T helo ni ous Monk.
On the other num bers, Schaefer too often
in troduces effec ts for their own sake. H e
has a penchant for fili gree work in va ri ous
degrees of cleverness that is more self-con·
scious than an organically growing part of
the performance. H e would have been wise,
incidentall y, to have used Morty Lewis exclusively on bass cl arinet.
N. H.
TE RRY. C lark Terry (trump et and fluegelho rn), Do n Butterfield (tuba) , Jimmy Jon es
(piano) , Sam Jon es (bass), Art Taylor
(drums). Mili-Terry; Th e Swi ngi ng Chemise ;
My Heart Belongs to Da dd y; Blues fo r Etta ;
Top 'n ' Bottom ; "1 27"; A Sun day Ki nd of
Love; Mardi Gras W a ltz. Riverside RLP 12-295 $4.95
Musica l Interest: On e of season 's best
Performance : C lark Terry is delightful
Recording : Aptly wa rm
This is an exceptionally relaxed, un pretentious and gentle album. The play of
timbres between tuba and trumpet ( or
flu egelh orn ) is unique an d in triguin g. The
original th emes--mostly by Terry--are ingratia ting and the two stan dar ds are trea ted
imagina tively. Don Butterfield continues to
prove his point tha t the tuba is capabl e of
much more than grunting at the bottom of
a rhythm sec tion. This rhythm 'section is
tasteful and Jimmy Jones' soft but distinctly individual piano adds a solo voice of
charm and intelligence.
Most memora ble of all, however, is Clark
Terry whose recent work on Riverside is
among the bes t of his career. A member
of the Duke Ellington trumpet section, he
is too seldom featured by Ellington. H ere
he seems to take particular delight in being
able to s tretch out and give full play to his
rare combina tion of mocking, irrepressible
wit and deeply felt lyricism. As a stylist,
Mr. T err y is very much his own man, and
a valuable one.
N. H.
laxed , th oroughly tasteful , and in guitarist
Dura n's case, 's uperior. The pieces are
pleasant, and occasion ally are quite in gr atia tin g_ Th e total effec t is a little bla nd,
but if yo u sampl e the set from time to time
instead of absorbing it all a t once, the album ca n be a refreshin g chan ge of mood
and a tmosphere from the many more agN. H.
gressive items on th e market.
JAZZ_ Free a nd Easy; Back in You r O wn
Backyard; Oh ! You C razy Moon ; As Long As
I Live & 8 oth e rs. RCA Victor LPM 1959
Musica l Inte rest : Pl ea sant jazz
Perfo rmance : Slick
Record ing: Brittle
Troup's voice is pleasant, he has a good
sense of phrasing and lends a quasi-j azz
fl avor to whatever he does. Th e band is
composed of top-notch 's tudio jazzmen and
th e arrangements offer clean, swinging
writin g th a t allows lots of room for solo
sta tements. RCA Victor seems at home in
thi s particnlar genre of commercial jazz
and is rapidly developin g a strong catalog of th is sort of thing_ It is easy to listen
to, and all inten ts a nd pur poses a superior
R . J. G.
form of popular music.
Frank Rehak, Dick Hi xon, Tommy Mitchell or
Dic k Leib (tro mb ones ) ; Hank Jon es (piano);
Ed De Haas (bass); Gus Johnson (drums).
Louisiana; Stars Fell on Alabama ; Mississippi Mud & 9 ot hers_ Columbia CL 121>4 $3.98
Mus ic a l Interest: Fo r novelty fans
Perfor mance : Accomplished
Record in g : Fi rst-ra t e
H ere's an example of clevern ess triumph ing over content. This is a collec tion of
slick Winding arran gements for two tenor
and two bass trombones (mostly playin g
t oge ther ) with rhythm sec ti on. It's all vel'y
expertly done, but the em otional level of
the pro ceedings resembles tbe fa ces of the
mann equ ins in the high fashion magazines_
Winding here has gone thoroughly commercial, and while the results may be welcomed
by trombone manufacturers, they are of
little importance to j azz lis teners. There
are, to be sure, some solo moments of jazz
inter est- th ese are good pl ayers-but th ey
are quickly lost in the sea of cuteness which
also extends to Kai Wind ing's liner notes.
Pound C ake ; Broadway ; Loui sia na ; I Left My
Ba by & 20 ot he rs. Epic SN 1>031 2 12" LPs
TJADER QUARTET--Cal Tja der (vibes and
piano); Edd ie Duran (guitar); John Markham (drums); John Mosher or Anson Weeks
(bass) _ (On Viva Cepeda, a previous Tjad er
quintet is heard.) Coit Towe r; Union Squa re;
G rant Aven ue Suite & 7 oth ers. Fantasy
3271 $3.98
M usica I Inte rest: Reflective jazz
Pe rfo rma nce: Bea utifully integrated
Reco rdi ng : Very good
This attractive coll ection consis ts of a
low press ure set of impressions, mainly of
San Francisco scenes. The playing is re-
Mu sical Inte rest: Indispensable
Pe rfo rmanc e : Some of the best in jazz
Recording: Good enough
This two-pocket Lester Young m emOl;al
set is made up entirely of selections from
three previously released Epic albums (LG3107, LN-3168, LN-3169) . If you don't have
them, this is certainly the best single collection of the invaluable work of the la te
Les ter Young. It takes him from his fil'st
r ecord date with a small combo, from the
Basie band in 1936, to such oth er major
events in his and Basie's car eer three and
four years later as Tickle-To e, L ester Leaps
In and Clap Hands, H ere Comes Charlie.
There is not a poor record in the lot. And
these are performances that, as this lis tener
can testify, lose no interest over literally
scores of playings. They are among the
most enduring recordings in jazz hi story.
Here is the Basie band at its most col·
lectively " floating" with the best soloists
in its history-Buck Clayton and Dickie
Wells among them. And here is Lester
Young, breaking bar lines, presaging what
was to become the tenor sax tone for many
modern jazzmen, and phrasing with a
natural beauty of line and a wholly convinc·
ing sense of time that few soloists have
ever matched. It is too bad that the cover
notes fail to supply full solo cred its. N. H.
BLUE VELVET featuring TONY BENNETT. I Won't Cry Anymore; While We're
Young; Until Yesterday; May I Never Love
Again & 8 others . Columbia CL 1292 $3 .98
Musical Interest: Broad
Performance: Good
Recor ding : Excellent
Pu rple; J'attendrai & 8 others. Victor LPM
1933 $3.98
Musica l Interest: Moderate
Performance: Harmless
Reco rding: Very bright
The Crew-Cuts have grown up, to some
degree, since their first hits in pidgin English. ( Remember Sh-Boom?) In this set the
lyrics are at least understandable; and
there are implications that visuall y the boys
may have an entertaining act. In terms of
recording, however, they're just another pop
vocal unit with little musical distinction.
It's adeq uate listening, I imagine, for teenagers who haven't yet discovered the more
stimulating pleasures in jazz, folk, classi·
cal music or th e better pop groups' like the
Axidentals and the Hi-Lo's.
N. H .
THAT'S ALL-BOBBY DARIN with Orchestra, Richard Wess condo Beyon d the
Sea; She Needs Me; So me of The se Days
& 9 others. Atco 33-104 $3.98
Musical Interest : Mostly stand ards
Performance: Mostly with a beat
Reco rding : All OK
J.R. G.
A reformed rock-and·roll singer, Bobby
Darin takes off after a formidable array of
superior numbers includin g Kurt Weill's
Mack the Knife, Gershwin's It Ain't Neces·
sarily So, Charles Trenet's Beyond the S ea,
and Through a Long and Sleepless· Night,
based on a Gregorian chant. Darin has a
slight, reedy voice but he knows how to
make the most of it, particularly in the
more exuberant expressions.
S. G.
ALL ALONE BY THE TELEPHONEPolly Bergen (vocals) with Orchestra Conducted by Luther Henderson. Spring Is
Here; By My se lf; Not Like Me & 9 others.
Columbia CL 1300 $3.98
TUNE-George De Witt (vocals) with Music Arranged and Conducte d by Ray Ell is.
Volare; That Old Black Magic; Feve r & 10
othe rs. Epic LN 3562 $3.98
This is a very adequate collection of ballads by a singer who now and then can
infuse his performance with particularly
good emotional quality. His sin ging is better than the usual balJad style. Here he
has good, and relatively different material
with which to work, and the result is fine.
we deliver "Scotch"
postpaid to your door
(record in g tape, that is),
Prices ????
send for catalog.
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Musical Interest: Below average
Perfo rmance: Undistinguished
Recording: Good
Miss Bergen has a moderately pleasant
voice, but she lacks imaginativeness of con·
ception and a resilient beat. H er phrasing
is often too careful as if she were reading
the lyrics from a blueprint. When a whole
albu m, furthermore, is taken at slow tempo,
as this is, the sin ger must have a stronger
sense of rhythm than Miss Bergen to keep
the music alive. Otherwise, the album becomes very bland, and tha t's what h appened
Love; Please; Yesterdays & 9 others. Columbia CL 1310 $3.98
Musical Interest: For dancing
Performance: Easy to follow
Recor ding: Good
In a program of songs from motion pic·
tures Ray Conni ff leads an orchestra and
a wordless chorus in an amiable dance set.
A modified rock-and-roll beat is at the base
of the performances, but it is kept und er
control; and the combined voices, horns
a nd strings bl end above the beat to provide what the notes accurately call an
"airy" setting for the home ballroom. N. H.
CREW-CUTS SURPRISE PACKAGEThe Crew-Cuts (vocal group) with Joe Reisman and His Orchestra. Shine; Pretend; Dee p
Musical Interest : Tasteful song choice
Performance: Capa ble
Recording: Good
George De Witt, best known as masterof-ceremonies of the TV musical quiz show,
Name That Tun e, performs a variety of bet·
ter than average pop material, some of it
standard. While hi s style is not especially
arresting nor individual, h e sings warmly
and, for the most part, attractively. The
diversified, background groups are all helpful, more so than most accompanists in pop
N. H.
LES ELGART ON TOUR featuring Les
Elgart and his Orchestra. Strike up the
Band; It' s the Talk of the Town; Whispering; That Old Black Magic & 8 others. Columbia CL 1291 $3.98
Musica l Interest: Good dance music
Perfo rmance: Clean and sprightly
Recording: Top-notch
This is a colJection of good numbers reo
corded on location, designed for dancing
and played in a clean, lightly swinging style
by one of the few new dance orch estras of
any real class.
R. J. G.
MASSED CHORUS-SONGS OF FREEDOM , Creed Taylor musical director. God
Save the Queen; Your Land and My Land;
Finlandia & I I others. ABC Paramount ABC
283 $3.98
Mu sica l Interest: Grab bag
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classified columns of HiFi REVIEW for fast results.
Your message, placed in our classified columns, wi ll be read by more
th an 123,000 hi-fi faBs. Best of all,
your classified ad costs you only
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120 Liberty St.
N.Y. 6, N.Y.
EVergreen 4-6071
Performance: Proper spirit
Recording: Fine
From various sources-military, religious,
and even operetta-the Four Sergeants have
assembled an international compendium of
songs dealing in one manner or another
with different struggles for freedom. It's
a fairly dedicated show they put on, though
why they should have lapsed into an outof-place touch of syncopation in the middle
of Romberg's Your Land and My Land is
a bit of a mystery. Also on hand is David
Ross, a very "actory" actor, who intones
passages from the Gettysburg Address, the
Preamble to the Constitution, and the 137th
S. G.
PARIS avec Gerard Calvi et son orchestre.
Le doux caboulot: Si petite: Un souvenir &
13 others. Decca DL 8849 $3.98
Musica I Interest: Certainement
Performance: Sincere
Recording: Splendide
One of the pleasures in listening to this
non-stop recital by the metallic-voiced Mlle.
Goaty is to discover old favorites in either
new or original versions. Le chaland qui
passe turns out to be Tell Me That You
Love Me Tonight, and La valse au village is
none other than the old toodle-uma-Iuma
saga of The Umbrella Man. The rest comprises a sufficiently varied collection, and
the chanteuse acquits herself quite well
throughout. The back cover of the jacket
is unsullied by any pertinent information
S. G.
JONI with Orchestra, Acquaviva condo My
Heart Tells Me: Too Young: Wait and See &
9 others. MGM E 3755 $3.98
Musical Interest: Standard
Performance: Placid
Recording: Well done
Joni James has a small, undistinguished
voice that glides from one song to the next
with such a bland sameness that they all
sound alike. The 100 strings glide right
along with her; they neither hamper nor
CONCORD (see p. 100)
MOON with Orchestra, George Cory condo
I'm Glad I'm Not Young Any More: Whenever Winds Blow: Sunday in New York & II
others. Atlantic 130 I $4.98
Musical Interest : High
Performance: Class
Recording: Good
Her always serene highness, Mabel Mercer, is here once more to give her periodic
lesson in the fine form of singing popular art
songs. Hers is, as it has probably always
been, a voice somewhat limited in range,
but this is noticeable only on rare occasions. What is always noticeable is her
style, her complete understanding, and her
gift of wringing special meaning from any
lyric she sings. For example, listen to the
way she does the line "I've been choking
on my heart" from Bob Merrill's Look At
'Er, or, for that matter, the way the entire
song becomes her own very personal expression merely by changing the gender in
the title. As usual, too, the current offering contains samplings of some lesserknown composers with the most original
melodies being the products of Alec Wilder
(In the Spring of the Year), Willard Robison (Guess I'll Go Back Home), and Cy
Coleman (Isn't He Adorable?).
S. G.
Sunday and 9 others. Capitol TlI23 $3.98
Musical Interest: His best yet
Performance: Shows potential
Recording: Very good
Tommy Sands is not only one of the very
few rock-and-roll favorites who appears to
have acting ability, but he has also indicated in the past that he may also be able
to sing. This album of love songs and medium-tempo jump numbers adds more evidence in his favor. He will never be in
Sinatra's class, but he sings warmly, naturally, and with some insight into the lyrics.
The predictably commercial backgroundsincluding a superfluous vocal unit-don't
help. Sands might do well with strings and
a drummer who lays off the back beat.
N. H.
the Blue Caps. I Might Have Known: In Love
Again: Maybelline & 9 others. Capitol T
1207 $3.98
Musical Interest: Minor
Performance: Exaggerated
Recording: Aggressively clear
Rock-and-rollsinger Gene Vincent projects an occasionally convincing earthiness
on his medium and up-tempo numbers, but
is saccharine on ballads. His accompaniment is grindingly mechanical. There are
times, however, when Vincent's emotional
force cuts through his mediocre material
and backing. It might be worthwhile to
hear him in a musical setting with more
substantial songs and somewhat less "showboating" on his own part.
N. H.
Winding (trombone) and unidentified personnel. Moon over Miami: Charleston: Mobile & 9 others. Columbia CL 1329 $3.98
Musical Interest: Dull
Performance: Insistently slick
Recordi ng: Bright
The Kai Winding trombone unit has become increasingly commercial, and this album is perhaps the logical end of the road.
It may be as good a dance set as the liner
notes proclaim, but I doubt it, if only because the trombone-heavy sound becomes so
oppressive. There are two tenor trombones,
two bass trombones and a rhythm section;
and the ubiquitous use of the trombone section as a whole does not provide the "great
flexibility" as the notes claim. Besides,
the arrangements are often too determinedly cute. The album is of no interest to jazz
buyers, and I think those looking for dance
music could do better with Urbie Green,
N. H.
to cite one example.
HIT THE DECK (Vinc:ent YoumansClifford Grey-Leo Robin): THE CAT
AND THE FIDDLE (Jerome Kern-Otto
Harbac:h). Doreen Hume, Denis Quilley,
The Michat;>1 Sammes Singers, with Orchestra,
Johnny Gregory condo Epic LN 3569 $3.98
Musical Interest: Theatre classics
Performance: OK (economy package)
Recording: Fine
This is Epic's second in their series of
back-to-back matings of musical comedy
hits (the first one paired Show Boat with
No, No, Nanette), and while I'd still welcome complete scores of each show, the
half dozen selections culled from Hit the
Deck and The Cat and the Fiddle make
for some delightful listening. The voices
are fine, the arrangements are tasteful, and
the music, of course, is a treat.
S. G.
recording with Orchestra and Chorus, David
Buttolph condo United Artists UAL 4035
Musical Interest: For Civil War buffs
Performance : Bit overblown, but OK
Recording: Excellent
Though this might be considered a West
Coast idea of the songs of the North and
South during the Civil War, the melodies
are almost all authentic, and the use of a
male chorus is extremely effective. I Left
My Love (apparently the only ringer) and
Lorena are especially attractive pieces,
while among the more familiar items are
the Hibernian-derived Bonnie Blue Flag
and Henry Work's rouser, Kingdom Come.
S. G.
HORSE SOLDIERS with Orchestra, Irving
Joseph condo My Johnny: God Bless the
Child: There's Something About a Soldier &
9 others. United Artists UAL 3036 $3.98
Musical Interest: Quite an assortment
Performance: Welcome newcomer
Recording: Satisfactory
For some time now, I have been awaiting
the recording debut of Constance Towers,
and now that she has made it I wish she
hadn't-at least not with the unnecessarily
gimmicked repertory of soldier-type songs
they've given her to tie in with her new
movie. The voice, however, is still warm,
true, and appealing; I do hope that next
time United Artists will make better use of
S. G.
M SQUAD. Orchestra conducted by
Stanley Wilson. RCA Victor LPM 2062 $3.98
M usica I Interest: More TV jazz
Performance : Slick
Recording: Tops
The nature of the dramatic conflicts in
such a television program as M Squad limits the musical creations to a fairly steady
diet of the ominous, the frenetic, and the
bluesy, but there still seems to be room for
an occasionally inspired solo, and it adds
up to an easy to take (and take off) recital.
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Heavy IUUR~ black
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~~pa r a te comparl ments , design ed by
an outstand ing art isan 10 acco mmod.t. 150 l i p . 1·
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must tor the ded icaled audiophile .
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Nago y a Associates Inc. P.O . Bo x 7192 Elkins Par k, Pa .
Ship my Recor d Rack! I enc lose $9 .95 ck . or M.D.
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in British
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startling perfor mance!
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Get more FM sta t ions wit h t he w orld's most
pow erful FM Yog i Ante nna systems.
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"The me An d Va ria ·
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and containi ng FM
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Wethersfi e ld 9 , Conn ecti c ut
Before you buy a
Rack with I... than 8 legs.
Lesli. Creation. Rack.ha. 8 legs!
A sinlt le LP record weigh! 12 or.. Our rac k Il o ldB 200 of th em. Thnt's 1 50
PO.UN DS! A rcco:rd rack must be l!tronvl y made to s uppo rt. a ll thut dead
....e 1lthtl I n select.mg a ruck to hold your p rceious Ll"s, be l!U r e it haB
EIGHT LEGS, so t.he cen ter won 't. SAG nnd WARP YOUR RECO RDS!
l\'l akc certuin it. has II Bt.eel re inforced support.ing shelf DO W N BELOW
wh e re it'll need ed! Be
enough to hold 12'" record s' OUf8
is 25'W. 22' H. 12'0.
y l!.8.gembled, 10 compl!.rtmc nts. Black s tee l rod
~h;~t~I'~,~:~~:~~k~b~;a5~t~~lc~~'I~~lf&8~~c~~·ASDEN Exp.
Anne J effrey s with H en ri Re ne an d his
O rc hestra . RCA Victor LOP 1505 $4.98
W e are surely not lacking for discs of
Show Boat. The Schwann Ca talog now lists
fo ur in addi tion to the cU.n ent one which
essays an approach midway between the
thea trical fl a vor of Columbia's wi th the 1946
revival cas t, and the more opera tic interpretation given on the Victor r elease with R ise
Stevens, Pau'ice Munsel a nd R obert Mer r ill. The new disc m akes for a well-round ed
collection with H oward K eel's bi g, muscul ar
baritone sounding especially goo d on
" Where's the Ma te for Me?" an d " T ill Good
Luck Comes My Way". Miss Gra nt turn s
Bill into real han dk erchief twister , while
Miss J effr eys man ages to dispel some of
the mustiness from Charles H arris' interpola ted " After the Ball."
S. G .
MY FA IR LADY (see p . 102 )
T HE N ERVO US SET ( Tommy W olf·
Fran Lan d esm a nl. O ri gina l cast reco rding
with Richard H ayes, Ta ni Seih, Del Close,
Gerald H iken & othe rs , with Jazz Quartet,
Tommy Wolf d irecto r. Co lumbia OL 5430
Mu sical Interest : Brig ht an d o ri g inal
Pe rformance : En erg etic crew
Recording: A bit close
U nlik e broth er P eter Gunn 's single-com·
poser score, th is one was the work of
Co unt Basie (he did the theme ), J ohnny
W illi ams, Bennie Carter, and conductor
Sta nley Wilson.
S. G.
CREATIONS, Dept. 11 P, Lofayette Hill , Pa .
Broadway's first musical on th e " beat"
genera tion was n one too successful , but the
record ing turns out to have 'some fresh
musical id eas, and it is performed fo r all
its worth by an enthusiastic group of youn g
singers. Ac tually, th e score, tb ough it em ploys the service of a jazz quartet rather
than a pit orc hestra, is not really far ou t.
It is brash a nd engaging in much the same
mann er as Ro dgers and H art on ce were.
" H ow Do You Like Your Love ?" is quite
possibly the most daring number of th e
seaso n, and "Party Song" ("Am erica, what
have yo u done to John Osborne?") gets off
some wonderful bi ts of conversa tion heard
at a Gr eenwich Village par ty. But the talents of T om my Wolf and Fran Lan desman
are n ot lim ited to comic pieces. T heir
"Night P eople" and " The Ballad of the
Sad Yo ung Men" are to uchi ng, im aginative
pieces which will probably soon be found
in the perman ent r epertory of supper-clu b
torch sin gers. Altogether it is an engaging
S. G.
Rodger s- Mars hall Bared. Original cast
record ing wit h J oe Bova, C a rol Burnett, Al len
Case , Anne J ones, Ma tt Mattox & others,
with O rchestra an d C horus, Ha l H astings
co nd o Kapp KDL 7004 $4.98
M usical Inte rest: A d el ight
Perfo rmance: Tal e nted compa ny
Reco rdin g: Exce ll e nt
Mary Rodgers, as almost everyone k nows,
is R icha rd R odgers' daughter ; Marshall
Barer, as far too few peo ple k now, was reo
sponsibl e for the lyrics of some of the best
numbers in N ew Faces of 1956. Together,
this n ew team has composed a charming,
witty score for an offbeat, off-Broadway
m usical version of th e ancient fai ry tale of
the prin cess who slept on a pea (Once
Upon a Mattress, get it) . Rodgers and
Barer first set the scene with a remarkably
clever narra tive, " Many Moons Ago," and
then provide all sor ts of appealing num·
bers--among them Carol Burnett's houseblasting confession "Shy," the superbly orchestra ted "Ma n-to-Man Talk," and the
J ester's song "Very Soft Shoes," in which
he nostalgically reminisces a bout the dear
old days when his dad played the palace.
S. G.
(see p . 102 )
S H O W BOAT (Jerome Ker n-Oscar
Hamm erstein II). Gogi Grant , H owa rd Keel ,
Mu sical Interest: Ke rn 's mast e rpie ce
Perfor mance: Satisf a ctory
Record ing : Tops
SON G OF NORWAY (Edvard Grieg.
Robert W r ight-George Forrest) . J ones
Beach Ma rine Thea tre c ast with Brenda
Lewis, J ohn Reardon, H elena Scott, Sig A rno,
Muriel O'Malley & Wil liam Olvis , with Orchestra an d C horus, Lehman Eng e l cond.,
fe atu ring Stan Freema n ( piano ). Columb ia
CL 1328 $3.98
Musica l Interest : Con sid era ble
Perfor mance: Att ra ctive vo ic es
Recording: Satisfa ctory
The original Broadway produ ction of
Song of N orway ran for 860 performances
beginning in 1944. F or th e past two summers, Guy Lombardo a nd Leon ard R uskin
have successfully revived i t a t the J on es
Beach Marine Theatre on L ong lslan d. It' s
a grandly rom antic score th a t R obert
Wrigh t and George Forrest ha ve pas ted toge ther out of musical th emes by Edvard
Grieg, wi th an a bbrevia ted version of the
"A minor Pi ano Concerto" tacked on a t the
end for some very good m easures. Th el'e
are also some fin e voices in the prese nt
cast--most nota bly that of Brenda Lewis
who does a particularly excitin g job on
"Now." Decca's original cast r elease ( DL
9019 ) suffer s by comparison because of its
dated so und.
S. G.
VICTORY AT SEA (se e p. 102 )
CHESTRA, F. More no Torr6ba cond o The mes
f ro m Giga ntes y Cabezudos; Ag ua , Azucari llos y Agua rd ie nte ; La Ve rbena de la Palo ma ;
La Revo ltosa; Do na Fra nc isquita ; Luisa Ferna nd a . ABC Paramount 292 $3.98
Mu sica l Int e rest: Great app eal
Perfor ma nc e : Right flavo r
Reco rd ing: Satisfactory
The Spanish Zarzuela is a na tive fo rm of
musical theater that is ro ughly equivalent
to the Viennese operetta or the Am erican
musical comedy, and this LP of extracts
fr om six of them is an attractive, wellperformed appeti te·whetter. Senor Moreno
Torr6ba is not only an old hand at cond ucting and arrangin g Zarzuelas, but he is also
responsible for the music of Luisa Fernanda, one of the brightes t attractions in this
S. G.
HiFi Review September 1959
69 Airex Radio Corporation . . . . . . .... ... 104
3 Allied Radio Corp. . ... ..... . . .. . . . 22
2 Altec lansing Corporation .. . . . . . . . .. 15
172 Angel Records. . . .... . ... .. . . .... . . 83
100 Apparatus Development Co . .... . ... . 114
173 Audax Division . ..... . ... .. . .. . . .. . 77
5 Audio Devices, Inc. ... . .. . .. . . . . . . . 94
83 Audio Fidelity, Inc. . .. .. . . .. .. . . .. 3
Beginner's Luck Reprint. . . .. . .. .. . . . 108
6 Bell Sound Division. .. ...... .. .. .. 71
150 Belock Recording Co. . ... .. ...... .. 65
7 Bogen-Presto Company .... . . . .. . . . . 32
60 Book of the Month Club-R.C.A. Victor
Popular Album Club . . ... . . . . . 3rd Cover
39 Book of the Month Club-R .C.A. Victor
Society of Great Music . . . ... ... . . 11
9 British Industries Corp. .. . ... . . . . . . 4
114 Capitol Records .. .. .. .... .. .. .. 19, 20
37 Clevite 'Walco' .. . . . . . .... .. . . . . . . 24
111 Columbia lP Record Club . . . .. .. . .. . 7
157 Conrac, Inc . . . ... . . .. . .. . .. . . . . ... 109
167 Contemporary Records, Inc .... .... . . 102
166 Davies, ltd., Henry . .. ... . .. . .. . . . .. 114
75 Dexter Chemical Corporation .. .. .. .. . 89
146 Dynaco Inc. . .. .. .• • .. . .. . .. . ..... 30
10 EICO . .. . .... . .. . .. . ... .. . . .. . . .. 36
115 Electro-Sonic laboratories, In c. .. .. .. 99
Electronics World Stereo Disk . . ... .. . 103
11 Electro-Voice, Inc.. .. ... ... .. . 4th Cover
62 Ercona Corporation . . . . . . . . . . . . . ... . 108
13 Fisher Radio Corporation .. .. . . 16, 17, 73
9 Garrard Sales Corporation . . . ... . ... 4
92 Gaylor Products Co. . . . .. ........ . . 86
134 General Electric Company . .. . • . .. .. 33
14 Glaser Steers . ... ...... . . . .... . . . 6
141 Gray High Fidelity Division . . ..... . . 10
99 Harman-Kardon Inc. .. . . . .... .. .. . .. 69
41 Heath Company . . . . . . . 25, 26, 27, 28, 29
Hi Fi Review Classified . . ... ... .. . . . 111
HI FI REVIEW-October Issue . . . ... . . 107
Hi Fi Review Subscriptions . .. . . . .. . . 113
77 JansZen Loudspeakers . .. . . .. . . . . .. 14
118 Jensen Manufacturing Company ... 34, 35
86 Key Electronics Co . .. ... ........ .. . 111
174 Kinematix, Inc . . . . . .. ... . .. .. .. . . . 74
169 Koss Incorporated ... ... . .. . . . . . . . 104
45 lafayette Radio .. .. .... . . . .. .. . . . 101
88 leslie Creations .. .. .. .. .. .. .. .. .. 114
132 Miller International Co. .... . . .. . . . . 79
50 Minnesota Mining and Manufacturing
Company ...... . .. ... . .... .. .. . 75
162 Nagoya Associates Inc.. . ... . .. . .. . . 114
77 Neshaminey Electronic Corp. . . .. . . .. 14
53 OR Radio Industries Inc. . . . . .. . .. . .. 104
176 PACO Electronics Co., Inc . . ... . .. . .. 93
Photography Annual . . .. . . . . . . . ..... 110
62 R & A Speakers . ..... . .. .. . . •... . . . 108
54 R.C.A. Victor .. . .. .... ... . .. .. . ... . 63
109 Radio Shack Corporation . . . . . . . . . .. . 87
66 Rek-O-Kut Company, Inc . .... . ... . . . . 31
RIGO Shows . . . . .... .. . . . . ........ 96
91 Roberts Electronics Inc. . . . . . ... .. .. 92
105 Rockbar Corporation . ... ... . . . .. ... 9
177 Schober Organ Corp . ...... ...... . .. 97
29 Scott, Inc., H. H. ...... . .. . ... 2nd Cover
30 Sherwood Electronic laboratories, Inc. 59
31 Shure Brothers, Inc. .. . . . .. . . .. .... 78
180 Sonic labs. . .. .. . . . . . . . . . . . . .. .. . 85
155 Sonotone Corporation .. ... . . . .. ... . 12
98 Stromberg-Carlson . .. .. . .... .. . . .. 108
178 Tapeco .. ... ..... ...... .. .. . .. ... 111
171 Telefunken Records .. .. ...... . .... . 91
140 United Audio Products .. . .... . .. . 80, 86
34 University loudspeakers, Inc. . .. . . . . 23
122 V-M Corporation . . . . ... ... .. .. . . . . 13
137 Warner Brothers Records . . . . . . .. . 66, 67
101 Weathers Industries .. . . .. . . . . . ... . 8
38 Wellcor, Inc. . ........ . . . .. .. .. .. . 90
68 Westminster . .. . . . . . . . .. . . . . .. .. . 60
S E PTE MBE R 1959
Het'e's how you can ge t a dditional inform at ion , p r omptly and a t no charge, concern ing
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Please send me additional information concerning the products of the advertisers
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CITV____________________ ZONE ___ STAT£:_________
Just Put It Over Here
• Just about a year ago we published a short story on
the gadgets that claim to make mono (single channel)
recordings sound like stereo. This article ("Semi·Stereo
. . . Now or Never?", October 1958, page 55) pointed
out that there are two methods of electronically achieving
pseudo-stereophony. One of these is to take a mono
signal and frequency divide it so that most of the bass
and some of the mid-range is fed through one amplifier/
speaker system. Most of the highs, practically none of
the bass, plus the remainder of the mid-range, is then
fed through the second amplifier/speaker system. In itself, this technique is not new, and quite a few experimenters llave used it to good advantage in an attempt to
"broaden the sound front." Obviously, the same effects
can be achieved with suitably designed crossover networks and a single amplifier.
The second technique used in the semi- or pseudostereo world is an attempt to fool the ear. It involves
introducing a time delay or phase shift in the "second
channel." The ear then "knows" that the character of
the sound has been altered and decides that there has
been a new spatial effect added to the mono program.
The 1958 article concentrated on the commercially
\ available phase shifting and time delay units. The one
with the greatest promise-the Xophonic- had built-in
electro-acoustic feedback problems that limited its use
to rather low volume levels. In addition, its frequency
response and fidelity characteristics left a lot to be desired. The Holt was a strictly electronic device as compared to the Xophonic, and, if used as the manufacturer
instructed, did add some "liveness," or "presence," to
a mono program.
At the time when ilie earlier article was written, hope
was held for the Stereophoner being developed by Dr.
Hermann Scherchen. Those who have h eard Dr. Scherchen's device operate have all been favorably impressed,
but as far as can be determined, the past year has not
refuted our earlier opinion that this is a "one-of-a-kind"
device. Otherwise, passive time delay and frequency
dividing networks are still being offered to th e general
public. That they add some slight " dimension" to a
mono program cannot be denied. The illusion of increased depth is overly dependent upon the speakers
and their response characteristics. Regardless of whatever developments are forthcoming, the old dictum still
holds : "You can't create something out of nothing." A
true stereo system provides two channels of information.
Chopping up a mono program into two channels does
not create stereo. If you are inclined to doubt thisHow could a pseudo-stereo arrangement simulate the
left-to-right, or vice versa, realism of a locomotive passing through your living room? This type of directional
information is not imparted to a mono recording.
• We have never been one to assume iliat speaker placement for optimum stereo is a problem with an easy
solution . On the other hand, we were astonished by the
landslide of stereo speaker placement suggestions as a
result of our "Stereo All-Around" story in the July issue
(page 36). Just in case you did not see that short short,
another appears in this issue on page 53. Particularly
note that we pay (good American dollars) for information on how you solved your own speaker placement
problem. Simply describe the room, the equipment, the
stereo effect you wanted and how you overcame any
obstacles. Make a pencil drawing of the room and
indicate where the important furniture items, including
the stereo speakers, are located. No photographs are
required to make your manuscript acceptable.
A sidelight to this rather unexpected rash of short
manuscripts has been the observation that people are
not sticking to just two speakers for two-channel stereo.
Most stereo systems with peculiar speaker placement
problems are being solved with the aid of from three to
five speakers scattered around th e room.
Something Old , Something New
• Several new names appear on the masthead of this
issue-if you are one of those very thorou gh readers who
pay attention to such things. Joining the staff as Associate Editor is Nancy Lang, recently (for the past six
years) at New York's fine mu sic station WQXR. Replacing Saul Weiner as Art Director is Al Gruen, recently of the POPULAR PHOTOGRAPHY staff. Saul, who
had been with HIFI REVIEW since its first issue, has
moved on into the world of promotional advertising art
(still with Ziff-Davis Publishing Company) . AI, who left
POP PHOTOGRAPHY to become a free-lance art director/
photographer, accepted as one of his first assignments
the art makeup of this magazine. By the way, if this
sounds like a game of "musical chairs", it really wasMr. Gruen's successor was Mr. Weiner's predecessor.
• Next month, our hi-fi equipment editorial will be built
around three topics: stereo cartridges, stereo tone arms,
and stereo power amplifiers. The exceptionally favorable
reaction to my article on Ster eo Receivers (July issue,
page 26) convinces me that the majority of our readers
want equipment editorial coverage in depth. Our power
amplifier article will discuss the Dynaco, Fisher, Knight,
Leak, and Pilot. Beca use of the lack of standardized
testin g procedures, we do not anticipate a qualitative
evaluation of either cartridges or tone arms, but will
make every effort to familiarize you with the good and
bad features, as well as incorporating sufficient background information as to why some designs work better
than others in certain situations.
U.S .A.
~O~!"TI~P~'!O~UP;:~~OO~3 98
1. Melnehrino plays
A ili u m ", Leaves, Sta r
Dllst, JPhile W e' re
Y OImg, Estrellila .
2. Hottes t a lbum of
year! All·s tar mode rn "m o od" ja zz
from NBC·TV se ries .
3. Blu es t y p es,
rh y thm ba c kin g .
Hallelujah, J Love
Her So, 11 others .
4. Origina l so und ·
track recordin g from
Rodge rs and Ha mmcrs lc in film hit.
5. All-time classical
bes t selle r by mos t
talk ed-abo ut pianis t
o f th e ge neration.
6. 18 evergree ns.
It Could Happ en. to
You, Love Letters,
Birth of th e Blues.
7 . Breat h-takin g ne w
recording of bes t se ll ing suite from
d ra mat ic TV score.
8. Ne w recording
of Kern -Ha mm e r s tein classic. Gogi
Gra nt, Howa rd Keel.
9. Op e r e tt a film
s tars remake th eir
12 bigges t h its. 111.diar~ Love Call, e tc.
10. Lanza !jin gs 12
It a li a n c l ass i cs.
Funiculi, Funicula ;
Sa nta Lucia; Ma rie.
11. Mill e r- s ty l e d
modern repertoire ,
Ray McKinley. Birdla nd , 11 others.
12. New remakes of
their bigges t hit s.
Jalo us i e, Sk a te r s
Waltz, Liebestraunl .
. . . if you agree to buy five albums from the Club during the
next twelve months from at least 100 to be made available
plan enables yo u t o
on tap a variety of popu·
lar mu sic . . . and , once and for all,
takes bewild erment out of build·
in g su ch a well-balanced collection. You pay far less for albums
this way th a n if yo u bu y them h ap.
haza rdly. For ex ampl e, th e introdu ctory offer described above can
re pr ese nt as much as a 40%
savin g in your first yea r of membership. Th ereafter, by means of
th e Club's uniqu e Re cord-Dividend
Plan, you will be able to obtain
se l ec t e d R C A VICTOR r ec ord s
at about one third less th an th e
manufacturer's nationally advertised pri ce. After bu ying th e fi ve
album s called for in this offer,
yo u will receive a free 12·inch 33Y:i
R.P.M. album, with a nationally
advertised pri ce of at least $3.98,
for every two albums purchased
fr om the Club. A wide choice of
RCA VICTOR albums will be described each month . On e will be
s ingled out as the album-aI-the.
month. If yo u want it, yo u do
n othing; it will come to yo u auto·
matically. If you prefer an alter.
nate-or nothing at all- you can
mak e your wish es known on a form
always provided. You pay th e nati onall y advertised price- usu all y
$3.98, at times $4.98 (plus a small
charge for pos tage and handlin g) .
Fra nkie
a nd iris
13. His latcs t an d
most da n ccablc se t
ye t. Ballads, lind ys,
waltzes, Lnt in , c tc.
14. Fres h vcrs ions
of 12 h arm ony hits .
Pap er Doll, To Each
H is O Wfl , Cool W a ter.
15. Lil tin g versio ns
of T he Blue Danube,
Artists' Lif e. Em peror
IVa ll=. 9 o th crs .
16. Key hi ghli gh ts
fr om Tch aik ovsky's
cnch antin g mas terpiece for ballc t.
17. On-the-spot reco rdin g. Yes, in .
c1 udes Day In - Day
Ollt plus 14 others .
18. 17 s waggc r ing
marches: El Ca pitan ,
Semper Fidclis, On
th e Mall, On Parade.
19. Lu sh, rh ythmi c,
e x o ti c in s trumentals. Va lencia, Granada , DelicaJo.
20. Hi, 12 bigge, t
hits, n ewl y remad e.
Green Eyes, Linda
M ui er, Adios, etc.
21. Compo te of La tin
r h y thm s , cha, chas.
jazz. Lullaby 0/ Bird land, 10 more .
22. New Broad way
sta r, top tunes fr o m
top mu s icals, Flower
Drum Song, etc.
23~ e ha-ch a ve rs ions o f La tin tun es.
P er/idia, Frenesi ,
]"fLmpico, Y ours, etc.
24. 12 po p favorites
and ligh t class ics .
September So fl C, W arsaw COll certo, Diall e.
las t
a nd
Th e
26. La MacKe nzie
s in gs 12 ballads. Hey
Th ere, Ebb Tide, Too
Young , Moonglow.
27. 12 dan ce-mood
favo rites by trio plus
s trin gs. I'll Get By,
Dream . etc.
28. Plush, romanti c
mood setter fo r a
bach elo r apartment.
12 top s tandard s.
34. Fa nt as ti l; s ound ,
realis tic atm os ph ere,
familia r so ngs , virile
s inging. Din'cre nt!
35. M" Ma n, Young
a nd Fooli5h , They
Say It's W onderful,
Yesterday , 8 more .
37. P ia ni st' s tri o
p la ys S umm ert ime.
The Ma n I LoI'e, All
0/ Yo u, Cherr)" elc.
Absolut ely th e
word in sound
pe rfo rm a n ce .
grea tcs t Ga ile!
29. Prom kin g in
beatful selection of
ballads, lind ys, ch a
chas. Tea/ or Two.
~~~k I~~~h ~~~dis~
a sock so n ic trea t!
Ma rch es, folk son gs.
ga n .
31. Liltin g S t ra us
opere tta. Ri se S teve ns, Robert Me r rill ,
Jo S ulli va n, o th ers.
40. \Vacky, ba nj o-
pi ck in ' co untr y co m ics rai se havo c with
hits and specials.
~~I~~tj:::;s.t Ot":~:!
Moder n
THE RCA VICTOR POPULAR ALBUM CLUB, P. O. Box 80, Village Station, Hew York 14, H. Y.
Please reg ister Ole as a member of The RCA VI CTO R
S3.98, a t tim es S4.98, s tereo ve rsions 54.98, a t
Popular Album Club and send me the fi ve albums
times $5.98 (plu s a s mall pos tage and h andling
charge o n all prices) . Ther eafter, I necd bu y onl y
whose numbers I have circl ed at lowe r right, for
fo ur s u ch albums in a n y twe lve-month period . I may
which I will pay S3.98, ($4.98 if sterco), plus a
small pos tage and h andling charge. I agree to bu y
fivc other albums o ffered by the Club within the
n ext twelvc month s, for each of whi ch I will he
billed a t th e nationall y ad vertised price: usuall y
bi g-
ca n cel members hip aft er buying five albums from
th c Club (in addition to those included in this o ffer).
After m y fifth purchase , if I continue , fo r ever y two
albums I b u y I may choose a third a lbum free.
Check which type of recordings you want: REGULAR L. P.
A re, oth er hit s.
Address_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Nalne ____________________________________________
S tereo ve rs ions of these 39 albums are also available
-any five for $4.98 (n a tionally adve rtised prices
to tal as high as $29.90) . Th e plan is the sam e as
outlined abo ve-exce pt tha t the addition al s te reo
albums y ou buy during the year will be a t th e natio nally
adve rtised pr ice of $4.98, at times $5 .98 . Most of the
Club' s n ew selections and alte rna tes are available
in stereo versions. Check box in coupon .
33. Hi ch ba rit one o f
Ih e Gra ham Cru sade
s in gs s o m c m os t req ues ted so ngs
38. S ta nda rd s pl us
spec ial ma teri al, funfilled ad Ji bs. Dill y
May arra nge ment s.
Li qu id sound s
Hamm ond orOver th e Rai,,Ebb T ide, c tc.
9 10
11 12 13 14
15 16 17 18 19 20 21
Z one_ _ State
~u~~:r:iz~/~~Aw~rCtgW d~:~~,e~~~~eC~rl~i}~db~~O!~
•• C
23 24 25 26 27
Send no money. A bill will be sent. Regular L. P. albums can be shipped
only to U. S., its territories and Canada. Albums for Canadian me'!!·
bers are made in Canada, and are shipped duty free from Ontano.
29 30 31 32 33 34 35
38 40
By Adding
Super-Sonax Wide-Angle Tweeter you can
Only from the widest-range reproduction can you
fully feel the emotional impact of sound reality.
Simply by adding the E-V Super-Sonax Tweeter
to your present speaker system, you extend high
frequency response smoothly and efficiently
beyond the last audible octaves ... including the
subtle overtones and delicate harmonics of the
fundamentals of all the instruments in the large
concert orchestra. What's more ... the SuperSonax is also your first step to the vibrant sound
of true stereo in your living room.
ONLY E-V gives you Sonophase* and Diffraction
ONLY E-V gives you all-important
For enjoyment of true stereo without hole-in-the-middle, ping-pong,
one-position listening, E-V Super-Sonax VHF Tweeters give allimportant FUSION, by completely dispersing higher-frequencies
throughout the room. This makes the significant stereo sounds from
one speaker fuse with the sounds from the other speaker in varying
and controlled proportions . . . gives proper depth and placement
to the musical instruments simultaneously, without spatial distortions. You can feel free to sit anywhere in the room or move about for
true stereo listening from any angle, without directing the speakers.
Flat-extended very-high-frequency response is made possible only
with the exclusive E-V Sonophase* throat design. This assures the
smooth, brilliant highs so necessary for blend and balance.
Wide-angle (180°) dispersion achieved through exclusive E-V Diffraction spreads the sound throughout the entire listening area
smoothly and evenly.
Working together, these and other E-V features combine to assure
accurately-proportioned direct and indirect widely dispersed stereo
sound as in the original recorded spatial relationships. This is
FUSION. This is true high-fidelity stereo as only Electro-Voice can
bring it to you.
Get full advantage of Super-Sonax in the wide choice of complete
multi-way speaker systems- or add it on to your present
system for improved reproduction, on money-back guarantee.
Model T350 Ultra-Sonax VHF Tweeter. For deluxe-efficiency systems.
Has reserve power and extra sensitivity. Response to 21 kc.1 lb. magnet. 16 ohms .
Recommended crossover 3500 cps.
Net, $60
Model T35 Super-Sonax VHF Tweeter. For medium-efficiency systems. Response to 19 kc . 1/2Ib. mag.16 ohms. Recom . crossover 3500 cps. Net, $35
Model T35S Sonax VHF Tweeter. For lower-efficiency systems. Response
to 18 kc. 1/4 lb. magnet. 16 ohms. Recommended crossover 3500 cps .
.Net, $22
The above tweeters are also available as Building Block kits complete
with crossover, level control, and wiring harness, for only $15 .00 more.
See Your E-V High-Fidelity Dealer or Write for Catalog No. 134 to Dept. 99-F
No Finer
Choice than
'Oesign Patent No. 182351'
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