hugh october 1972 75 - world radio history

HUGH OCTOBER 1972 75¢08398 America's

FIDELITY Changing Taste in

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2 HIGH FIDELITY MAGAZINE

October 1972VOL. 22 NO. 10

music and musiciansGene Lees NEWPORT IN NEW YORK 26The jazz festival finds a sympathetic home

Owen Lee CHANGING TASTES IN POPULAR MUSIC 62From Lucky Strike's Hit Parade to Billboard's Hot 100

Conrad L. Osborne AN INTERVIEW WITH LAURITZ MELCHIOR 78

audio and videoTOO HOT TO HANDLE 28

NEWS AND VIEWS 30Come to the show ... Digital audio

EQUIPMENT REPORTS 35Pioneer SX-626 receiver

JVC CD -1667 ANRS cassette deckInfinity 1001 speaker system

Shure M91ED cartridgeTeac AT -201 tuner and AZ -201 oscilloscope unit

William Tynan A FIRST LOOK AT THE NEW EQUIPMENT 46

Leonard Feldman HOW TO READ OUR PREAMP GRAPHS 72

record reviewsConrad L. Osborne HELDENTENOR OF THE CENTURY 75

Reissues from Melchior's unparalleled prime

Robert P. MorganSONIC INNOVATIONS FOR THE STRING QUARTET 80

An old form sets out in new directions

Arnold Shaw SCOTT JOPLIN AND RAGTIME 81Five recent albums herald a revived interest in the composer

CLASSICAL 84Karajan's Schumann: his best yet ... Mozart's concertos for winds

POP 120Nilsson Schmilsson . The Moonglows David Ackles

JAZZ 124Benny Goodman ... Jack Teagarden ... Stan Kenton

R. D. Darrell THE TAPE DECK 128Harmony and variety in 8 -track quadraphonic cartridges

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LETTERS TO THE EDITOR 6Our Movie Music issue .. A critic's philosophy

THOSE WERE THE DAYS 22A nostalgic romp through our old issues

PRODUCT INFORMATION 37An "at home ' shopping service 95

ADVERTISING INDEX 94

Coming equipment. See page 46.

Changing tastes. See page 62

A career in retrospect. See page 75.

Published at Great Remington. Mass 01230 tiy eilitiond Publications. Inc Copyright.01973 by Billboard P iblicaticvs. Inc. The design and contents of High Fidelity Maga-rine are fully protect, d Si copyright and rent not be reproduced in any manner.

Second class postage paid et New Ycrk and at additional mailing offices. Authorized assecondtlassmail by the Post Office Departmerc. Ottarre and for payment of *stage m cash, High Fidelity!Heireaearrnentil Edition is published month''. Subscript*n in the U.S.A. and Is Possessions. 314;elsewhere. 515. An mail rate to Upin one year, 16,000 ye: Padua rate. 5.400 yen. Subsriptionincluding Concert Anil Directory published in December. 570 in The 11.S.A. and ds Possessionelseithee $21 Regular issues Ill I a copy. National end other editions published monthly Subsuing°. in the U.S.A and Possessicns, $7.95. Air mill rate :c hip= one year. 14 000 yen. air mailrate to gummy one year 133 OM Subscription retest°, 411 other countries available an requestRegular issues 75c a copy Indexed in the Reader's Guide :c Periodical literature Change of ad.dress entices and undelivered copies (Term 3579) should be eddremed to iegh Fidelity, Subsuip-lion Dftertinent, P.O. nos 14154, Cncinnati Ohio 45214. lease rate both old and new eddieseswhen requesting a change.

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CIRCLE 26 ON READER -SERVICE CARD

LEONARD MARCUSEditor

NORMAN EISENBERGExecutive Editor

PETER G. DAVISMusic Editor

ROBERT LONGAudio -Video Editor

SHIRLEY FLEMINGEditor, Musical America Section

EDITH CARTERAssociate Editor

WAYNE ARMENTROUTSHEILA RIZZOAssistant Editors

WILLIAM TYNANSpecial Projects Editor

ROY LINDSTROMArt Director

ROBERT MADDOCKSAssociate Art Director

RUTH W. DUNTONProduction Editor

JUDITH WESTAssistant Production Editor

MORGAN AMESR. D. DARRELLHENRY EDWARDSALFRED FRANKENSTEINHARRIS GOLDSMITHDAVID HAMILTONDONAL HENAHANMIKE JAHNMILES KRUEGERPAUL HENRY LANGGENE LEESROBERT C. MARSHH. C. ROBBINS LANDONContributing Editors

STANLEY BINDERCirculation Manager

CLAIRE N. EDDINGSAssociate Publisher andDirector of Advertising Sales

WARREN B. SYERPublisher

Cover photograph by Bernard Lawrence

ADVERTISINGMain Office: Claire N. Eddings. The Publishing House.Great Barrington, Mass. 01230. Telephone: 413-528-1300.

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New England: The Publishing House, Great Barrington,Mass. 01230. Telephone: 413-528-1300. Russell Gilchrist.Chicago: Billboard Publications, inc., 150 North WackerDr., Chicago, III. 60606. Telephone: 312-236-9818.Leonard Levine.Los Angeles: Billboard Publications, Inc., 9000 SunsetBlvd.. Los Angeles, Calif. 90069. Telephone: 213-273-7040. Andrew SpenbergerNashville: Billboard Publications, Inc., 1719 West EndAve., Nashville, Tenn. 37203. Telephone:615-329-3925.Robert Kendall.London: 7 Cernaby St., London W.1, England. Telephone:(01) 437-8090. Andre de Vekey.Frankfurt/Main: Eschersheimer Landstrasse 69, Frank-furt/Main. West Germany. Telephone (0611) 590805-6.Walter B. Rios.Milan: Plazzale Loreto 9, Milan 20131, Italy. Telephone:28.29.158. Germano Ruscitto.Tokyo: Billboard Publications, Inc., Comfy Homes 7B6-6-28, Akasaka, Minato-Ku, Tokyo, Japan. Telephone:586-0261. Hiro Tsutsui.


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OCTOBER 1972 5

lettere

Congratulations on Elmer Bernstein's enjoy-able article ["What Ever Became of GreatMovie Music?" July 1972]. I think it is hightime someone spoke up about the decliningstate of film music; those who have been col-lecting as long as I have find the tremendousnumber of junk soundtracks on the market aninsult to our taste and intelligence. Title songstoo deserved the smart smack Mr. Bernsteingave them.

I was also delighted to note Mr. Bernstein'sdesire to form a club devoted to film music.Television has introduced many of us to thesplendors of movie scoring in the '30s and '40s.and it is frustrating not to be able to hear thosescores at will.

Ted OttenBrooklyn. N.Y.

I hope Mr. Bernstein will be able to record themusic of Bernard Herrmann when his newfilm -music club is formed. Very little ofHerrmann's music is on disc and I would verymuch like to hear his scores from The Ghostand Mrs. Muir and Fahrenheit 451.

David P. JamesChicago. III.

Count me in! What wouldn't I give to hearsome of the great Copland and Korngoldscores-not to mention Mr. Bernstein's own-in up-to-date recordings.

William S. GoodfellowChicago, Ill.

I'd like to suggest that the club record somescores by the late, great Alfred Newman suchas All About Eve. Leave Her to Heaven. Keys tothe Kingdom. and The Razor's Edge.

Frank PaganiForest Hills. N.Y.

I would hope that Mr. Bernstein's club will notconfine itself to previously released record-ings. Bernstein's own score for The Miracle.one of my favorites, was never released to myknowledge. I've seen the movie at least sixtimes just to hear the score. Everyone has hislist of never released scores. High on mine isThe Miracle and L. B. Jones. also by Bern-stein.

Thomas S. SharpHammond. La.

Just because Elmer Bernstein is having troublefinding work in Hollywood is no reason to as-sume that the art of film scoring is dead. Thismyth is simply a result of narrow thinking.Film music is not dead. But the idea that agood score must be spooned over every foot offilm is dead, and thank goodness!

People who are so terribly caught up in thefilm industry's past should take a long, objec-tive look at Gone With the Wind and listencarefully to Steiner's incredible overscoring.Every raised eyebrow was accompanied by a

Steiner trumpet blast. Today's producers andcomposers realize that films don't require suchbulk music.

A little good music can go a long way if usedproperly (note Jerry Goldsmith's sparse butsuperb score to Patton). There are some out-standing young composers working in filmsthese days, and they are turning out some mar-velous movie music, notably Jerry Goldsmith(The Other). John Williams (The Cowboys),Jerry Fielding (The Nightcomers). David Shire(Skin Game). Billy Goldenberg (Red Sky atMorning). Michael Lewis (Julius Caesar). andNino Rota (The Godfather).

Mr. Bernstein is one of the most gifted com-posers in Hollywood-his To Kill a Mocking-bird is still a classic. But he must come out ofHollywood's past and try to convince today'syoung producers that he can still provide qual-ity film music. If Goldsmith can, certainlyBernstein can too.

Steve HarrisAnaheim. Calif.

Recently I had the great pleasure of watchingDavid Raksin conduct the Vermont Sym-phony in an excerpt from his score for Laurawhile silent footage from that particular se-quence was projected on a screen. The au-dience loved it.

Many of your readers will be interested toknow that there is a Max Steiner MusicSociety with an international membership.Particulars may be obtained by writing to Al-bert K. Bender. P.O. Box 45713. Los Angeles,Calif. 90045.

John W. O'GradyStamford. Conn.

The Film Dubbers

Answers to the letters in this section were sup-plied by Miles Kreuger who notes that he hasbeen unable as yet to verify our readers' scholar-ship unless otherwise specified. One final dub-bing note: Several readers have asked whosang for Zsa Zsa Gabor in Moulin Rouge. Mr.Kreuger reports that the lady was Muriel Smith,according to director John Huston.

The other picture I sang for Esther Williamswas Easy to Love. I also sang for the AutumnBride in Funny Girl.

I talked with Marie Greene, and the onlyother dubs she can remember she did wereAnna Lee in Sound of Music and Sandra Deein Doctor, You've Got to Be Kidding.

Doreen Tryden did Angela Lansbury in TheHoodlum Saint, MGM; Joy Ann Page in Kis-met, MGM; and Jeanne Crain at Universal ina picture she can't remember [The SecondGreatest Sex].

Virginia Rees sang for Marlene Dietrich inThe Lady Is Willing, Columbia; Lucille Ball inEasy to Wed, MGM; Evelyn Keyes in The Jol-

son Story, Columbia; and Angela Lansbury inThe Harvey Girls, MGM.

I did a tremendous amount of dubbing atRKO. I sang for almost every dance hall girl inthe honky-tonks in their westerns but can't re-member names.

I'm delighted with the prospect of a book onthis subject; it is something I swore somedayI'd do.

Betty WandSherman Oaks, Calif.

Is it possible that Marilyn Monroe had twodifferent singing voices in Gentlemen PreferBlonds? A few bars were almost of operaticquality in one song.

Also, didn't Harry Belafonte dub for SidneyPoitier in Lilies of the Field?

Charles AndersonSacramento, Calif.

It appears that Marilyn Monroe's voice wasnever dubbed in her movies. Jester Hairston, notHarry Belafonte, dubbed for Sidney Poitier inLilies of the Field.

I think I read that Barbara Bel Geddes' singingvoice in The Five Pennies was dubbed by Ei-leen Wilson.

Alvin E. RudaHamden, Conn.

Stark Hesseltine, Miss Bel Geddes' agent, veri-fied the above information by checking withParamount Pictures.

The voice used for Rita Hayworth in Bloodand Sand (in the song Verde Luna) is that of

VicenteGomez. Both Miss Parraga and Mr. Gomezrecorded three songs he composed for thefilm, and they were issued on a Decca 78 -rpmalbum.

Michael AridaNew York, N.Y.

Both Mr. Arida and reader H. E. Holmquist ofWilmington, Delaware supplied the informa-tion about Miss Parraga. The 78 -rpm album ofsix titles was reissued with two additional selec-tions on a Decca LP, DL 4629.

Jean Harlow was dubbed in Suzy by my goodfriend Eadie Adams who was under contractto MGM at that time. Miss Adams is now aprominent and prosperous real estate womanin Palm Springs, California.

William H. SmithSan Francisco, Calif.

Miss Adams confirms that she did sing Did IRemember? for Jean Harlow in Suzy.

I have some answers to Mr. Kreuger's querieson film dubbers, plus a few additions.

Martha Tilton sang for Martha O'Driscollin the Olsen & Johnson movie Crazy House.

Lee Sweetland for Turhan Bey in the '44Universal film Bowery to Broadway.

Martha Mears for Marjorie Reynolds in theBing Crosby Holiday Inn, and for Lynn Bari in

Nocturne.Lynn Martin for Ann Sheridan in Shine on

Harvest Moon.Sally Mueller for Martha Vickers in The

Time, the Place & the Girl.Nadine Connor for Betty Hutton in the op-

eratic sequences of Dream Girl.

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Imogene Lynn for Mona Freeman inMother Wore Tights.

India Adams for Joan Crawford in TorchSong.

Theodora Lynch for Dorothy Patrick inNew Orleans.

Trudi Erwin for Lucille Bremer in Till theClouds Roll By (in the duet with Van John-son).

Joan Barton for Nancy Guild in Somewherein the Night.

And finally, a question. Is it true that threedifferent singers-a bass, a tenor, and a bari-tone-sang for Cornet Wilde in A Thousandand One Nights?

Doris de VasierBowling Green. Ky.

As a specialist on Barbara Stanwyck, I shouldknow the names of her various dubbers. I

don't. but I can tell you that Miss Stanwyckdid her own singing in This Is My Affair (20thCentury -Fox, 1937) and in Lady of Burlesque(United Artists. 1943).

John B. FisherNew York. N.Y.

Bonnie Lou Williams. one-time vocalist withthe Tommy Dorsey orchestra in the early '40s.sang for Virginia Mayo in her various WarnerBros. films (She's Working Her Way ThroughCollege. Painting the Clouds with Sunshine.She's Back on Broadway). In Miss Mayo's ap-pearance in the Samuel Goldwyn film A SongIs Born it was Jeri Southern who dubbed. but Ican't be certain about her other films forGoldwyn.

Buddy McDanielWichita. Kan.

I seem to remember Mary Martin telling memany years ago that she sang for Gypsy RoseLee in The Battle of Broadway. My lack of as-surance is due to my dismissing the informa-tion. at the time. as unimportant.

Roger Geri:t.Port Murray. N.J.

It's absolutely true.

I enjoyed Miles Kreuger's article in the July1972 issue ["Dubbers to the Stars"]. It maysurprise him, as it did me. to learn that thesinger who dubbed for Larry Parks in The Jol-son Story was not Al Jolson as advertised. Jol-son was asked to redub some of his singing be-cause the producers felt it could be improved:Jolson refused and thus another voice wasdubbed in for the dub -in. His name: WalterCraig, "the man of a thousand voices." He didJolson better than Jolson himself, and few arethe wiser.

Don F. HillHemet. Calif.

Diana Gaylen did indeed dub for Olivia deHaviland in Anthony Adverse. Her voice washer own, however, as Mitzi in Blossom Time inthe 1930s.

Where is she now? My mother, Diana Gay-len Mitchell, resides in Seattle, Washington,and she too enjoyed Miles Kreuger's article"Dubbers to the Stars."

Pamela CoxSeattle, Wash.

Was I surprised to learn that my favorite star,Jeanne Crain. had been dubbed many times.

It is always a shock to fans to learn that thevoices of many of their favorite stars are nottheir own. Dubbing is an unbelievable art initself.

Charles FinleyHollywood, Calif.

Tube Amplification

Miles Kreuger's articles on movie music [July1972] interested me immensely. My motherplayed for the silent movies around 1910. Itwas necessary in part to improvise, changingfrom one kind of music to another as the pic-ture on the screen changed. The pianist's eyeshad to stay on the flickering picture [ratherthan on the piano scores referred to in ElmerBernstein's article in the same issue?-Ed.].She was totally on her own.

I'm sure a. few more enlightening wordsabout the Audion tube invented by.Dr. Lee deForest would be of interest to your readers. AsI remember, the first tube was only a rectifierwith a filament and a plate. It received signalsno louder than a crystal detector, but it wasone hundred per cent reliable. When was thegrid invented and by whom? And when was itfirst used to amplify?

L. RuschGlenhatn, N.Y.

De Forest (who patented Phonofilm, a methodfor making movie soundtracks, in 1904) re-ceived a patent on the three -element (triode)Audion in 1907, specifying its use as an amplifi-cation device among other applications, and onthe grid electrode itself in 1908. He is generallycredited (in this country at least) with inventingthe modern vacuum tube as opposed to the two -element (diode) rectifier, which had been in-vented by Ambrose Fleming working from basicexperiments of Thomas Edison. A case can bemade in favor of Fleming as the true inventor ofthe vacuum tube.

Few pages in the early history of radio are un-clouded by doubt. The acrimonious fight be-tween De Forest and Edwin Armstrong (gener-ally credited with inventing FM broadcasting,though here too at least one counterclaim can bemade) over the subject of regenerative (feed-back) receiver circuits is particularly revealing.Armstrong had the prior patent claim, and DeForest even seemed unclear in his under-standing of the regenerative circuit, as he hadbeen about the Audion itself; yet so great wasDe Forest's prestige in the Twenties, when thestruggle was at its height, that it dragged on foryears and eventually was decided in his favor.The striking thing about this saga is that in 1912De Forest had been at the opposite end of thebalance; in charging his company with mailfraud a New Jersey prosecutor said that thecompany's only assets, De Forest's Audion pat-ents, "had proven worthless." Fleming and DeForest had both believed that some gas wasneeded in the tube if it was to operate. Only

Correction

In sorting out the stars and who sang forthem ["The Film Dubbers," July 1972] MilesKreuger incorrectly identified two vocal dou-bles. It was Anita Gordon, not Marie Greene,who sang for Pamela Tiffin in the 1962 remakeof State Fair. and Francia White, not DianaGaylen, dubbed for Virginia Bruce in TheMighty Barnum.


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Our preview offer of the Missa Solemnis cannot be repeated!So please mail the attached postpaid card today. Listen for tendays. Then either return the album and pay nothing, or keep itfor only $6.98 plus small postage/handling charge (and salestax where required). This is a 50% saving off the suggested re-tail price when the regular edition is finally released.

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THE INTERNATIONAL PREVIEW SOCIETY333 North Michigan Avenue, Chicago, Illinois 60601Please send, for my free preview, the two -record special advance edition of MissaSolemnis by Eugen Jochum. I may return it after ten days and owe nothing, orkeep it and pay only $6.98 plus small postage/handling charge (sales tax extra,where required). This is 50% off the suggested list price of the regular edition,when it becomes available montis from now. I will also receive, at intervals of oneor more months, free ten-day previews of albums chosen by the Carnegie HallSelection Committee, far in advance of general release. I may keep any album forno more, and often for far less, than suggested list price. / am not obligated to buyany minimum number of albums and I may cancel this arrangement at any time.

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when others (notably Harold Arnold and IrvingLangmuir) added the idea of vacuum did thetube become a reliable, viable product. To thatextent, the prosecutor was right. With so muchconfusion (and perhaps even obscurantism) inthe official records, it's easy to question their ab-solute validity.

Soundtrack Collectors

Ken Sutak says the reissue of rare sound-tracks will send soundtrack investors to the as-pirin cabinet. Is there anything wrong withthat? It is all very nice for these dollar -con-scious speculators to charge outlandish pricesfor soundtracks (and Broadway shows), butpity the poor collector who collects sound-tracks (and Broadway shows) as a hobby forthe sheer enjoyment of listening to the goodmusic.

Ellis M. Nassour, Jr.New York. N.Y.

I've been a soundtrack album collector formany years and was surprised to note thatBritish film composer Malcolm Arnold wasnot included in the list of selected composersin Ken Sutak's article. His score for TheBridge on the River Kwai was outstanding andis very difficult if not impossible to obtain.

I've been trying to obtain Jerry Goldsmith'sscore for The Blue Max for some years nowand would appreciate hearing from anyonewilling to part with a copy.

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Bruckner and Mahler Omissions

In his review [June 1972] of the Bruckner sym-phonies Nos. 4 and 7 (Karajan) and 6 (Stein-berg). Robert C. Marsh stated that the "se-lected comparisons" for these works are byMehta, Haitink. and Solti. However, in the re-view itself, these comparisons were nevermade. Why?

B. WomackSan Mateo, Calif.

Unfortunately our typesetter dropped the finalparagraph of Mr. Marsh's review, an error thatwas not caught until the pages were on the pressand too late to rectify. Herewith Mr. Marsh'smissing comparisons.

"The Haitink version I reviewed in thesepages recently is comparable as a performance(although I prefer some of the details in theSteinberg) and considerably better engineeredthroughout. For No. 7 my choice would be Solti,and there are several admirable versions of No.4, starting with that of Zubin Mehta."

Of the six inches devoted to Robert C. Marsh'sreview of new recordings of Bruckner sym-phonies in the June 1972 issue, a total of three-quarters of an inch is expended on the per-formances, which Mr. Marsh dispatches withthese two zingers: 1) "They [Karajan andSteinberg] have the style at their fingertips.and they have the skill to achieve full realiza-tion of the scores"; 2) "As studies in inter-pretation, Karajan's treatment [sic] of theFourth and Seventh are valuable documenta-tions of what he does with tempo and phrasingand his current over-all view of these works."

When Mr. Marsh refers to this "style" they"have at their fingertips," is he suggesting that


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Messrs. Karajan and Steinberg have the sameinterpretative approach to Bruckner? Andwhat are "full realizations of the scores"? Andwhat on earth does Karajan "do with tempoand phrasing" to give us "his current over-allview"?

Mr. Marsh gives ample evidence in his re-view that he was paying attention to how themusic was recorded, but not a clue as towhether he noticed how the music was beingperformed. I look forward to reading his viewson the subject.

Herbert GlassLos Angeles. Calif.

In the period of time since Robert C. Marshrejoined the reviewing staff of HIGH FIDELITY,he has had occasion to review a large numberof new recordings of the Mahler songs andsymphonies. In these reviews he hasfrequently made comparisons with alreadyexisting recordings and yet he has almost con-tinually ignored the extraordinary inter-pretations of Leonard Bernstein and the NewYork Philharmonic. 1 share Mr. Marsh's ad-miration for the work of Solti, Kubelik, andHaitink, but I certainly feel that Bernstein alsobelongs in this group of great Mahler inter-preters.

I also must take issue with what I believe tobe Mr. Marsh's overemphasis on the impor-tance of a "Mahler tradition." Mr. Marsh dis-cussed this at length in his review of the sym-phonies Nos. 5 and 10 [June 1971]. I for one donot believe that simply because a group of mu-sicians has performed a particular composer'smusic for many years, it is of necessity going togive a superior account of that music under anew conductor. Even granting this point, I donot see why the Concertgebouw Orchestrashould be singled out for this distinction. TheNew York Philharmonic has had an equallydistinguished "Mahler tradition" dating fromthe years 1909 to 1911 when Mahler himselfdirected the orchestra. In the last forty years orso, the New York Philharmonic has con-sistently played under great Mahler conduc-tors such as Willem Mengelberg, Sir John Bar-birolli, Bruno Walter, Dmitri Mitropoulos,Leonard Bernstein, and George Szell. Thistradition continues to the present day with theorchestra's current music director, Pierre Bou-lez.

Bill CurtisBronx, N.Y.

Mr. Marsh replies: Stravinsky (in Retrospec-tives and Conclusions) deplored "the uselessgeneralities of most record reviewing" and pro-ceeded to offer three parallel reviews of recentversions of his Sacre. They consisted of the typeof comment one conductor might make to an-other, and you can appreciate that this is thetype of commentary a Stravinsky might want toread. But no editor is likely to consider the regu-lar publication of this type of criticism, eventhough his writers might be perfectly capable ofproducing commentary of this type, becausereaders of general circulation magazines are notlikely to be very responsive to conductorial shoptalk. What they want to know is the kind ofover-all satisfaction a new record is likely toprovide.

All of us must, at one time or another, pleadguilty to writing "useless generalities" i!Stravinsky's criteria are to be applied. This isespecially the case with recordings of only average interest which prompt one to write tight. A450 word review of three Bruckner symphonies

is bound to contain some general statements onthe assumption that if the reader is interested inthese matters he is quite capable of pursuingthem for himself.

Mr. Glass obviously would have preferred afeature review of these albums, but he seems tohave missed my point. Precise statements re-quire precise data. I can only write about what Ihear, and i f a recording comes to you in such aform that inner voices are lost, textures arevague, and balances are suspect, you mentionthose elements of the performance that are rea-sonably clear-in the case of this Karajan set,phrasing and tempo. If the music is a muddle.then the muddle is the music. Mr. Glass's sug-gestion, that in some way a performance can beabstracted and discussed apart from the soundsin which it is conveyed hardly represents theviews of the majority of record buyers who, quitereasonably, expect the recorded sound topresent a fair likeness of the work.

In general terms, Karajan's Bruckner wouldseem to be more romantic than Steinberg's,which is, at times, somewhat reserved. but amore detailed answer of this question would re-quire better recordings. Both styles are quiteconsistent with the printed notes and a direct ex-pression of the established artistic profile ofeach of the performers.

The Steinberg album is, on the whole, a betterrepresentation of its original, except in the mat-ter of dynamics. I am convinced that dynamicchanges in a work of music are just as importantas pitch changes. If you alter these relationshipsyou are doing something quite as fundamentallyharmful as playing wrong notes. And it seems tome that the dynamics of the Steinberg set havebeen altered by cautious engineers to the pointwhere it is no longer a faithful account of hiswork or Bruckner's design.

With respect to Mr. Curtis, the Mahler tradi-tion at the New York Philharmonic is the fanci-ful product of the orchestra's publicists, born ofan intent to achieve prestige by associationthrough the creation of a Gustav/ Lenny axis.In fact, Mahler was unhappy in his brief tenurewith the orchestra. He played little of his ownmusic, and it was not well received Mengelberghad to contend with this hostility to Mahler dur-ing his period in New York, and he was followedby Toscanini who once declared that Mahler'smusic was fit to be used only as toilet paper.Thus in the period from Mahler's death until theopening of World War II, when the Concertge-bouw was playing Mahler regularly, the Phil-harmonic was hardly playing him at all.

The Mahler revival in New York begins withthe arrival of Bruno Walter (who hesitated toplay all the symphonies) and was continued bymen such as Rodzinski, Mitropoulos, and Sto-kowski (whose Philharmonic performances ofthe Eighth Symphony are a landmark), andthese men had to fight audience indifferenceand hostility in the press for many seasons.Bernstein came along as the tide was turningand rode the crest of Mahler's new popularity,but he gets little credit for pioneering. I find hisedition of the symphonies musically uneven andtechnically outdated. In its present pricebracket it simply does not hold up well againstnewer issues. On Odyssey it could offer some in-teresting alternatives for the budget -consciousrecord buyer.

Romantic Conservative

By confusing the difference between form andcontent in her review of Raft's Piano Suite,Op. 91 [May 1972], Andrea McMahon, it


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seems to me, has done less than justice to thecomposer. Raff adopted baroque forms quiteconsciously., for he felt that their possibilitieshad not yet been exhausted: he saw an oppor-tunity to work out their formal potential to anatural and final conclusion.

The music itself demonstrates just how suc-cessful he was. Later, of course, these particu-lar formal devices were overwhelmed by the"Music of the Future," and Rafrs stance musthave seemed very much out of date in the laternineteenth century. We. however, are a suf-ficient distance from these old attitudes tojudge Raft's works more objectively.

.tlario A. SeilerJoachim Raff SocietyZurich. Switzerland

Support the Society

Thanks for the reviews of the Bruno WalterSociety releases [June 19721. I ordered theBerg Mozart LP by Szigeti and enjoy it tre-mendously. It was saddening. however, toread in the first newsletter I received fromBWS that many friends of members are tapingthe Society's recordings and as a result salesare much lower than expected. It would be ashame if this project were to go under becauseof such a practice.

According to BWS, only one of ten inquir-ers joins, and only 20% of those buy more thanthe introductory LP. Too bad. I hope a lot ofHF readers join me in buying these records atregular intervals instead of "pirating" them.The Society has a very interesting list of LPsavailable in addition to the ones mentioned inDavid Hamilton's article.

David PierceVero Beach, Fla.

Open -Reel AddendumIn our August 1972 four -page chart "Open -

Reel Recorders Over $200" Braun was inad-vertently omitted. The company's Model TG1000 is a 4 -track stereo tape recorder with atop speed of 71/2 ips, three heads includingmonitor head, three motors, pause control, noautomatic reverse, takes a maximum 81/4" reel.includes sound -on -sound and photo -electrictape tension control, is convertible to four -channel with the TGE 1000 Kit, and costs$749.00.

High FldelIN, October 1972. Vol. 22, No. 10. Pub-lished monthly by billboard Publications. Inc.. publisherof Stereo. Stereo International. Modern Photography.American Artist. Billboard. Vend, Amusement Business,Merchandising Week. Music Lebo, Photo Weekly.Gift & Tableware Reporter. Record & Tape Retailer,Record Mirror. Discografia Internazionale. WorldRadio TV Handbook.

High FldelityiMusical America. Edition publishedmonthly Member Audit Bureau of Circulations

Editorial correspondence should be addressed to TheEditor, High Fidelity, Great Barrington, Mass. 01230.Editorial contributions will be welcomed Payment forarticles accepted will be arranged prior to publication.Unsolicited manuscripts should be accompanied byreturn postage.

Subscriptions should be addressed to High Fidelity,2160 Patterson St.. Cincinnati. Ohio 45214. Subscrip-tion rates. High Fidelity Musical America In the U.S A.and its Possessions. 1 year S14: elsewhere. 1 year $15.National and other editions published monthly: In theU.S.A. and its Possessions. 1 year $7.95 Subscriptionrates for all other countries available on request.

Change of address notices and undelivered copies(Form 3579) should be addressed to High Fidelity. Sub-scription Fulfillment Dept., P.O. Box 14156. Cincinnati,Ohio 45214.


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Oc 10141t 1971CIRCLE 30 ON READER -SERVICE CARD

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Bang &OlufsenDept A 2271 Devon AvenueElk Grove Village. Illinois 60007

those were the daysA nostalgic romp through the pages of High Fidelity and Musical America

60 Years AgoRichard Strauss's Ariadne auf Naxos pre-miered this month in Stuttgart and re-ceived a cordial reception from an au-dience that included celebrities from allparts of Europe. New phases of Strauss'smusical genius are revealed in the work.There are passages most gracefully fasci-nating alternating with moments oftragic portent and Strauss has utilizedthe effects of contrast in a highly imagi-native and masterful manner. Even so, itseems to be a general opinion that thecleverness of Ariadne will please the fewbut that its appeal is not broad enough toreach the many.

Leopold Stokowski made his debut asconductor and musical director of thePhiladelphia Orchestra on October 11. Itdid not take long for the slender, boyish -

looking conductor to win his audience,which was impressed by the conductor'sdignity, reserve, and freedom from"temperamental" eccentricity. Mr. Sto-kowski conducted the Brahms FirstSymphony without notes. When Sto-kowski came forth to begin the compo-sition the score was on his desk, but hepicked it up and tossed it to the floor athis feet.

40 Years AgoLeopold Stokowski has thrown down thegauntlet. The Philadelphia OrchestraAssociation announced "no debatablemusic," and now the conductor comesalong and says he knew nothing aboutthe edict and is going to play all the de-batable-i.e., modern-music he wantsto, perhaps at the end of regular pro-grams. His "musical convictions are con-trary" and he is going to stick by themregardless.

San Francisco's War Memorial OperaHouse opened its doors on October 15with an inaugural performance of Toscastarring Claudia Muzio and Dino Bor-gioli. Two nights later, Lily Pons stoppedthe show in Lucia di Lammermoor."Skeptics who believed no singer couldbe as good as Miss Pons was said to be.capitulated even during her singing ofLucia's first aria, and Gaetano Merola,who was conducting, had to stop the or-

chestra at the conclusion of the song andwait for the deafening applause to sub-side.

Furtwangler's Meistersinger at the BerlinState Opera (October 7) threw the publicand press into such delirious paroxysmsof ecstasy that it would seem unbecom-ing to question its perfection. The factmust not be overlooked, however, that atpresent the national spirit in Germany isat fever heat and in the eyes of the mobFurtwangler was given a distinctly baddeal at Bayreuth where his Meistersingermantle had fallen on a foreigner [Tosca-nini]. He is the undisputed musical idolof the German people and has becomethe object of a tremendous national sym-pathy. ... For Berlin this Meistersingerhad a character of ritual that lifted it farabove the darts of academic criticism.

20 Years Ago

There is an African gray parrot in a res-taurant out on Long Island who enter-tains customers nightly by whistling thedrinking song from La .Traviata, thetriumphal march from Aida, Hall of theMountain King from Peer Gynt, airsfrom La Boheme and Carmen, and sev-eral other songs. When he gets stuck inthe operatic repertoire, as he frequentlydoes, he ad libs for a moment and thenswings into Ciribiribin, his favorite. Be-fore the war, a waiter taught him theFascist hymn, Giovanezza, and he stillsings it lustily to the embarrassment ofpractically everybody. His name is Cocoand he is sixty-five years old, which is nota doddering age for a parrot.

The National Broadcasting Companymade television history on October 19 bygiving the first American performance ofBenjamin Britten's newest opera, BillyBudd, in an uninterrupted hour -and -a -

half production-a shot of adrenalin toour all but dead faith in the most magicalmedium of communication ever devisedby man. The production was an unquali-fied triumph for everyone connectedwith it except, possibly, the composer.Billy Budd is not a very good opera, anuninspired work not to be compared toBritten's Peter Grimes and some of hisother happier projects.


Your next receivershould have 3 things

missing.The input transformer.The output transformer.And the output capacitor.Because when you cutthose three things out of areceiver, you cut down on a fourththing. Distortion. We do it with asystem called direct coupling.Arid Panasonic puts it in all itsFM/AM/FM Stereo Receivers.

With this system the amplifiercircuit is coupled directly to thespeaker terminals. To improvetransient response and damping.So there's less than 0.8% harmonicdistortion. To help you hear onlythe sound of music.

The sound of the SA -6500 isreally somethingto listen to. Witha full 200 watts of power (IHF).To fill even a big room with music.And there's also a power bandwidth of 5 to 60,000 Hz.

SA -5203

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The SA -6500 also has two 4 -pole MOS FET's. That provide1.8:AV FM sensitivity. To pull inFM stations that are too weak ortoo far to make it on their own.Integrated circuitry and a crystalfilter improve the capture ratio.Anc there are low-fi:ter,ter, and loudness switches. So themusic comes out closer to the wayit started out. And an FM lineardial sca:e and two timing meters.To make the music you want justa little easier to fine.

You can also find that music onthe SA -6200. With 150 watts ofpower. Plus 2 RF stages and 6IF stages. To prov:de selective

station tLning. And thereare PVT' low -noise silicontransistors in the differen-tial amplifier drive -stage.To give almost noise -free

performance. No matter who'sperforming.

For less money you can still geta lot of power. F om our SA -5800.Win a gull 10C watts. The SA -5500. With 70 watts. Or our new-est receiver. th3 SA -5200. With448 watts. And some of the fea-tures you'll find in our more ex-pensive stereo receivers.

So before ycu get your nextreceiver, see your franchiseeFar_asonic Hi-Fi dealer. He'l:snow you what should be miss-ing, So you don't miss out onanything.FOR YOUR NEAREST FRANCHISEDFANASONIC HI-FI DEALER, CALL TOLL FREEW0;43-600/ IN C.C1N1. 1-800 882-6500.

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Don Giovanni, Eleanor Rigby, Bill BaileyThere are 57 FM stations in New York,73 in Los Angeles, 41 in San Franciscoand 37 in Chicago-all crammed be-tween 88 and 108 MHz. With so manystations, and so little space, there'sbound to be a bit of pushing andshoving. Now and again, an unfortunateoverlap. A receiver with ordinary sen-sitivity and selectivity just won't cut it.

But Sony doesn't make ordinary re-ceivers. It gives you a choice of six

models-all with extra ordinary tunersections. The FET front ends, solid-state IF filters, combine to bring in eventhe weakest stations with an unusualimmunity to overload from strong ones.Station selection on the long linear dialis razor sharp. Interference and noisehave been reduced to where they can'tintrude on your listening pleasure.

And the amplifier sections are equallyextraordinary. They feature Sony's dual -

power -supply, direct -coupled approach.There's no coupling capacitor to standbetween you and the music.

The only problem you might have isin making up your mind as to whichSony is best for you. Power and pricemight be a good criteria.

The top -of -the -line 6200F has 245watts of power, $699.50. The 6065 de-elivers 220 watts at $429.50. The 6055,100 watts at $319.50, and the 6045,

SONY keeps them separate and beautiful

& Second Hand Rose make a poor medley75 watts at $249.50. The 6036 is a frill -free, receiver with 44 watts of power(it does not have direct coupling)at $199.50. The new Sony SQR-6650prcvides virtually every form of 4 -chan-nel (SO, matnx and discrete) as well asexcellent stereo performance, only$329.50. The best way to make up yourmind is to visit your Sony dealer for ademonstration. Sony Corporation ofAmerica, 47-47 Van Dam Street, LongIsland City, N.Y. 11111. Prices: Sugges-ted retail. Power ratings: I HF standardconstant supply method into 8 ohms.


the lees side

Newport inNew York

IN THE SUMMER OF 1960, there were thosein the jazz world who felt that the worstenemy jazz had ever known was Bostonimpresario and sometime pianist GeorgeWein. In the summer of 1972, some ofthose same people were saying thatGeorge Wein was its best friend.

Wein has been staging the NewportJazz Festival since its inception nineteenyears ago in Newport, Rhode Island. Bythe late 1950s, Wein had begun bookinginto the festival blatantly commercialacts-acts having little if anything to dowith jazz-to bolster box office receipts.Jazz admirers objected, feeling that theseacts diluted the interest and value of thefestival. Equally important, these per-formers began attracting to the festival ascruffy element of young people whocame not to hear jazz (they didn't knowwhat it was and didn't care) but to swillbeer and chase chicks and ball on thebeaches. Various musicians and writerspredicted that their presence wouldsome day result in a riot.

On the Fourth of July weekend of1960, the prediction came true. The riotwas so bad that musicians had to leavethe festival in convoys of cars for safety.As things deteriorated further, the statepolice and elements of the Rhode IslandNational Guard had to be called in toquell the disorders. As night turned intodawn. agitated musicians and presspeople at the Viking Hotel heard whatsounded like tanks in the street. But itwasn't quite that bad: the noise was com-

ing from street -cleaning equipment asrotary brushes swept up the mounds ofbeer cans.

Newspapers had a field day with thestory, and jazz received the worst public-ity black eye in its history-from peoplewho weren't even jazz fans.

Jazz went into decline in the 1960s,both commercially and aesthetically.Record companies were pushing rockand building the myth of its profundity.Brilliant jazz musicians were hardpressed to make a living, much lesscreate anything fresh and vital. Many,like drummer Arthur Taylor, trumpeterArthur Farmer, composer George Rus-sell, and tenor saxophonist Johnny Grif-fin, simply abandoned the United Statesfor Europe, where jazz had always beentreated with the respect it deserves.Some, like trumpeter and composerJohnny Carisi-one of the important in-novators-took menial jobs in Broadwaypit orchestras. By a bitter irony, Carisiended up in the orchestra of Hair, per-forming music infinitely inferior to hisown.

By 1971 Wein was interpolating rockgroups into the festival. Their followers(now flying on grass instead of beer)gave him the Second Newport Riot. Thedisgusted city fathers of Newport let himknow that as far as they were concernedthe festival was finished.

They were wrong. Wein simply movedit to New York City. This year there wasnot a single rock act in the event-it wasall jazz. And 100,000 people turned up toattend the many concerts (some of themheld simultaneously) in PhilharmonicHall, Carnegie Hall, Radio City MusicHall, and even on the Staten IslandFerry. The festival, now expanded to aweek in length, left musicians, fans, andcritics alike in virtual euphoria, remem-bering the well-behaved crowds ofyoung (and old) people, some superbmusic, the excitement, and a great dealof just plain fun. And some of Wein'smost severe critics in 1960, including me,had nothing for him now but praise. TheNew York -Newport Jazz Festival was astunning success.

Said pianist Bill Evans, one of the per-formers, "This is probably the greatestthing that's happened to jazz. I think thefestival this year will put jazz back upthere where it belongs. And GeorgeWein did it."

The festival spread out, as it were, be-yond its legitimate confines. Nightclubsaround town booked jazz acts for thefans to hear after the regular concerts.For the first time in years they were ableto hear the great guitarist Jimmy Raney,in a little club just north of GreenwichVillage called Bradley's. In the jazz de-pression of the '60s, Raney had, as he putit, "developed a bit of a drinking prob-lem" and went home to his native Louis-ville to vegetate. Now he was back, off

the sauce, and picking up the pieces ofhis career and his life, and people whohad not forgotten turned up at Bradley'sto hear his subtle, thoughtful, modernmusic. Said singer Sylvia Syms, listening,"It's as if something light and airytouched your cheek, but you're not quitesure."

The return of Jimmy Raney, fit andhealthy and productive, seemed to sym-bolize something that's happening tojazz itself. And that mood was allthrough the city. Raney off liquor, an-other great musician I know off heroin,and the brilliant Stan Getz off both.

Interestingly, some of the youngestfestival -goers were deeply interested insome of the oldest music. When the PapaFrench Original Tuxedo Band per-formed in three successive trips on aferry boat, three crowds of about twothousand each went along for the ride.the music, the dancing, the joy. Seventyor eighty per cent of them were undertwenty.

At the other end of the musical spec-trum, the avant-gardist Ornette Cole-man impressed many people with a newcomposition for jazz quartet and orches-tra called The Skies of America.

Duke Ellington got half the secondfront page of the New York Times. TheStan Kenton and Woody Herman bandsappeared in concert together. CountBasie's powerful and still utterly freshorchestra played the festival, then wentinto a two-week engagement in the ele-gant dining room of the St. Regis Hotel.For his opening there, a virtual Who'sWho of show biz turned out to cheerhim.

As the week wore on, the festival ac-celerated. Newspapers gave extensivecoverage to the event, and as word wentout on the wire services that this was thekind of jazz festival people wanted-notrash acts in it-fans began to pour intoNew York, some by plane from as faraway as Texas, to get in on the fun.

It is impossible to list all of the artistswho performed in New York that week;it was in fact impossible to hear them all.But Dizzy Gillespie, Freddie Hubbard,Eibie Blake, Herbie Hancock, EddieCondon, Teddy Wilson, Kenny Burrellwere there, along with a lot of little-known people who deserved (and foronce got) the chance to be heard.

The fans, as a Times writer noted, wereas intense as a chamber music audience.And the feeling of good fellowshipamong them was almost palpable.

As awareness of his success pressed inon George Wein, he said, "This festivalwill be in New York forever. New Yorkis the jazz capital of the world, and itshould be the permanent home of thefestival.... I feel as though I've been re-born."

So he has. So has the Newport JazzFestival. So has jazz. GENE LEES


We've madeno major change in theKlipschorn

(f.)

in 30 yearsWould you really want us to?

IT IS STILL HORN LOADEDProperly designed and balanced exponentialhorns handle bass, mid -range, and treble noteswith a freedom from distortion neverapproached by acoustic suspension type speak-ers. Requiring only short diaphragm excursion,they deliver crisp dynamic peaks without strainon the drivers, amplifiers, or your ears.

IT IS STILL DESIGNED FORCORNER PLACEMENT

As with the first 1940 KLIPSCHORN, cornerwalls and floor are utilized to provide therequired radiation area for the deepest bassnotes. That is why the KLIPSCHORN is thesmallest loudspeaker available which can repro-duce honest 32 foot wavelength sounds.

SOLID RESEARCH IS STILLTHE BASIS OF DEVELOPMENT

The basic principles of physics haven'tchanged. Klipsch relies on these principles asexpounded by the most respected research lab-oratories. The Symposium on Auditory Per-spective from Bell Telephone Laboratories andPrinciples of Stereophonic Sound by WilliamB. Snow are acknowledged as authoritative.The technical papers of Paul W. Klipsch arelikewise acknowledged as authoritative andconstitute substantial contributions to the fieldof sound reproduction. The weight of the workis prodigious when one considers the small sizeof the staff.

THE POINT OF IT ALLREMAINS THE SAME

Klipsch loudspeakers have always beendesigned for but one thing, the reproduction oforiginal sound. The gap between originalsound and recorded sound, already minimal inthe KLIPSCHORN, has been narrowed furtherby a series of slight modifications. Any modelbearingaserial number above20can be updatedto 1972 performance. And you'll still havethe best sound reproduction in 2002.

ALL KLIPSCH LOUDSPEAKERSARE MADE IN THE

KLIPSCH TRADITIONAll are compatible with the KLIPSCHORN inmulti -speaker arrays. All have the lowestdistortion of any speaker their size. All areindividually tested in the Klipsch laboratoriesbefore delivery.

THEY ARE STILL SOLD BY ASELECT GROUP OF DEALERS

Klipsch dealers have good demonstration facili-ties and are qualified to offer you factualinformation. You may have to do some lookingto find one but it will be worth the effort. Thecoupon will bring you our current list.

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11111 lc resN'- ®

Klip)schon

I iclk. Klipsch

Klipsch and Associates, Inc.P. O. Box 280H -lo Hope, Arkansas 71801

Please send me your latest brochureand List of dealers.

NameAddress_City State_ Zip

OCTOBER 1972

CIRCLE 40 ON READER -SERVICE CARD27

I'm currently using an Advent Model 100Dolby noise -reduction unit with my tapedeck. and I'm considering buying a RevoxA-77 with built-in Dolby B. Would there beany further improvement in noise reduc-tion by first passing the signal through theAdvent 100 and then through the Dolby cir-cuit in the Revox?-Nancy K. Levy, Mil-waukee, Wis.In terms of raw S N ratio, yes: but wewouldn't recommend it. The 10 -dB max-imum noise reduction of the Dolby B circuitwas carefully worked out as optimum interms of its original design criteria: appre-ciable reduction in audible noise levelswith no undesirable audible side effects. Ofthe side effects. "breathing" or "pumping"are typical of overdriven dynamic level -control devices. of which the Dolby circuitis one. By double-Dolbyizing. so to speak,you could introduce such effects on someprogram material.

My present Fisher system consists of a440T receiver. two XP -10 speakers. and aK-10 SpaceXpander reverb. I have becomeentranced with the idea of more powerful,sophisticated equipment. But if I had itwould I be getting truer sound reproduc-tion. or would I just be wasting my mon-ey?-L. Theodor Sharp, Lynchburg. Va.This sort of question keeps coming our waynow that superpower amplifiers with ex-tremely low distortion have become almosta commonplace of high fidelity. Suffice it tosay that "truer sound reproduction" can bemade by switching to a state-of-the-art am-plifier driving first-rate speakers, thoughsubjective descriptions of what those im-provements consist of can vary widely.Clarity, transparency, transient response,frequency response, power -handling ca-pacity. freedom from distortion. and sub-tlety of detail all are involved. Will it all beworth the extra expenditure? To answerthat, use the equation W - ST -; P, whereW equals worth, P equals price, S equalsthe sensitivity of your ears. and T equalsthe thickness of your billfold.

RCA now has given us long-playingrecords that warp in ways none of usdreamed possible just a few years ago.What will the sons of Little Nipper give usnext? Since 1942 when I began collectingrecords. music and I have survived Studio8H. standing waves in Symphony Hall.wildly eccentric 78s. the 800 -cps turnover.the threat of 45s. overmodulation. the

too hotto handle

sham of Miracle Surface, the antimusicbinge of Dynagroove, the technical declineof RCA's domestic efforts since the gloriesof Reiner in Chicago. and now Dynaflex.Doesn't anyone at RCA care? I must askthat my name be withheld.-Name With-held, Conshohocken, Pa.This is only about half of N.W. s letter.which continues in much the same ag-grieved vein. It's true that we shared a cer-tain amount of our reader's initial shock atthe apparent flimsiness of Dynaflex. Thatresponse seems to be at least in partpsychological. Many early Dynaflex copiesincluded a questionnaire asking how thepurchaser liked the new disc shape. Re-sponse was overwhelmingly unfavorableRCA also sneaked the questionnaire intomany non-Dynaflex albums-with the sameresponse. Experience has shown thatRCA's contention (see the article by RexIsom of RCA in our September issue) thatDynaflex and other thin records will remainor even become unwarped if handled andstored correctly seems to prove out. Thepositive advantages of Dynaflex-moreperfect molding of the groove area in par-ticular-are harder to prove at the receivingend. Long-term record collectors probablywill concede more justice to some of N.W.'saccusations of past iniquities. however

When rating loudspeakers in your equip-ment reports you give the maximum powera speaker can handle without distorting.But how would one determine the powerper channel required to drive a pair ofspeakers to their full capability to establisha minimum power rating when selecting apower amplifier?-A. D. Bergstrom,Omaha, Nebr.It isn't necessary to drive all speakers to thelimits of their capability. What you need toknow for an exact determination of powerrequirements is the sound -pressure levelsthat will be required in your room. Our re-ports give power requirements for anacoustic level of 94 dB as measured in thetest chamber. Your listening room can havea major effect on the sound levels youcan hear, however; so we are speakingonly in the roughest of terms when we saythat 94 dB represents fairly high levels. Forexample. we said that the Harman-KardonCitation Thirteen requires 11 watts (perchannel, continuous power) to reach the94 -dB mark. This would mean that in somesmall, live rooms you might be quite satis-fied with 10 watts per channel; in large,

dead rooms-particularly if you want reallybig sound-you will need several times thisfigure if you are not to drive the amplifierinto distortion in trying to reproduce theloudest musical passages. So while youcan use the wattage rating for 94 -dB outputas a reliable guide to relative speaker effi-ciency. it is only a rough indication of min-imum power required for average listenersin average rooms.

Twice now I have read statements in yourmagazine to the effect that while wirelessstereo headphones have been designed.none has "made it to market.- I don't wishto contradict the experts, but how can I ex-plain to my wife that the Panasonic RF-60wireless FM stereo headset she gave me asan anniversary present is nonexistent?-Bernard J. Jandorf, Baltimore, Md.The RF-60 is a special -design battery -pow-ered stereo FM radio. Headphones nor-mally can be used to listen to any signalsource-not just FM. You could hook theRF-60 into your stereo system in order tolisten to records or tapes. but then it wouldno longer be wireless. Ergo, she didn't giveyou a true wireless headset.

Your announcements that RCA's discreteQuadradiscs are now available raise anumber of questions: Can this system beused by stereo FM stations; will it require awider frequency allocation for the stations;will it eliminate SCA broadcasts: and willthe playback equipment enhance presentstereo discs the way Dynaquad does?-F. S. Nance, Sumter, S.C.Your first three questions depend more onbroadcast techniques than on the Quad-radisc technique itself. Quadradiscs will re-produce as stereo on present stereo equip-ment (meaning both disc players andbroadcast equipment) more or less the waymatrixed four -channel discs will. When aQuadradisc is reproduced in stereo theback channels are telescoped into the frontones and the combination presented sim-ply as left and right signals. The only ques-tions arise when you consider the problemsof quadraphonic broadcasting, and thesequestions can only be answered when (orif) the Federal Communications Commis-sion approves a broadcast technique. Nei-ther of the major plans now before the FCCwould call for increased carrier bandwidthor eliminate SCA broadcasting. But what-ever happens in broadcasting, the Quad-radisc system does not inherently lend it-self to any sort of "enhancement" of stereorecords, and none of the Quadradiscdemodulators we've seen makes any provi-sion for this sort of use.

Which make is better-American or Japa-nese?-Anatol Kolenoff. Sidney. B.C..Canada.For American, Canadian, and Israeli silkflags, musical versions of Gone with theWind, and miniature reproductions of theStatue of Liberty-Japanese. For pizza,musical versions of Pygmalion, and film forJapanese cameras-American. In audio agood American component is better than abad Japanese one. a good Japanese com-ponent better than a bad American one.

CIRCLE 43 ON READER -SERVICE CARD -30

_PM IC 11fi Ph 7,f; 15; HA VII

aux

news andviews

Life Is a Hi-Fi Show, Old ChumAfter a period of relatively desultory interest, the brightlights seem to be going on over high fidelity musicshows once again. The Institute of High Fidelity, formany years the central moving force behind most majorefforts in this direction, has decided to resume whatonce was the season's major event: a center -city showin New York. That show, at the Statler Hilton, is sched-uled for September 28 through October 1. These dates,as it turns out, are almost identical to those chosen by aWest Coast industrial -show management group, Wes -con, for its first foray into consumer shows: the ExpoElectronex, which is being held at the new Los AngelesConvention Center over the same weekend.

Meanwhile, in mid -September, IHF will havepresented a somewhat different type of show at theStauffer Denver Inn in Colorado as part of a High Fidel-ity Week, as it is to be called. Sound demonstrations arebarred from the Denver exhibit areas and reserved in-stead for a continuous series of seminars and recordedconcerts. (One seminar will be conducted by our Audio -Video Editor; two others by authors familiar to readersof HIGH FIDELITY: Leonard Feldman and Larry Zide.) The

Once Again:Digital RecordingEver since the computer generation really took oversome ten years ago, "blue-sky" articles on the possiblefuture of audio have talked of digital processing ofsound signals. In computer terms, our present signal -handling equipment is analog, rather than digital; it car-ries voltages that are proportional (analog-ous) to theinstantaneous sound pressures they "represent" in therecording. A digital system would convert these wave-forms of fluctuating voltage into a pulsed code, ratherlike converting verbiage into Morse Code for tele-graphic transmission.

The elegance of this idea lies in its imperviousness tonoise and distortion-including such fidelity deterrentsas wow and flutter. Digital transmissions are used inmany types of space communications for that reason.Though the pulses themselves may pick up noise andbecome distorted in their journey from Mars, the codecan still be picked out of the interference and the infor-mation it conveys reconstructed virtually unaltered.

INPUT

INPUT ANALOG PLUSNOISE

AND DISTORTION

DIGITAL CONVERSION

purpose of this format is to avoid the skirmishes of com-peting 1812 Overtures that can be the bane of high fi-delity shows. In the display areas attention can centeron the equipment itself, instead of the program material.

San Francisco also will have a high fidelity musicshow-with heavy emphasis on the music and on musiceducation-this fall. The National Music and Hi Fi Expo'72 will take place in the Cow Palace October 6 through8. Then at the end of October Dallas will have a show atthe Northpark Inn. Other fall shows in smaller communi-ties also are in the planning stage at this writing, and theIHF has been approached with requests for participa-tion. A Cleveland show is under consideration for Janu-ary. The traditional Washington, D.C. show will occur onschedule in February at the Hotel Washington, and thesame management is planning a Miami show for March.And there may be an IHF show in Northern California inApril.

This flurry of interest from outside the Institutecoupled with the successful IHF shows in Southern Cal-ifornia and Chicago last season suggest that the fes-tivities are only just beginning.

To be sure, audio application would require analog -to -digital conversion in the recording process, digital -to -analog conversion in playback. Since each conver-sion requires a computer or its equivalent for process-ing, the equipment would be far more complex and ex-pensive than anything we now use in the home. Butdigital information can be mixed and transformed muchthe way that analog audio can; and as long as appro-priate computer circuits were built into studio equip-ment there's no reason why audio couldn't be mixedand equalized-as well as stored-in digital form so thatno noise or distortion would accrue in the process. Justthink of the clean transients, for example, if they're ut-terly innocent of phase shift!

Well, one company has made a practical start towardthis audio nirvana. Nippon Columbia in Japan-knownhere as the maker of Denon products-now has a$300,000 -plus professional tape recording system thatuses the pulse code modulation system, otherwiseknown as PCM. Its initial product will be a samplerrecord that we are told should be available by the timeyou read this. Of course the discs themselves presum-ably will be made conventionally, but for the future-who knows?

OUTPUT

Stylized waveform representations suggest whydigital signals come through unaltered. Regularaudio (analog) signals carry into the output anynoise or distortion they pick up along the way;digital code is still visible (and recoverable)through the noise.

DIGITAL PLUS NOISEOUTPUT

30 CIRCLE 41 ON READER -SERVICE CARD -30

Only the sound is heavy.

Koss breaks thelightweight sound barrierwith a revolutionary newHigh Velocity Stereophone.Up until now a lightweight phonemeant a lightweight sound. But notany more. Because Koss engineershave developed a micro/weight, highvelocity type stereophone thatsounds like a heavyweight. Andthat's an achievement no musiclover will take lightly.

Unique electro-acousticaldesign.Unlike conventional stereophoneswhich contain the sound waves in asealed acoustical chamber, the newKoss HV-1 High Velocity Stereo-

phone vents the back sound wavesto the rear. Without raisingresonance or inhibitingtransient response.This unique electro-acoustical designconcept providesnot only unusuallightness and hear-thru characteristics,but also the exciting,full -range Sound of Kossas well.

Superb tonal quality.And by substantially reducing themass of the moving diaphragm as-semblies used in the HV-1, Koss hasbeen able to achieve a wide -rangefrequency response of unusual fidel-

ity. Delicate overtones, which addto the faithfulness of the reproduc-tion are retained. Yet, bass responseis extended, clean and "unmuddied."

Stylish low -silhouettedesign.Designed to fit close to the head,the new Koss HV-1 Stereophone hasa stylish, low -silhouette design with-

out the cone -type projec-tions found in other

headphones. This slimdesign permits un-

usually fine acousticaltuning of the element

chamber at the factory.Which means that, unlikeother lightweight phones,every Koss HV-1 Stereo -

phone provides the breath-taking Sound of Koss. And that's

not something to treat lightly.

Designed forunprecedented comfort.You'll listen in comfort hour afterhour. Because the new Koss HV-1

is lighter than 10 ounces. And be-cause it has the perfect balanceyou expect in a Koss Stereophone.Not to mention a glove soft vinyl -covered headband and acousticalsponge ear cushions.

Hearing is believing.Listen to the Koss HV-1 Stereo -phone at your favoriteHi-Fi Dealer orDepartment Store.And get thewhole story onthe heavySound of Kossby writingVirginiaLamm,c/o Dept.HF-372.We won'ttake your

KOSS HV-1 stereophonefrom the people who invented Stereophones.

interest lightly either.

KOSS CORPORATION, 4129 N. Port Washington Ave., Milwaukee, Wis. 53212. Koss S.r.I., Via Dei Valtorta, 21 20127, Milan, Italy

THE WORLD ISN'TREADY FOR THIS

RECEIVER.BUT YOU ARE.

In a world of receivers claiming to bejust slightly ahead of their time,Harman/Kardon is introducing oneconsiderably farther ahead than that.

It's called the 75+, and if you buy it nowyou'll find it practically impossible to useto full potential.

Then why should you buy it?You buy it becauseit's great for stereo.

When buying a receiver, you shouldchoose one that's best prepared to handlewhat you're prepared to hear.

Given your investment in stereo recordsand tapes, that obviously means stereo.

And in stereo, the 75+ will deliver anhonest 45 watts RMS per channel. Whichmost quad receivers can't. (The 75+ has abridging circuit that combines the powerfrom four channels into two - instead ofjust disconnecting two channels the waymost others do.)

As a stereo receiver, the 75+ ispractically identical to our own model 930,which many reviewers have judged thebest available. So it isn't stretching a pointto say you'll be able to hear the best stereoany receiver can provide. But why stop there?

You enhanceyour investment.

If you have two extra speakers, connectthem to your 75+. And create two entirelyseparate stereo systems.

You'll be able to hear Beethoven in theliving room and Bread in the den. Both atthe same time. And each with separatetone controls.

But to really appreciate your 75+,consolidate your speakers in one room.And play stereo - tapes, records or FM-through four channels.

What you get is "enhanced stereo;' andthe 75+ enhances it better than any otherquad receiver.

Instead of just synthesizing the two backchannels by running them through a

conventional matrix circuit, the 75+ usesa unique wide -band 90° phase shift network.This provides enhanced 4 -channel soundthat adds a new dimension to stereo music.

The 75+ is also equipped with a 360°"Joy Stick" sound field balance control.It lets you adjust the four speakers to thelevels where they best complementeach other.

Having gone this far, you won't want togo back to stereo. You'll probably want tomove even further forward.

You keep it becauseit's great for quad.

SQ records are here now, and they'llbe here in greater numbers in the future.The moment you begin buying them, your75+ can begin playing them.

Of course, so will other quad receivers;but again, not as well.

The 75+ is the only one with two SQmodes: conventional SQ and SQ Blend.Conventional SQ best reproduces theambiance of music recorded live in concerthalls. SQ Blend is best for playing backhard rock and contemporary music orwhere a soloist is predominant.

What about discrete four channelrecords? If and when they arrive, you'll bewaiting for them. A hideaway decoder willbe available for simple plug-in connection.

Obviously, the 75+ is more receiverthan some people need right now, and forthat reason there are some people whowon't buy it.

But for those with foresight and nota lot of money ($400), it represents a rareinvestment opportunity:

A receiver you can't outgrow in a coupleof years for the price of one you almostcertainly will.

We have four new multichannelreceivers, ranging in price from $250 to $600and in watts from 50 to 140. For moreinformation, write Harman/Kardon Inc.,55 Ames Court, Plainview N.Y. 11803'.'

harman/kardonThe receivers you won't outgrow.

*Distributed in Canada by Harman/Kardon of Canada, Ltd., 9249 Cote de Liesse Rd., Montreal 760, Quebec.


and it's under $ 100...True to the Bozak Tradition of "best in its class",our new Sonora (Model B-201)delivers dramatically clean soundat far higher levels than other speakers under $100-and many costlier ones.

The secret of Sonora is our unique 8 -inchBass/Midrange driver. Its aluminum diaphragm radiatesa solid, true -pitch Bass and a transparent,breakup -free Midrange, while serving as a heat -sinkfor the voice coil. As a result, it can easily handlethe output of any amplifier up to 60 Watts RMS rating,with freedom from overloading.

Sonora is a two-way system, with an LC Crossoverlinking the 8 -inch driver with asingle -section of B -200Y, the tried-and-trueTreble Speaker used in all Bozak systems.The enclosure is a sturdy, resonance -freetightly -sealed box of 3/4 -inch compacted -wood material,covered with walnut -grain vinyl.Be it rock or traditional,.in stereo or quad,Music Really Comes Alivewith Sonora!Hear them at your Bozak Dealer's.

113/4" x 201/4" x 10" deep;walnut -grain vinyl.8 Ohms; 12.5 to 60 Watts RMS.

34

Bozak, Darien, Connecticut 06820 / Overseas Export by Elpa Marketing Industries, Inc. / New Hyde Park, New York 11040, USA


THE CONSUMER'S GUIDE new equipmentTO HIGH FIDELITY EQUIPMENT reports

New Receiver Linefrom Pioneer

The Equipment: Pioneer SX-626, a stereo FM/ AM re-ceiver in wood case. Dimensions: 53/4 by 173/4 by 121/2inches. Price: $279.95. Manufacturer: Pioneer Elec-tronics Corp., Japan; U.S. distributor: U.S. PioneerElectronics Corp., 178 Commerce Rd., Carlstadt, N.J.07072.

Comment: This is the first unit we have tested from anew group introduced early this year by Pioneer. Morerecently additional models have been added to theseries to make it the "current generation" of receiversfrom the company. The SX-626, a moderate -priced unitin the group, is somewhat smaller and less elaboratethan Pioneer receivers we have tested in the past. It hasno remote -control unit, for example, nor special provi-sion for moving -magnet phono pickups. What it doeshave is solid quality.

The front panel, which has an attractive appearancethat might be called a "smoky" look by comparison topast Pioneer styling-and indeed by contrast to mostcurrent styling-has a dark glass tuning section illumi-nated in blue with light -up colored selector and stereo(for FM) indicators. When the selector is set for FM orAM, a signal -strength meter to the left of the dial alsolights up; the tuning knob is at the right. The remainingcontrols are ranged along the bottom: speaker switch(five positions plus speakers off and power off), steppedbass and treble controls, three button switches (high fil-ter, low filter, FM muting), balance and volume controls,four more buttons (loudness, tape monitor 1, tape moni-tor 2, stereo/ mono), and the selector knob (AM, monoFM, auto mono/ stereo FM, two phono positions, micro-phone, and aux). The microphone jack, which feeds a

ca°3

0

-10

fz; -20

o -30

2 -40

-50

Q -60

1.911V

IHF FM SENSITIVITY

2.0 pY at 90 MHz1.9 pV at 98 MHz1.9 µV at 106 MHz

10 100 1K

RF INPUT IN MICROVOLTS

SX626/1

10K 100K

mono signal to bcth channels, is to the right of this knob;the headphone jack, which is live at all times, is betweenthe speaker selector and the tone controls.

Speaker connections on the back panel are via thespecial polarity -coded plugs that Pioneer has used onother recent receivers. The plugs themselves havescrew connections for speaker wiring, and jacks areprovided for three speaker pairs. Most of the antennaconnections use binding posts with knurled knobs; theexception is that for 75 -ohm FM antenna lead, whichhas a screw for tne hot lead and a special clamp for theshield. There are two convenience AC outlets: oneswitched, one unswitched. There also is a tape recorder

2.0

INTERMODULATION CURVES

-------------------&ohm load: <0.46% to 28.4 watts4 -ohm load: <0.52% to 39.4 watts

SX626/5 - 16 -ohm load: <0.51% to 19.3 watts

1 2 3 4 5 10 20 30 40 50 70 100OUTPUT IN WAT-S

+5 MONO FM RESPONSE

0_-5

+5O° 0

-5-10

(i).2- -15

-20-25- 30

-35- 40 --------------

-Lett channel: > 35 dB, 97 Hz to 7.7 kHz; >25 dB, 24 Hz to 13 kHz--- Right channel: >35 dB, 93 Hz to 9 kHz; >25 dB, 24 Hz to 13 kHz

5)1626/2

20 50 100 200 500 1K 2K 5K 10K 20K

FREQUENCY IN -IZ

+11. -3 dB. 20 Hz to A.5 kHz

STEREO FM RESPONSE

- Left channel: +0.5, -3 dB, 20 Hz to 15 kHz--- Right channel: +0.75, -2.5 dB, 20 Hz to 15 kHz

CHANNEL SEPARATION

REPORT POLICY

Equipment reports are based on laboratory measurements and controlled listening tests. Unless otherwise noted. test data and measurementsare obtained by CBS Laboratories. Stamford. Connecticut a division of Columbia Broadcasting System, Inc.. one of the nation's leadingresearch organizations. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to readreports in advance of publication, and no report, or portion thereof. may be reproduced for any purpose in any form without written per-mission of the publisher. All reports should be construed as applying to the specific samples tested; neither HIGH FIDELITY nor CBS Laboratoriesassumes responsibility for product performance or quality

OCTOBER 1972 35

+3ca 0

-5

1.5

1.0

0.5

0

0.5

0cccc

0.5

0

POWER OUTPUT DATA

CHANNELS INDIVIDUALLYLeft at clipping:. 27.8 watts for 0.13% THDLeft at 1.0% THD: 31.2 wattsRight at clipping: 27.8 watts for 0.10% THDRight at 1.0% THD: 31.2 watts

CHANNELS SIMULTANEOUSLY

left at clipping: 24.9 watts for 0,12% THDRight at clipping: 23.8 watts for 0.09% THD

POWER BANDWIDTH

(tor 1.0% THD, 0 db = 30 watts)

Below 10 Hz to 56 kHz

FREQUENCY RESPONSE

(for 1 watt output)

+0. -3 dB, below 10 Hz to 57 kHz

10 20 100 1K 10K

FREQUENCY IN HZ

HARMONIC DISTORTION CURVES

30 WATTS OUTPUT- Lett channel: <0.60%, 40 Hz to 20 kHz---Right channel: < 1.3%, 40 Hz to 20 kHz

SX626/3

20K 100K

15 WATTS OUTPUT- Left channel: <0.23%, 20 Hz to 20 kHz- -- Right channel: <0.19%, 20 Hz to 20 kHz

0.3 WATTS OUTPUT- Left channel: <0.27%. 20 Hz to 20 kHz- -- Right channel: <0.25%, 20 Hz to 20 kHz SX626 /4

20 50 100 200 500 10K 20K 50K 10K 20K

FREQUENCY IN HZ

Pioneer SX-626 Receiver Additional Data

Tuner SectionCapture ratio 2.0 dB

Alternate -channel selectivity 66 dB

S/N ratio 71.5 dB

IM distortion 0.5%

THD80 Hz1 kHz10 kHz

Mono0.27%0.24%0.20%

19 -kHz pilot38 -kHz subcarrier

L ch0.40%0.40%2.7%

-50.5 dB-58 dB

Amplifier SectionDamping factor 66

Input characteristics (for 30 watts output)Sensitivity

phono 1 2.4 mVphono 2 2.4 mVaux 210 mVtape monitors 1 & 2 210 mVmicrophone 2,2 mV

R ch0.42%0.40%2.5%

S/N ratio66.0 dB64.0 dB90.0 dB90.0 dB59.5 dB

50 10 KHZ

Square -wave response

DIN socket. The remaining connections are phono-jackpairs for the two phono inputs, aux, and tape recorderinputs and outputs. Both phono inputs will acceptstandard moving -coil cartridges. The input and outputconnections for the second tape recorder also aremarked for use with an outboard decoder for matrixedquadraphonics. In addition there are pre -out/ main -inconnections (for use with any sort of outboard equip-ment-including a matrix decoder-that you may wish toinsert between preamp and power amplifier sections ofthe receiver). The unit is delivered with removable jum-pers bridging these connections.

We did use the SX-626 as part of a quadraphonic sys-tem, connecting the decoder to the tape 2 jacks and us-ing the tape 2 monitor switch to cue in the decoder. Thisput the decoder ahead of the volume control, whichthen affected the SX-626 (carrying the front channels)only. The system worked fine, and indeed would be re-quired with an ultra -simple decoder having no straight -through mono/ stereo (that is, nondecoding) positionon its function switch. Users may prefer to insert mostdecoders at the pre/ main jumpers, however, leavingthe tape 2 connections free for use with a second deck.

This point is elaborated on partly to suggest the ver-satility of Pioneer's controls. Both in physical design-the elegantly precise handling of the pushbutton holeson the front panel for example-and in basic circuit op-tions, Pioneer has studiously avoided a make -do ap-proach; we wish we could say the same for all under -$300 receivers. And this same approach is in evidencewithin the circuitry, as documented by CBS Labs.

The FM -section data all are fine for a receiver in thisprice class, and are moreover unusually consistent intheir excellence. (Often one or two specifics in an other-wise excellent receiver will be merely so-so, but nothere.) Much the same can be said of the amplifier sec-tion. Note that harmonic -distortion data are based on a30 -watt -per -channel output rating. This rating, whileconsistent with the rating practices of other manufac-turers (and therefore our testing practices for theirproducts), produces a rising harmonic -distortion curvein the extreme bass at full rated power. While the fre-quencies involved are below the reach of normal pro-gram material, we could have avoided this rising distor-tion by basing tests on an alternate Pioneer rating-andone that is unusually conservative for equipment in thisprice class (much competing equipment is rated for 1%THD at midband only, a technically questionable prac-tice)-pegging output into 8 ohms at 20 watts per chan-nel at 1% THD over the entire audio range with bothchannels driven. Taking all things together, then, wewould characterize the amplifier section as havingample power to drive a pair of speakers-even quiteinefficient ones-in most home installations at low dis-tortion. Two pairs of speakers also can be used, thoughwe'd suggest avoiding the more inefficient models. Thespeaker switching on the SX-626 does not provide forsimultaneous operation of all three speaker pairs.

Considering the excellent "feel" and detailing of theunit and its performance, we would rate the SX-626 as agood value and a particularly enjoyable unit to use.

36 111tH FIDEL! IN 'MAGAZINE

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JVC: Noise ReductionWithout Dolby

The Equipment: JVC CD -1667 cassette deck with ANRS(Automatic Noise Reduction System) in wood case. Di-mensions: 15 by 41/2 by 101/2 inches. Price: $199.95.Manufacturer: Victor Co. of Japan; U.S. distributor: JVCAmerica, Inc., 50-35 56th Rd., Maspeth, N.Y. 11378.

Comment: This is the first non -Dolby dynamic noise -re-duction cassette deck we've tested. ANRS is admittedlysimilar to the Dolby circuit. It is a dynamic device thatcompresses the upper frequency range during record-ing and re -expands it during playback. It can, in fact, betaken as interchangeable with Dolby, as JVC's instruc-tion manual suggests; but we'll come back to that point.

Controls are grouped in three ranks across the topplate. At the far side are the slightly angled VU metersand the tape counter. Next come the recording levelcontrols, ANRS switch with pilot indicator, tape switch(chromium dioxide or "normal"), and cassette well.Across the front are the power on/off switch, the maincontrol levers, and eject button.

In a well at the front of the base are phone jacks forleft and right microphones and for headphones-the lat-ter controlled by a high/ low sensitivity switch. (There isno other output level control.) In a similar well at theback are the input and output connections (four phonojacks plus DIN connector), plus screwdriver adjust-ments for line input levels, to be used only if the tape-recording output levels of your receiver or amplifier re-sult in recording -level control settings that are awk-wardly high or low.

An unusual-and welcome-feature of the mechani-cal design is a cassette -well lid that slides off its mount-ing for easy head access in cleaning and demagnetiz-ing the heads. The well cover opens automatically andthe drive system disengages if the eject button ispressed or the tape runs out, and this feature operateswith the transport set in any mode. You also can go from"play" directly into a fast -wind mode without first stop-ping the transport; but-presumably to prevent tapedamage-you cannot go directly from fast wind to play.As long as a cassette is in place in the well, you also canpremonitor recording levels without actually recordingby depressing the record interlock but not the play le-ver.

The lab data, made with BASF LH tape except wherechromium dioxide (again BASF) is specified, show thedeck to be a good performer-better than we would ex-pect in a $200 deck with noise reduction. JVC uses thesame playback equalization for both ferric oxide andchromium dioxide, making the most of chromium diox-ide's headroom and high -frequency response. (The al-ternate approach, using altered playback equalization,trades off some of this capability for increased S N ra-tio.) You'll see that the chromium dioxide frequency -re-sponse curves extend to beyond 15 kHz, and are by asmall margin the best we have found in terms of ex-tended response at the top end.

Transport speed is a bit high at 0.7% fast (whichmakes no difference in playing cassettes recorded on

+50

-5

coc,+5

02E

-5Cr)

CC

+50

DIN PLAYBACK RESPONSE

(0 dB = -20 ANRS off

-Left channel +2 -1 dB 31 5 Hz to 10 kHz--- Met channel +3.5. -125 dB. 31.5 Hz to 10 kHz

RECORD/PLAYBACK RESPONSE

0 dB = -20 VU. ANRS off)

FERRIC OXIDE TAPE

- Left channel, -1, -3 dB. 36 Hz to 3 kHz--- Right channel. +1 5, -3 dB. 37 Hz to 12 kHz

CHROMIUM DIOXIDE TAPE- Left channel, +2, -3 dB. 31 Hz to 17 kHz--- Right channel, +2.25. -3 dB, 39 Hz to 17.5 kHz

CD1667/1

20 50 100 200 500 1K 2K

FREQUENCY IN HZ

5K 10K 20K

JVC CD -1667 Cassette Deck Additional Data

Speed accuracy

Wow and flutter

Rewind time, C-60 cassette

105 VAC: 0.7% fast120 VAC: 0.7% fast127 VAC: 0.7% fast

playback: 0.14%record/playback: 0.16%

Fast -forward time, same cassette

Sils1 ratio (ref. DIN 0 VU, ANRS off)playback L ch. 54 dBrecord/playback L ch, 50,5 dB

Erasure (333 Hz at normal level)

Crosstalk (at 333 Hz)record left, playback rightrecord right, playback left

Sensitivity (for 0 -VU reccrding level)"aux" (line) input L ch 92 mVmike input L ch 0.95 mV

1 min. 34 sec.

1 min. 30 sec.

R ch: 52 dBR ch: 48 dB

58.5 dB

36.5 dB40 dB

ch: 87 mVR ch: 0.92 mV

Meter action (ref DIN 0 VU)L ch 2.75 dB high R ch: 2 dB high

THD L ch: 1.7%, 50 Hz to 5 kHzR ch: 1.8%, 50 Hz to 5 kHz

IM distortion (record/play, -10 VU)L ch 9% R ch: 9%

Maximum output (preamp or line, 0 VWL ch: 1.45 V R ch: 1.70 V

OC LOBER 1972 39

the same unit, of course, while driving prerecorded cas-settes less than a half -tone sharp), but it is unaffectedby line voltage over our test range. And other data aregenerally comparable to figures that CBS Labs hasmeasured for Dolby decks in the $300 class.

The main question raised by this unit, however, is howANRS compares with Dolby. Taking our cue from theCD -1667 manual's statement that ANRS is to be used inplaying Dolby cassettes, we tried recording a variety ofmusic -orchestra, solo guitar, voice and piano, and soon -both on the CD -1667 and on a Dolby deck, thenplayed the recordings back on both interchangeably,looking particularly for the sort of level contrasts andtransients that dramatize any tendency toward "breath-ing" in such equipment. As long as levels and equal-ization were kept "correct" little difference could be de -

Infinity's $139 System

The Equipment: Infinity Model 1001, a full -rangespeaker system in enclosure. Dimensions: 25 by 141/2 by12'/4 inches. Price: $139. Manufacturer: Infinity Sys-tems, Inc., 20940 Knapp St., Chatsworth, Calif. 91311.

Comment: Infinity Systems, which made its initial im-pact on the high fidelity world with a superperformingspeaker system (the $1,995 Servo-Statik I; HF test re-port, June 1970), has been readying lower -priced mod-els aimed at a wider audience. The 1001 is the "secondup" in the company's new line. A two-way system, it in-cludes a 12 -inch woofer and a pair of 21/2 -inch conetweeters housed with 1,300 -Hz dividing network in aneatly styled walnut enclosure with a black grille. Theenclosure is stuffed with sound -absorbent material andincludes an auxiliary opening on the front baffle thatfunctions as what Infinity calls a "terminated line." Themanufacturer claims -and our tests confirm -that thisdesign makes for a smooth impedance curve, inher-ently good damping, and a bass line that is clean anddeep but not "fat" (i.e., without a prominent mid -basspeak).

The tweeters are arranged so that one faces frontwhile the other radiates from the rear of the cabinet.This setup results in a dipole effect that achieves abroad dispersion pattern while maintaining a fairly con-stant energy output through the midrange and highs; italso helps create an agreeable ambient effect by allow-ing the rear tweeter to bounce its output off the back

tected between the two processing systems. (In playinga chromium dioxide cassette made on the Advent 201 -and therefore improperly equalized for playback on theJVC or the Dolby deck we used -we were able to detectsome breathing in the ANRS but not in the Dolby; thistest was hardly cricket, however.) With other programmaterial on commercially processed Dolby cassettes -the Columbia Appalachian Spring, for instance -or re-corded from our own discs and tapes the sound is firstrate through the ANRS circuit, and sound quality iscomparably fine (though with greater hiss of course)with ANRS turned off. For those who would like a Dolbydeck but balk at the $300 price that has become com-mon for such units, JVC offers an interesting alterna-tive.


wall and into the listening area. To achieve these ben-efits requires placing the 1001 at least 11/2 inches awayfrom the wall behind it, with 6 inches being the recom-mended optimum distance. When jammed flush againstthe wall the highs lose some of their "air" and "space."

Connections are made at the rear to polarity -codedbinding posts that will accept banana plugs or ordinarystripped wire. Above the connectors is a tweeters -levelcontrol. Infinity rates the 1001 for an impedance of 6ohms. In CBS Labs' tests the nominal impedance, fol-lowing the bass rise, was measured as 7.5 ohms. Acrossthe audible range the impedance curve remains unusu-ally level, never exceeding 15 ohms. Aside from desir-able amplifier -signal loading, this characteristic also in-dicates that the 1001 would be completely safe toconnect in parallel pairs across a single output.

Although the manufacturer recommends 20 watts to

100

90

cocm 80

70

Ix 60

5020

RESPCNSE CHARACTERISTICS /.(1 waft input)

AVERAGE OMNIDIRECTIONAL RESPONSE4.75 dB, 36 Hz to 16 kHz, ref. 81.75 dB)

AVERAGE FRONT HEMISPHERIC RESPONSE

ON -AXIS RESPONSE

1001/1

50 100 200 500 1K 2K

FREQUENCY IN HZ

5K 10K 20K

Infinity 1001 Speaker Harmonic Distortion

OutputLevel(dB)

Frequency

80Hz

% 2nd % 3rd

300 Hz

% 2nd % 3rd

70 0.23 0.19 0.17 0.2775 0.24 0.12 0.14 0.3280 0.38 0.11 0.17 0.3685 0.67 0.11 0.14 0.4090 1.2 0.11 0.17 0.5595 1.9 0.11 0.22 0.80

100 0.32 8.0

`Distortion data are taken on all tested speakers until distortionexceeds the 10 per cent level or the speaker produces thespurious output known as buzzing, whichever occurs first.


drive it, the 1001 is hardly an inefficient system; itneeded only 4 watts to produce an output level of 94 dBat 1 meter on axis. The higher power recommendationrepresents "proper feeding" rather than minimal suste-nance for the system. The 1001 took 50 watts of steadystate power before buzzing, at an output level of 102 dB.With pulsed power it handled average levels of 180.2watts (360.5 watts peak) before distorting significantly,and produced an output of 110.5 dB. These data indi-cate the system's ability to furnish ample dynamic rangein normal room installations. Response to pulse testsignals was exemplary, showing excellent transient re-covery. Over-all frequency response is more linear thanusual for a speaker system in this price class Turningthe tweeter level control to maximum brings up the highend, from about 4 kHz to 12 kHz, by about 2 dB from"flat"; reducing the control's setting to minimum lowersthe high end above 4 kHz by about 10 dB.

In listening tests we found the highs to be very well

dispersed, with scarcely any evidence of beaming tobeyond 10 kHz. A 12 -kHz tone was clearly audible allabout the 1001, with tones higher in frequency becom-ing progressively more directive. The bass holds upfirm.y down to the system's rated response limit. Somedoubling becomes evident, at very loud levels, at about57 Hz and increases gradually as frequency is lowered,with fundamental bass still evident down to 30 Hz.

With the tweeter level control set to or perhaps acrack below its indicated flat position, a pair of 1001scan fill a larger -than -average room with well-balanced,clean sound. In a much smaller room we preferred a set-ting about two calibrations below flat. The stereo pres-entation in either instance is very satisfactory: broadand natural. The 1001s negotiated even the most de-manding orchestral material with ease, conveying asense of excitement not often experienced with sys-tems in this price range.


Shure's Update of the M91E

The Equipment: Shure M91ED, a magnetic stereophono cartridge equipped with elliptical diamond stylus.Price: $54.95. Manufacturer: Shure Brothers, Inc., 222Hartrey Ave., Evanston, III. 60204.

Comment: This cartridge, an updated version of theM91 E, makes a good upper -middle -priced pickup bet-ter. Shure compares the upgrading to that representedby the "Improved" version of the V-15 Type II; only thestylus assembly is different. The result is greater com-pliance and, according to Shure, greater "trackability."

The differences in measurable performance are notstriking, and in fact CBS Labs clocked sligntly higherharmonic distortion rates for the M91 ED than for a re-cent sample of the M91 E at some frequencies. Inter -modulation, however, is notably lower in the M91 ED at 1per cent in the lateral plane, 3.3 per cent measured ver-tically. These are, in fact, unusually low IM distortion fig-ures for a phono pickup and approach the best we havemeasured to date.

The output of the new model-at 5.4 millivolts in theleft channel, 5.3 in the right-using our standard test cut(1 kHz at 5 cm per sec.) is higher than that of the M91 E(4.5 mV) and significantly higher than that of some com-peting models. Where it is to be used with preamps ofonly moderate gain its output level may therefore comecloser to those of FM broadcasts and other inputs, whileeffective signal-to-noise ratios will be somewhat bettersince amplifier volume (and therefore electronic noiselevels) will not have to be turned quite as high. TheM91 ED went through its torture test at a tracking forceof 0.8 grams; 1.0 grams was used in performing the re-maining tests. Vertical tracking angle was measured at21 degrees, while the tip configuration measured 0.28by 0.65 mils with good geometry. Compliance is high,

but not exceptional: 51 (x 10-- cm!dyne) measured lat-erally, 27 vertically. CBS Labs measured low -frequencyresonance in the SME arm at 7.1 Hz.

Response and separation figures are excellent. Notethat the graphs were made with 500 pF of capacitancein the preamp leads-a figure that Shure has deter-mined to be representative of present equipment. Testsmade earlier (with the Shure V-15 Type II and M91 E, aswell as cartridges of some other manufacturers) showthat a rather peaky high end develops if such a cartridgeworks into the extremely low capacitances that onethinks of as "ideal." All practical equipment has somecapacitance, however, and the performance of theM91 ED once again dramatizes the importance of along -overdue industry standard with respect to capaci-tance in phono leads and preamp input characteristics.

We certainly encountered no audible peakiness in lis-tening with typical equipment. The sound is unusuallyclear and silky for a pickup in the price range, and somelisteners could hear no difference whatever in compar-ing it with more expensive models that are noted for thiscpality. (Those who 'ike a peak at the extreme high endto offset speaker roll -off at these frequencies might in-deed prefer the sound of the M91 ED working into alower capacitance.) Designed for use with the betterautomatic record -praying equipment, the M91ED is afine performer, particularly in its price -and -applicationclass.

-10-15

c -200_

t'-25-30


+50

-5 --Leftcttann--"'-''"--10Hz to 19.5 kHz--- Right channel: +0.75, -2 dB, 20 Hz to 20 kHz

CHANNEL SEPARATION

.........

M9IED/1

20 50 100 200 500 1K 2K 5K 10K 20K

FREQUENCY IN HZ

- Lett channel: >23.5 dB, 20 Hz to 14.5 kHz--- Right channel: >21.5 dB, 20 Hz to 16 kHz

OCTOBER 1972 41

Tuner and Performance Indicator from TeacThe Equipment: Teac AT -201 stereo FM/AM tuner inwood case. Dimensions: 161/2 by 6 by 111/2 inches. Price:$399.50. Teac AZ -201 Total Performance Indicator (os-cilloscope unit) in wood case. Dimensions: 8'/2 by 6 by111/2 inches. Price: $229.50. Manufacturer: Teac Corp.,Japan; U.S. distributor: Teac Corp. of America, 7733Telegraph Rd., Montebello, Calif. 90640.

Comment: A handsome pair, these two. Not only arethey matched in styling, they are designed to be usedtogether, connected by a multiconductor cable thatfeeds several different signals to the performance in-dicator's oscilloscope for display.

The tuner has a signal -strength meter to the left of thedial and a center -tuning meter to its right. The tuningknob is the only control visible with the lower flip -downpanel closed. Beneath that panel are the AM/FMswitch; muting sensitivity control; switches for muting,mode, high blend, and dial brightness; output level con-trol; and power switch. In addition to the antenna con-nections, the back panel has an accessory AC outlet,the main audio jacks (controlled by the front -panel levelcontrol), extra output jacks with their own screwdriverlevel control (for direct feed to a tape recorder, for ex-ample), and the jack for the interconnect cable to theperformance indicator.

The performance indicator has only the 'scope andpower switch on its upper panel. Hidden below are the'scope controls, mode selector, and volume control forthe tape signal. The back panel has phono jacks fortape input, tape output, and external signals, and an ac-cessory AC outlet.

In the tuning mode the 'scope displays a small patchof light whose height on the tube surface representssignal strength, whose left -to -right centering repre-sents tuning accuracy, whose flatness in the maximum -height portion represents freedom from multipath dis-tortion, and whose length represents signal modulation.

The other 'scope modes all display audio: the left -channel amplitudes along the vertical axis, and the rightchannel horizontally. Mono signals, being equal in bothchannels, form a diagonal line from the upper right tolower left; if the channels are out of phase the line shifts90 degrees. Stereo signals form a "random" pattern de-termined by relative amplitudes in the two channels.The level controls in the tape -signal feed allow you tocalibrate the display for your recorder's 0 VU so the'scope becomes an instantaneoys-acting level indica-tor, without the deceptive damping inherent in meters.

If you have never worked with such a 'scope unit,you'll find it fascinating for its own sake at first. Wefound ourselves dragging out all sorts of recordings justto see what the AZ -201 would make of them. Once thisidle curiosity cooled, we found the unit to be a usefultool. In one setup, for example, it proved at a glance thata cassette recorder's record/ play head elements were

connected out of phase. In our low signal -strength areathe display appears at the bottom of the 'scope in tuningmost stations, and we found the tuner's meters to bemore efficient than the AZ -201 for that purpose. Butonly the 'scope gives a clear indication of multipath asan aid to antenna orientation.

The tuner itself is a good performer though not partic-ularly spectacular in terms of test data alone. Its unde-niable charms lie rather in its unusually comprehensivecontrols. Good quality signals reproduced well via theAT -201, however, as the lab data indicate; and so ele-gant is the unit's "feel" and behavior that we found it apleasure to use.


030

0-10

-20

°. -30

-40

=¢-501

2.5 µV

IHF FM SENSITIVITY

3.5 µV at 90 MHz2.5 µV at 98 MHz2.5 µV at 106 MHz

10 100 1K

RF INPUT, MICROVOLTS

Teac AT -201 Tuner Additional Data

Capture ratio

Alternate -channel selectivity

S/N ratio

IM distortion

THD80 Hz1 kHz10 kHz

Mono0.51%0.39%0.26%

19 -kHz pilot

38 -kHz subcarrier

Mono response2.5 dB, 20 Hz to 15 kHz

1.7 dB

76 dB

67 dB

0.52%

Loh

AT201/1

10K 100K

Rch1.2% 1.2%1.0% 1.0%2.3% 3.6%

-65.5 dB

-68 dB

Stereo responseL ch: + 1.5. -3 dB. 20 Hz to 15 kHzR ch: +1, -3 dB, 20 Hz to 14.5 kHz

Channel separationL ch: -30 dB, 96 Hz to 5.5 kHz;

-20 dB. 25 Hz to 9.4 kHzR ch: 30 dB, 83 Hz to 6.8 kHz:

20 dB, 24 Hz to 15 kHz


For $279.we giveyou engineering.For an extra$20we throw insome furniture.

To call the Rectilinear III apiece of engineering is a rathervigorous understatement.

The equipment reviewers ofleading hi-fi and other technicalpublications have gone on recordthat there's nothing better than this$279 floor -standing speaker sys-tem, regardless of type, size orprice. (Reprints on request.)

But engineering is all youshould expect when you buy this

original version of the RectilinearIII. Its cabinet is 35" by 18" by12" deep, handsome but utterlysimple. For $279, you get qualityand taste but no frills.

However, if you're the last ofthe big-time spenders, you cannow escape this austerity for anextra $20. Because, for $299,there's the stunning new lowboyversion of the Rectilinear Ill, 28"by 22" by 121/4" deep, with amagnificent fretwork grille.

Mind you, the actual internalvolume of the enclosure is thesame in both versions. So are the

drivers and the crossover network.Only the cabinet styles and thedimensions are different. In thedark, you can't tell which Recti-linear Ill is which. They soundidentical.

That's engineering.(For more information, includ-

ing detailed literature, see youraudio dealer or write to Recti-linear Research Corp., 107Bruckner Blvd., Bronx, N.Y.10454. Canada: H. Roy GrayCo. Ltd., Markham, Ont. Over-seas: Royal Sound Co., 409 N.Main St., Freeport, N. Y. 115201

Rectilinear III

OCTO3ER 1972


43

/ alV /

/1194111,

/ / //

the next best sound in the worldC3 §. 2.

I r..1.,,,1112t..01 MnnaKI tory

CIRCLE 100 ON READER SERVICE CARD

equipment in thenews

NA First Look at the

ew quipmentALL SORTS OF STEREO (and Quadraphonics Too)

by William Tynan

THE FIRST RUSH of quadraphilia that overtookequipment manufacturers last year with the intro-duction of entire lines of four -channel componentsseems to be subsiding a bit. Instead, the emphasishas shifted to building specific electronics that willsupport the manufacturer's quadraphonic"stance": all-out devotion to a particular system,cautious compromise, or whatever. The battle forexclusivity finds many manufacturers arguing therelative merits of CD -4 (Quadradisc), SQ, and theSansui QS system-each claimed to be the comingfour -channel disc system. And while SQ and CD -4have shared the spotlight in this contest of con-cepts, Sansui supporters are quick to note thatmuch engineering opinion favors their approach.

While the question mark hovers over the futureshape of quadraphonics, we have noted significantadvances in stereo equipment-especially in cas-sette tape decks. But there's also a new approach toan old friend-the turntable. Speakers are changingin size, grille design, and color. The separate poweramplifier is back with more wattage than ever be-fore. New tape formulations are following the in-creased demand for quality in all formats. Andvideo recording has finally nudged open the door inhome -oriented systems. But first a look at the re-ceivers. In this rundown, incidentally, you will findround -figure prices, not all of which were final atpress time. Actual selling prices also will vary withlocale and discounting practices of course.

Receivers

Once again the overriding emphasis in electronicsis on receivers-and specifically on stereo receivers.

Rather than specifying two- or four -channel ca-pability, Harman-Kardon has chosen a "multi-

channel" label for its new line of four receivers($250 to $600). The Model 100 will be availablelater this fall: All others are out now. The upperthree models have a built-in SQ matrix and employthe joy -stick four -channel balance control-a fea-ture that has replaced the multiple balance controls(separate left/right and front/back knobs, for ex-ample) in many lines this year. JVC's four -channelstereo line for this year includes the 4VR5414($370) and the 4VR5445 ($500). Three receivershave joined KLH's line. The Models 52 ($290) and55 ($200) are available now, while the Model 54(about $550) is expected in December. The 54 hasprovision for both discrete and SQ matrixed four -

channel sources. Four stereo receivers ($160 to$500) have doubled the size of Kenwood's line. TheMarantz Models 2010 ($200), 4415 ($400), and4430 ($600) cover both stereo and four -channel.The 2010 is strictly two -channel, but the others canhandle SQ or any other matrix system and employa remote "quadradial" joy -stick balance control.

Sansui, one of the leaders last year in introducingfour -channel hardware, is maintaining its '72 quad-raphonic receivers and filling in its stereo line withthe Models 6 and 7. These units have provision fornoise reduction and add-on four -channel decoders.Panasonic is offering one new stereo receiver andtwo four -channel models. Superscope-a newbudget line from the California company that ownsMarantz and distributes Sony tape equipment andraw tape in this country-is initiating its receiverseries with two stereo models, the R-230 ($140) andthe R-250 ($200). Superscope hopes to bridge thegap between mass -market products and top -linecomponents. Sherwood is offering a new stereomodel, S-7200 ($300), and two additions to its Dy-naquad line-the AM/ FM 7900 ($460) and theFM -only 8900A ($430), both of which are stereo/


Dynaquad units with provisions tor outboard ma-trix decoder.

Pioneer's latest series of stereo receivers consistsof the SX-626 and SX-828, issued earlier this year,and the new SX-727 ($350) and SX-424 ($180).Sony Corp. of America is offering the SQR-6650.which provides for SQ and other matrix systems.Scott is using printed circuit boards even for the in-terconnection between subassembly boards in itsnew high -end receivers, the stereo Model 525($600) and the 554 four -channel receiver ($550).The three models in the 300 series ($215 to $360)have been restyled this year.

Altec has added two receivers and Concordthree-again all stereo. A key feature of Electro-Voice's new EVR 4X4 four -channel receiver ($250)is the Universal decoder, which is geared to handleSQ and other matrix formats. Fisher's latest "ad-vanced two -channel, four -channel adaptable" re-ceivers-the 304 ($300), 404 ($400), and 504($500)-incorporate the SQ matrix decoder. To-shiba is introducing three four -channel receivers:Hitachi's SR line concentrates on stereo but will ac-cept the AA -100 Ambiophonic adapter ($25) forsimulated quadraphonics or matrixed recordings.Akai's new AA -8080 and AA -8030 are stereo re-ceivers, while the AS -8100S includes a four -chan-nel synthesizer for converting stereo to quadra-phonics. Two super deluxe digital -FM receiversannounced last year are still unavailable: the SAEand the quadraphonic QSI.

Five European companies are showing new re-ceivers this year. Kirksaeter, a small componentmanufacturer to the German carriage trade, intro-duced its products in the U.S. for the first time lastyear and hopes to spread from the Middle Atlanticstates into the Midwest over the coming year. It willoffer two stereo models, the RTX-7000 ($730) andthe RTX-800 ($800). Expected on the market earlynext year is the Beomaster 4000 (about $500-$600)from Bang & Olufsen. It will feature Ambiphonics.a quadraphonic synthesizer comparable to Dyna-quad. From Tandberg-which says it is very con-sciously retaining its distinctive European styling-comes the TR-1020 ($430) stereo receiver. Braun-which has an international reputation for sleek styl-ing-is offering the Regie 510, and says it is plan-ning to increase its limited distribution in this coun-try. And three receivers are new from Grundig-two in the traditional German styling and one "in-ternational" design made in the Orient by Amerex.

Pilot, a grand old name in components, is backthese days with five receivers ($250 to $500), two ofthem four -channel models. Rotel is offering six newstereo models ranging from $130 to $400. Dokorderis offering its first receiver in this country-the MR -800Q. Onkyo's line, also making its first appear-ance here, is all stereo. Two four -channel modelsfrom Sanyo both offer multiple matrix decoder cir-cuits, including SQ, and have four separate ampli-

fiers. Miida is a new name in the field with threemodels, one quadraphonic. Mikado has a new top -end receiver, the Model 5000. And Yamaha hastwo stereo models plus a new line of four -channelequipment scheduled for the market later this year.

Among the more unfamiliar names in compo-nent manufacturing are Sylvania, whose top modelis the stereo CR2743W ($270), and Motorola, whichthis year has introduced two moderately pricedfour -channel receivers and two stereo units withprices down to $80. Bell & Howell is also offeringreceivers, while Teledyne Packard Bell-which hasconcerned itself only with console equipment untilthis year-is offering a line of eight stereo, four -channel adaptable. receivers from $100 to $500.The less expensive models in this group may betaken as fairly typical of those from mass -merchan-dise companies now making a "new move intocomponents."

Over-all, it appears that manufacturers areshowing only enough four -channel receivers to in-dicate they're involved in quadraphonics-but nomore.

Other Electronics

Big power ratings are making news in separatecomponents. with model numbers usually suggest -

5

6

The products shown on this month's cover suggest therange discussed in the article. Specifically they are 1)Koss HV-1 on -the -ear headphones, 2) Tandberg TCD 300cassette deck. 3) Harman-Kardon Citation 14 tuner withDolby circuit, 4) Heathkit AJ-1510 digital "punchkey" FMtuner, 5) Dokorder 9100 open -reel tape deck, 6) AcousticFiber N-400 Nirvana speaker system in B-61 Africano styl-ing, 7) Panasonic SL -1100 DC servodrive turntable, 8)Scott 525 AM/ FM receiver, 9) JBL Prima 25 speaker system(whose molded plastic case also is available empty for useas a storage unit), 10) Fisher 504 stereo/quadraphonicreceiver, 11) Dynaco Stereo 400 power amplifier, and 12)Pioneer QL-600A adapter unit for converting stereo sys-tems to quadraphonics.

OCTOBER 1972 47

"Joystick" quadraphonic balance controls are growing inpopularity. Marantz remote unit (with more elaborate con-trols than most) is used with several models.

ing total continuous power output. From CrownInternational comes the M600; Dynaco has intro-duced the Stereo 400; DCM has the Dreadnaught800; Phase Linear's second model is the 400; andSAE's Mark 23 puts out 600 watts.

Several other companies are offering amplifierswith power ratings that are not quite as exotic. Usu-ally they're integrated amp/ preamps, and some ofthem-predictably-are designed with quadra-phonics in mind. In the latter category, Heath hasthe $350 AA -2004 for the kit -minded, while othernew models come from such companies as JVC,-Pioneer, Marantz, Sony Corp., and Panasonic.Then there are the conversion amps designed topower the back channels of a quadraphonic systemusing existing stereo components. Sansui andMarantz are among the major companies offeringthis format.

Returning to stereo equipment, all amplifiermakers mentioned so far have new models, as doDokorder, Lafayette, Nikko, Rotel, Scott, Super -scope. Yamaha, and others. Radford, an Englishcompany that will be new to most Americans, hastwo amps: the SPA50 (stereo) and PASO (mono),both $375. Sherwood's latest addition is the S-9400($260) stereo/Dynaquad model. Audio ResearchCorp. of Minneapolis has added to its line of "highdefinition" separate components including poweramplifiers rated at 75 and 50 watts per channel($975 and $695 respectively).

As superpower separate amplifiers continue inthe news, buyers are rediscovering the versatilityand quality of separate tuners and preamps.Tuners seem to have benefited from their lack of di-rect involvement in quadraphonics and are makingtheir own news through improved performance.Until the FCC comes to a decision on four -channelbroadcasting the status quo should prevail. Onemajor innovation is Harman-Kardon's Citation 14($525), which includes Dolby circuitry. Another isHeath's AJ-1510 kit ($540). On this digital tuneryou can preselect three stations by punchcard, orpunch up the exact frequency of your station fromthe ten -button front panel.

Four new tuner/amplifier pairs have been addedby Kenwood. Dokorder, which until this year hadoffered only its tape recorders on the U.S. market,

has introduced the 8070A tuner. Dynaco has addedan AM/FM version of the FM -5: the AF -6 ($300;$200 as a kit). Two additions to the Marantz lineare the Models 105 ($150) and the 115 ($250).Panasonic's newest tuner entry is the ST -3400,while Pilot has introduced the Model 211 ($200).Among budget tuners are the Pioneer TX -500A($120), Superscope's T-208 ($90), and Rotel's RT-320B ($120). Rotel's other new model is the RT-620($180).

Expected on the market this fall is Radford's newremote -control tuner (about $475). Sansui is offer-ing the TU555 and TU666, and Sherwood hasadded the S-2400.

Among separate preamplifiers, SAE has a newmodel, and Radford's is the SC 24 preamplifiercontrol center ($360). Preamp/tuner combinations,popular a generation ago, continue their somewhathesitant comeback. Sony Corp. has added a modeland Altec's luxurious digital 780 ($800) with bi-directional scanning is expected in December.

To cope with the problem of converting existingstereo systems to four -channel operation, manymanufacturers are offering decoding units, de-coders coupled to back -channel stereo amps, orcombination preamp/demodulator/amplifiers.One of the most comprehensive new decoders is the$300 Sony SQD-2000 for SQ. There are severalQuadradisc demodulators, all of which containpreamp circuitry of course. Some companies offerdecoders or quadraphonic synthesizers for automo-bile use.

Among the more esoteric of electronics are thestereo oscilloscope/analyzers offered by severalcompanies, and the prototypes of quadraphonicscopes now beginning to appear. Audio Researchhas two crossover units, the passive PC -IC ($80)and the active (powered) EC -3 ($595). Teac hasadded to its line of Dolby noise -reduction units.Servo -Sound, another company new to the U.S.market, offers integrated feedback ("cybernetic")amp/speaker systems for stereo or back -channeluse. A servo adapter for use at the output of stereoamplifiers rated at from 5 to 75 watts per channelalso is available (the SC -2, $10).

Loudspeakers and Headphones

There are new names, new designs, new engineer-ing approaches, and new models in just about everyprice range. Two developments of note: an increas-ing number of electrostatic systems, and the manynew offerings by European and Japanese com-panies, in spite of the currency revaluation.

Electrostatic Sound Systems (ESS) has severalnew models plus a quadraphonic system that maybe marketed late this fall. Of the former, the mostunusual surely is the stereo Super Quad ($2,150)which consists of five pieces. The two largest are left


You'll hear sound you maynever have heard before.Brilliant highs End rich lows.Both beautifully balancedin one great cassette.

You need bo-h highs andlows because all musiccontairs both. High frequen-cies provide "I fe" andpresence. Low frequenciesadd fullness and depth.And unless your cassettecan deliver them in properbalance, the sound thatcomes out simply can't be asgreat as the scund you put in.

"Scotch" sound expertsknow this. So we've developeda tape cassette significantlysuperior, across both frequen-cies, to any other cassettewe've ever made. And anywe've listened to. We callit High Energy.

High Energy will per:armsuperbly on any casse-.te

Behind a great sound,theres a great cassette"Scotch" High Energy

re3o-der no matter how muchyou paid for it. Cr how little.W thout special switches orac u3tments of any kind.You' I get the great soundycu've been missing-with"Scotch" Brand HighEnergy Cassettes.

=cr ncn-cassette recordingfans there's great sound, too,on "Scotch" 206 and 207Low Noise/-ligh Output reeltapes and "Scotch" Low Noise8-1rEc< cart-idges. vryi

COMPANY

S -Jot c -I" is a registered trademark of 3M Co.

and right midrange/tweeter units in which themidrange is handled by a complete Quad elec-trostatic (normally considered a full -rangespeaker). Tweeters are separate electrostatic ele-ments angled for wide dispersion. Two other piecesin the system are dynamic woofers in their owntransmission -line enclosures. The remaining pieceis a crossover network. The six -piece four -channelsystem, consisting of four midrange/tweeters, acommon bass unit, and a crossover/bass-amp, isexpected to cost about $600 and may be availablewith electrostatic elements as well as all -dynamic.

Infinity Systems, which has concentrated onlarge electrostatic speakers, has several new modelsincluding POS 1 ($85)-a one -foot cubic dynamicspeaker. New names in speakers are SAE andCrown International, both with electrostatic/dy-namic hybrids. Crown offers six models from thefloor -standing ES 224 ($1,165) to the all -dynamicC-4 ($148). The ES 224 and ES 212 ($795) use thesame dynamic bass box with two drivers, but differ-ent electrostatic arrays. An important design con-sideration in Crown's electrostatics is their abilityto handle even extreme volume levels-a tradi-tional stumbling block for this type of driver.Crown expects to introduce an electrostatic systemwith a four -driver woofer for under $2,000, and aseparate electronic -crossover unit, later this year.New or revised electrostatic models also come fromJansZen.

The indirect radiating principle is the basis ofKLH's latest offering-the BMF ($250), a three -woofer, three -tweeter system available with swivelstand ($20). KLH is also replacing the Model 26with the 26 II ($269). Also relying to some extent onindirect radiation is the Grenadier 9500 II ($320).Empire's first speaker to project both channels ofstereo sound from a single enclosure.

Fisher's new 500 series-the ST -500 ($200), ST -530 ($250), and ST -550 ($350)-is designed withparticular attention to dispersion characteristics.Fisher also has introduced five new bookshelf mod-els of relatively conventional design and thirteenupdates in the XP series.

New electrostatic speakersabound this year;

most are hybrids havingdynamic woofers. This is Mark

XII from SAE, theelectronics manufacturer.

Altec has redone the Valencia as the 846B ($375;$325 unfinished) and added the 891A ($125). Alsofrom Altec Corp. comes a new brand name-Con-cept EQ-specifying a combination of speaker pairplus equalizer. The initial offering is a $400 systemincluding bookshelf -size speakers. Electro-Voicehas redesigned one model to give us the E -V SevenC ($150) and added the E -V Nine A ($65). Dy-naco's newest is the A-35 ($120). Scott has four newmodels ranging from $55 to $170. Hartley andTrusonic both have new models too. Among rela-tive newcomers, there are speakers from CizekLabs (five models), Design Acoustics, Array,Audioanalyst, DWD, Magnum Opus, Carlu, Vega,and many more-often, at least for the present, sell-ing on regional bases. American speaker com-panies continue among the most volatile in the in-dustry, in fact; not only does the list change rapidly,it seems to be growing all the time. Recent arrivals(Advent, Bose. Dyna, and EPI might be cited) es-tablish a place for themselves faster than the oldcompanies move out.

Leslie loudspeakers, best known for their use inelectronic organs, have come out with models forhome reproduction systems. The rotating baffle ele-ment of the instrument speakers has been retained,but its speed has been reduced so that it introducesno audible "tremolo" into the sound; instead it isused to increase dispersion and break up standing -wave patterns within the room. Leslie is empha-sizing the use of these systems for simulated quad-raphonic effects, as add-ons to present stereo sys-tems.

In a way, one long-established company also isamong the volatile vanguard: JBL. Its new Prima25 ($125) is built into molded modules in a dozencolors. The modules interlock and are availableempty as well, for use in housing other components,records, or whatever. JBL also has added the 88Plus ($213), a variation of the Nova 88 that can beupgraded (add-on kit, $69) to the equivalent of theCentury L100.

So far, we've been talking only of domestic com-panies, but the list of new imports is long as well.From Britain, there are new lines from Radfordand B&W, available through Audionics of Port-land, Oregon, and LDI of New Brunswick, N.J. re-spectively. Entirely new is the Spendor line fromBritain, handled by Audiophile Imports of Chi-cago. From Norway come new Tandberg models.Braun of Germany has a new model. Ultra -tone ofToronto has introduced the ultrasmall Videotone,as well as other Hungarian -made models.

And there are, of course, a great many modelsfrom the Far East. Akai has increased its speakerline by seven models; MGA has added three. On-kyo's line, introduced in the U.S. earlier this year,now includes the Model 15 ($150) and the Model100 ($500). Sansui has added three bookshelf mod-els, plus the SF -2 Omniradial sound -field system.


While other companies havebeen killing themselves to inventnew oxides, why has Capitol beenworking on the old one?

Introducing the perfected

IMO

iron -oxide tape, Capitol 2.

Other companies aren't getting thekind of performance out of iron -oxidethat we are. No wonder they've switchedto different materials.

We at Capitol. on the other hand, havefound a way to perfect iron -oxide tape.

And when we say perfected, wemean perfect. A tape that outperformschromium dioxide and cobalt -energizedtapes in many ways, yet retains all theinherent advantages of iron -oxideformulations.

The big advantages of iron -oxide.1. Unlike other magnetic materials,

iron -oxide is compatible with all recordingequipment.

2. Iron -oxide is magnetically morestable than other oxides. Temperature andhumidity stability are greater. and, evenmore important, iron -oxide tapes can beplayed back over and over again withoutloss of high frequencies.

3. Iron -oxide is less abrasive thanother oxides.

4. Iron -oxide is less expensive thanchromium dioxide and cobalt -energizedtapes.

5. Iron -oxide tape has been per-fected (now that Capitol has come outwith Capitol 2 high -output, low -noisetape).

What has Capitol donedifferently?

Capitol makes more efficient use ofiron -oxide particles than anyone else.

0/ /0, , 0

Oxide Particles

4- Binder

4- Base -4.

Poor Dispersion

0_/_0,/ 0,00.0=VEIN MMI,00000 0.0 //0

Capitol 2 Dispersion

For purposes of illustration. oxide dispersion iscompared to a brick wall The uniform dispersion ofCapitol 2 oxide assures high magnetic efficiency.reduces noise and increases physical strength

We get more energy from each iron -oxide particle by keeping the particlesize small, and dispersing those par-ticles evenly, so that small particlesdon't lump together to act like largerones. The process we use is secret, butthe results aren't secret:

Capitol 2 is the world's highest -output iron -oxide tape.

The new high -output, low -noisetape, both cassette and reel, worksharder than other iron -oxide tapes. Youcan record them at a higher record -level without distortion.

Capitol 2 has the world's bestdynamic range, bar none.

Efficient use of oxide particles andsmooth tape surfaces all but eliminatethe three most annoying forms of noise:bias, modulation, and DC. So Capitol 2has the world's highest dynamic range.You can record both louder and softersignals than ever before.

o

Capitol 2 HOLN cassette and UHL open reel

other premium iron -oxide tape

20 Hz. 20,000 Hz.

Frequency Response at 33/4 IPS (open reel) or 1 NI IPS (cassette)

Capitol 2 high -output, low -noisecassettes on a good machine arevirtually indistinguishable from a top-quality reel machine operating at 71/2 ipsor higher. Capitol 2 high -output, low -noise open -reel tape on a goodmachine adjusted for high-performancetape provides better performance thanhas ever been possible from thatmachire before.

Capitol 2 is the world's first low -print, high -output, low -noise tape.

Print -through is a problem in high -

output tape (both cassettes and reels)that Capitol 2 is really the first to solve.The uniform particle size, combinedwith a secret processing technique,reduces print -through to inaudibility.

Capitol 2 high -output, low -noiseis a tape of a different color.

The side of the'new tape that facesthe heads is a shiny brown, and not asdark as most tapes. The shiny mirror -smooth tape finish improves high -frequency response by improvinghead -to -tape contact. And it also helpsreduce friction between tape and tapeheads. (Friction is a major cause ofsqueal, modulation noise, and head -wear. Capitol 2 doesn't wear heads theway chromium dioxide does.)

The light color is the result of takingthe carbon out of the oxide side of thetape. Carbon doesn't help the recordingproperties of tape in any way. But othermanufacturers are forced to use it inorder to achieve good static properties.Capitol 2 solves that problem differently:

The backcoating.Just as the side of the tape that

touches the heads should be smooth, thetexture of the back of the tape should havea controlled roughness that improveshandling characteristics.

So Capitol puts the carbon into itsnew CushionAireTM backcoating. Thenew black backcoating not onlyprevents electrostatic charges frombuilding up, but improves the handling

Magnetic Coating(shiny brown)

Polyester Base Film

4- Cushi on Aire Backcoating(dull black)

characteristics of our reels, helps makeour cassettes jamproof, and extendsthe tape life considerably.

Introducing the perfected iron -oxide cassette: Capitol 2High -Output, Low -Noise (HOLN).

Capitol cassettes aren't just the bestiron -oxide cassettes you can buy (atleast 6 dB more sensitive than conven-

tional premium tapes at high fre-quencies, where it really counts). Formany reasons, they're the best cassettesyou can buy.

Capitol HOLN cassettes arecompatible.

Say you bought a good cassetterecorder two years ago. You can't usechromium -dioxide cassettes. But you canuse Capitol 2. With the kind of resultschromium -dioxide users have beenbragging about ever since it came out.The new iron -oxide cassettes will improvethe sound of any cassette recorder in thehouse. from the old one you gave to yourkid. to the new Dolby-ized one you boughtyesterday.

Recorders with a 2 -position biasswitch should use the "standard" position.Recorders with 3 -position switchesshould use the middle position. Recorderswith no switch are okay as is.

Capitol HOLN cassettes arejamproof.

The Cushion-AireTM backcoating notonly improves cassette winding, itmakes cassettes jamproof.

The texture of the backcoatingassures that the tape will always windsmoothly with no steps, protrudinglayers, and other pack irregularities thatcause, among other things, jamming.

So Capitol HOLN cassettes justdon't jam.

The perfect cassette package:the Stak-PakTM

If you've ever tried to locate acassette in a hurry, or pick one from thebottom of a pile, or put one away in anorderly fashion, you'll appreciate theStak-Pak.

Its modeled after something youfind around the house: the chestof drawers.

The Stak-Pak is. very simply,a double drawer. It holds two cassettesBut the unique part of it is that Stak-Paksslide together and interlock to form achest of drawers. The more you have.the higher your chest of drawers. Eachcassette is neatly filed away in its owndrawer.

Of course, Capitol 2 cassettes arealso available one at a time, for thosewho prefer it that way.

Introducing the world's best open -reel tape: Capitol 2 Ultra -High -Output,Low -Noise (UHL).

Capitol 2 UHL is the perfected reeltape. At 15,000 Hz (at 33/4 ips) the newtape is, on the average, 4.5 dB moresensitive than the top tape made by thebest known brand. The same new use ofiron -oxide that made the perfectedcassette tape possible has made theperfection of the open -reel tape possibleas well. And the Cushion -Aire back -coating greatly improves handling. Inaddition, the backcoating providesexcellent winding properties under allconditions and thus it preventsdeterioration in storage.

Capitol 2 UHL is the best open -reeltape there is. But you may not alwaysneed the best there is. If your recorderis an older model, or if it's biased forstandard tape, you may want somethinga little less expensive than Capitol 2UHL, at least some of the time.

So we make Capitol 2 HighPerformance open -reel tape. It's anall-purpose tape, but made with thesame regard for quality as Capitol2 UHL.

©1972 AUDIO DEVICES. INC A CAPITOL INDUSTRIES CO GLENBROOK


The world's most acclaimedcartridge.

The Capitol 2 Audiopak* is theworld's most popular cartridge, long afavorite not just with consumers, butwith broadcast studios andduplicators. The cartridge tape is aspecial formulation of iron oxide,different from the new Capitol 2cassettes and reels. It is speciallylubricated (that's why it's often called'Iube tape').

Capitol 2 Audiopak cartridges arethe standard against which all othercartridges are measured.

The price, perfected.There's a special introductory offer

on Capitol 2 HOLN cassettes that wouldbe hard to pass up. even if you didn'tknow how good the tape itself is.

Your dealerwill sell you fourCapitol 2cassettes,60's or 90's,your choice.packaged in twoStak-Paks, for theprice of three cassettes alone.

How to find Capitol 2.Capitol 2 is new. Not all stores

stock it yet. If you can't find it, write us.and we'll send you the name of a dealernear you. There's no point in our com-ing out with the perfect iron -oxidetape unless you can find a placeto buy it.

Capitol 2Capitol 2 is the family name that includes Ultra -High Output.Low -Noise reeltape High -Output, Low -Noise cassettes.Audiopak* professional 8 -track cartridges and High -Perform.ance All -Purpose reeltapes

Audiopak"Professional 8 -track

recording tape cartridge

CapitolCONN 06906

Yamaha has announced a new speaker line forlater this year. Three Pioneer entries represent aradical design approach: Panels of American com-ponent owners were asked for subjective compari-sons with competing models in blind A/ B tests andthe data thus gained were used to fine-tune the pro-totypes to American tastes.

The Century L100's high -relief, brightly coloredfoam grille, first visible on the American markettwo years ago, seems to have started a trend. Re-placement grilles in many colors are now availablefrom such companies as Fisher and Jensen, while"sculptured" grilles are available from many com-panies-from Altec to Utah and even Zenith. Fra-zier is featuring enclosure colors like Wild Fire andFrosty in its newest model. Farthest out, perhaps, isthe Kriket line from Acoustic Fiber Sound Systems.How about zebra stripes? Or paisley? Recent dis-plays have turned up everything from polyhedralenclosures (Design Acoustics and Carlu) to fur cov-ering (AFSS) to a custom psychedelic paint job (onthe current utility version of the staid old AltecVoice of the Theatre system, no less).

Speaker system kits-with the notable exceptionof the Heath line-have been mighty scarce in thelast few years. New lines have been introduced byCTS of Paducah (Ky.), Inc. and National Tel-Tronics, Great Neck, N.Y.

Nothing in this year's offering of headphonescould be called really "far out." Koss did, however,strike out in a new direction with the introductionof its first lightweight (9 oz.) on -ear Model HV- I($40). Koss also continued its quadraphonic line,adding the K-6LCQ ($40), KO -747Q ($55), andPRO -5Q ($70). Superex's latest model is the PRO-BVI ($65), while AKG has the K-150 ($39) and K-100 ($29). Stax electrostatics are now available (af-ter a false start or two under other auspices) fromAudiophile Imports. Pickering is making its debutin headphones with two models-the PH -4955($60) and the PH -4933 ($40). Sansui, Rotel, Nikko,and Mura all have new models.

Record -Playing Equipment

Judging from the new turntable models this year-or rather the lack of them-the best-known manu-facturers can find little to upgrade these days. Ben-jamin has added the Miracord 625 ($100) as an up-date of the 620 or 620V. BSR's new 710 ($130)follows the lead of the premium Model 810. Dualhas updated two models: the 1215 becomes 1215S($110), with an antiskate control like that on theupper models, and the 1219 becomes the 1229($195), which features tracking forces calibratedin tenths of grams and an illuminated strobe withadjustable viewing angle. Garrard has introducedthe 42 M/S (with M75 ECS Shure cartridge) and the42 M/P (with Pickering V15 -ATE -4 cartridge),

both about $85. Of the major changer manufac-turers, in fact, only Perpetuum-Ebner has madebroad changes. The new PE 3000 series consists offour models from $80 to $150. Also brand new isGlenburn, a company based in Great Britain.When its changers will be on the U.S. componentmarket remains to be seen.

The biggest news in turntables certainly comesfrom JansZen and from Bang & Olufsen. B&O'sstraight -line -tracking Beogram 4000, expected onthe market early next year, uses a photo sensor todetect diameter and condition of the record. A logiccircuit board chooses rotation speed (33 to 45) ac-cordingly and either lowers the arm or, if the recordis excessively warped. refuses to do so. Manual con-trols will override the speed selection, trigger apause function, or recue the arm via a two -speed,bidirectional power drive. Arm return at the end ofthe record is automatic. The strikingly styled assem-bly is expected to sell for about $500 including thenew B&O SP -15 cartridge, which may not be avail-able separately until later next year. JansZen's newmodel, expected late this year at about $500 lesscartridge, also has straight-line tracking andpowered cueing. Both platter and arm float on airsuspension systems. The DC servo -drive system willhave continuous speed adjustment to perhaps 100rpm with digital calibration readout.

Among semiautomatic models, Lenco has addedthe L-85 ($180) with automatic arm lift at the endof the record. Unlike previous Lencos, it is belt -driven from a synchronous motor and its speedcontrol is limited to some ± 3% with respect to thenominal 33 and 45 settings. Toshiba is introducingthe semiautomatic SR -80 with an electret con-denser pickup cartridge. There are new direct -drive(servo DC motor) manual turntables from Pana-sonic, Sony Corp. of America, and Denon (NipponColumbia), and new integrated single -play modelsof more conventional design from Pioneer, Sansui,and Sanyo. Transcriptors (the British makers of

While changers continue along well -charted lines, manualand semiautomatic turntables become more sophisticated.This is servodnve Philips GA -212, with feather -touch ca-pacitor switches.

OCTOBER 1972 55

premium platterless manuals available throughAudiophile Imports) has added the Saturn ($250)with integral arm assembly.

From Philips come the GC -012 and the GA -212servo -drive turntables both featuring controls (for33 and 45 rpm and stop) that have no moving partsand operate by a slight touch. The idea is to elimi-nate mechanical shock.

For the most part cartridge manufacturers havebeen content to upgrade the middle models in theirlines by applying advances made in the premiummodels over the last few years. But r & d is busy be-hind the scenes. For example, Pickering recentlyunveiled the UVX-15 /2400 ($75-$100)-a car-tridge geared directly to the expansion of theQuadradisc software market. B&O also is under-stood to have a Quadradisc cartridge in the works,while other companies-though mum on the sub-ject-doubtless are working toward the same objec-tive.

The big news from Denmark is the Ortofon M -

15E cartridge, which utilizes a new principle in itsmagnetic system. (The moving -coil Ortofons willcontinue on the market as well.) Toshiba's electretcondenser cartridge is said to be the first availableusing the principles of the electret condenser micro-phone. Pickering also has a new stereo pickup (theXV-15/1200E, rated for 3/4 -gram tracking) and anew series (the V-15 Micro IV, which replaces thePhase IV series). Looking to future development ofthe four -channel market, Panasonic has introducedthe SL -800 ($200) player with a built-in Quadradiscdemodulator. Nippon Columbia (Denon) has onthe market in Japan a product that eventually maybe available here: a Voice Changer feature thatallows you to sing along with regular commercialrecords or even replace the star's voice with yourown. The recorded vocal is said to be canceled outwhen the user sings in time with it. The feature isbuilt into the QX series of four -channel equipment.

Tape Products

No matter what your favorite tape format, you'llfind something new this year. Several Europeancompanies have introduced open -reel models.Eight -track is gaining still more popular supportand much of the new equipment reflects a demandfor top quality. The greatest change in tape equip-ment this year, however, has to be with the cassetteunits. Most of the top -line models have a noise -re-duction system (all but a few holdouts use Dolby);many use at least two motors; some have multiple -gap heads or multiple heads; and a growing num-ber are incorporating the chromium dioxide tapecapability on a three -position bias switch, with theother two positions for low -noise and "standard"ferric oxides. One of the hottest features is"memory rewind," which enables you to return to a

The new ecumenicism between tape formats (many readersown at least two types) is typified by the Akai multipurposedecks. This glass -head GX-1900 combines cassette andopen -reel decks.

precise spot in a tape. We'll take a closer look at thenew cassette models after perusing the newest inopen -reel and eight -track.

The continued demand for quality and conve-nience in the cartridge and cassette formats haspushed open -reel into broadening its capabilities.Long -line open -reel manufacturers-Akai, Dokor-der, Sony/ Superscope and Teac-have many newmodels, some of which appeared in last month'sopen -reel round -up article. Of special interest fromDokorder are the 9100, styled like a scaled -downstudio recorder and expected to appear in four -

channel form before long, and the 7500, with bidi-rectional recording capability. Akai has a dozennew recorders, concentrating on the combination(open -reel plus cassette and/or eight -track) unitsfrom the X1800SD ($400) to the X2000SD $(600).They've also added the automatic -reverseGX370D ($700) with glass and crystal heads. Rep-resentative of Superscope's new offerings are theSony TC-377 ($290), TC-353 ($350) with lid -mounted speakers. and TC-650-2 ($500), whichalso is available as the quadraphonic TC-650-4.Teac's latest entries include the 4070 G ($600) bidi-rectional record unit, the 3340 ($850)-a four -chan-nel model including Simul-Sync-and a new GSLseries, the 6010, 7010, and 7030, ranging up to$1,000.

The 9000X (about $650) is the new top model inthe Tandberg line and the first three -motor open -reel machine for the company. It will be availablewith four -channel heads on special order. Hencotof France is expected to enter its 800 series ($1,000class) on the U.S. market later this fall. This is thefirst excursion outside the European market forHenri Cotte, the manufacturer. Astrocom has up-graded the 407 to give us the 407A ($460). Braun'spremium TG -1000 can now be converted to four -channel playback with the TQE-1000 kit. Also neware the KW -4066A ($200) from Kenwood, thequadraphonic QT -6600 ($600) from Pioneer, andSansui's four -channel entry, the SD -7000.

The explosion in sales of automobile eight -track


When it comes to power, perform-ance and overall product integrity,KLH's classic Model Fifty -One isa tough stereo receiver to beat. At$259.95t, it literally wipes out itscompetition. We just could not make abetter AM 'FM stereo receiver forthe money.

So we've made a more expensiveone.

It's called the Model Fifty -Two. Andit costs $289.95t. The additional thirtydollars buys you additional power(30 watts per channel RMS comparedwith the Fifty -One's 20 watts per

At lastsserous rivalto theKLH ModelFifty -One.The newKLH ModelFifty -Two.

channel RMS). The Fifty -Two also hasa new KLH look, dual tuning meters,cnd a host of new conveniencefeatures. Now we know the Fifty -Twowill never replace the Fifty -One; werever intended it to. But if you have aspecial need for somewhat morepower than the Fifty -One offers, butyou want the same dependability,precision engineering and superquality, we have a new receiver foryou. The Fifty -Two ... the Fifty -One'sserious, but friendly rival.

See the Fifty -Two at your KLHdealer now. Just $289.951 (including


walnut -grain enclosure). Also seethe rest of the KLH receiver line,especially KLH's newest and lowestpriced AM -'FM stereo receiver, theModel Fifty -Five. Powerful. Depend-jble. And very special for just$199.95t. For more information, write-o KLH Research and Development,30 Cross Street, Cambridge,Mass. 02139.

eeee

,:LH RESEARCH AND DEVELOPMENT D.v.sion of The Singe, Co.Penv

?Suggested 'Vail ;vice SI.Orly liogiter in the west.A reodernorit ol Th. !onge, Conoo,

Ii 4411

OCTOBER 1972 57

cartridge players is having its effect on eight -trackmachines for the home. This year there are on themarket many stylish units that include the recordfunction. Among the manufacturers: Akai, Dokor-der, Grundig, Hitachi, Miida, Pioneer, Panasonic,Sanyo, and Wollensak. Playback units are, ofcourse, legion. Among manufacturers that are rela-tively new to the field: Harman-Kardon, Grundig,Pioneer, and Sanyo.

Cassette deck manufacturers seem to be going invarious directions this year. Several of them are of-fering pocket -sized recorders. For example, Wol-lensak has the 401 ($100), Superscope the Sony TC-45 ($125). Concord, Hitachi, and Panasonic areamong the others.

But the most attention has been paid to thelarger machines. Tandberg has introduced its firstcassette deck, the TCD 300 ($329)-a three -motormodel with Dolby circuitry. Harman-Kardon'snew Dolby model is the HK 1000 ($300), a two -head deck with memory rewind. And Panasonic'sfive new models include the RS-279US ($500)-athree -head, two -motor deck, with memory rewindand Dolby.

These examples make it quite obvious that thecurrent approach is to make state-of-the-art cas-sette machines with virtually the quality and versa-tility of open -reel units, but with more convenience.This year one is tempted to ask: Who doesn't haveDolby? Well, there's JVC, whose ANRS (Auto-matic Noise Reduction System) resembles theDolby system in some ways. [See the equipment re-port on its ANRS deck in this issue.] And there'sWollensak, which splits the difference and offersthe 4780 and 4760 with Dolby and the 4770 withWollensak's own Dynamic Noise Suppression Sys-tem, which follows the lead of the Philips/ NorelcoDNL (Dynamic Noise Limiter).

Another innovation is the pitch control on Yam-aha's and H -K's Dolby decks. Adjustments of up tofive per cent in the speed of the Yamaha DC servo-motor are said to be possible, allowing you to tuneplayback speed of cassettes recorded live on off -speed portable equipment, for example. Americanavailability of the Yamaha is not yet scheduled.

Included in Akai's seven new cassette models aretwo Dolby decks, both with what Akai calls Auto-matic Distortion Reduction. One also has Invert-O-Matic, a feature that allows continuous playbackand bidirectional recording. Panasonic's RS-277US Dolby deck ($300) also features continuousplayback. Concord, Hitachi, Kenwood, Sony/Su-perscope, Sansui, Sanyo, and Teac all are offeringnew Dolby decks as well, mostly in the $250-$300bracket. Pioneer, Grundig, Lafayette, and Craigare among the companies offering new modelswithout noise reduction. And BASF has introducedits first recorders.

Several companies are now selling automatic

cassette changers. The Panasonic RS:296US andMagnavox IV9064 both follow the basic edge -stackpattern of the Benjamin/ Lenco models; the Pana-sonic will hold up to 20 cassettes.

Some new approaches are showing up in cassettetapes themselves this year. To the usual C-30 andC-60 sizes (playing thirty and sixty minutes respec-tively) several companies are adding C -40s or C-45s-just enough time for the majority of pop al-bums. Some companies plan to drop C -30s in favorof the new lengths. And TDK is the first to intro-duce 180 -minute cassettes. TDK also is offering anExtra -Dynamic line that supersedes Super Dyna-mic as the top -of -the -line series; and TDK SDeight -track cartridges are available for the first timethis year.

A new line of premium tapes has been intro-duced by Audio Devices: The Capitol 2 line isavailable in all three formats with low -noise coat-ing. The new Memorex C-45 is available in bothferric oxide and chromium dioxide coatings. Am-pex has the 362 extended -frequency cassette series,while RCA has added cobalt -doped ferric oxide.Longines Symphonette has moved into the blankcartridge and cassette market; packaging for bothformats is marked "music," "voice," and "all pur-pose." Craig also has introduced a new cassette linewith low -noise tape plus a premium Vista line. Andseveral companies have added chromium dioxidecassettes in recent months.

It should be noted that Advent is making twomoves calculated to enhance the status of the cas-sette as a playback medium. The company hasmade available its Model 202 playback -only Dolbydeck and plans to start producing Dolby -processedrecorded cassettes from various catalogues thissummer, selling prices to be competitive with thedisc issues.

Several companies introduced separate noise -re-duction units last year, and two of these-Teac andConcord-are now offering lower -priced models.Teac has added the AN -60 ($90) Dolby system.Concord's new Dolby unit is the DBA-9 ($130).And Revox America is preparing a British -madeoutboard Dolby B unit for the U.S. market.

As far as purchasable home videotape equip-ment goes, you really have quite a choice this year.Several dozen companies offer half -inch open -reelmodels, many of them portable. Akai will be offer-ing a 1/4 -inch color open -reel VTR-the VT -750($4,000). But the medium getting the biggest pushright now is Cartrivision. This cartridge televisionformat allows you to play commercially recordedcartridges or, with a small portable camera, recordyour own "home movies." Other cartridge/cassettecompanies generally are sitting tight on their videocassette/cartridge machines, bypassing the con-sumer for the time being in favor of the businessand educational markets.

58 CIRCLE 9 ON READER -SERVICE CARD -

BASF jamproof cassettes.Now all BASF cassettes featurejamproof special mechanics.The most significant designbreakthrough in the cassettemarketplace today. Preventsjamming of invaluable record-ings. El minates wow and flutter.Preven-s tape edge dropouts.

Finally, a cassette with 1JO%mechanical 3uyBA3F Cassettes with jamproofspec al mechanics.

Fo- the BASF deale- r eares*you, write BASF SYSTEMS INC,Bedford, Massachusetts 0173D.

Tension spring in C120's prevent jamming due to tape loopinc

Two precision guide -arms insure smc

"'Patent Pending

I precise winds to 311-n nate iirnminr

AudicNidep Prcducts

BAS7.

)/i

the Sansui SemenHere is another wonder from Sansui. Who else but Sansui engineers could have achieved it? We've highlightedseven significant features of the many that will make this total -capability FM/AM Stereo Receiver the most wantedinstrument of its kind. Actually there are more than 30, many of them Sansui exclusives, that set the SEVEN offfrom others. Yours for $459.95.

1. DIRECT -COUPLED POWER AMPLIFIER WITH AUTOMATICALLY RESTORING DOUBLE -PROTECTED OUTPUT. Direct coupling from one end of thepower amplifier to the other yields unimpaired damping factor and transient response at exceptional power band-width and phenomenally low distortion levels. Both quick -acting fuses and relay circuits protect both amplifier andspeakers if failures occur, with automatic self -restoration if the problem is transient.

2. FULL -FEATURED JACK FIELD FOR DOLBY, QUADAPTERS AND MORE. Connect any noise -reduction adapter, Dolby or other, andactivate' it with push-button convenience for tape recording. Go to four -channel stereo simply by connecting anadapter and rear -channel amplifier any time you wish, again with pushbutton activation. Connect two tape decksthrough a choice of regular pin jacks, three -contact phone jack or DIN multiple connector. Connect two phono-graphs. In addition, quick connect/disconnect links between amplifier and preamp sections permit separate useor addition of other add-on devices.

3. CERAMIC FILTERS AND IC's IN FM IF. For exceptional selectivity and rejection characteristics with full bandwidth, minimumphase shift and remarkable freedom from distortion. The IC embodies a 3 -stage differential amplifier. Two ceramicresonators filter each of three stages.

4. SIGNAL -GRABBING FM FRONT END WITH DUAL -GATED MOSFET, 4 -GANG TUNING CAPACITOR AND WIDE -DIAL LINEAR FM SCALE. A sophisticatedtwo -stage RF amplifier and mixer stage uses a low -noise MOSFET in conjunction with three costly, special-purpose silicon transistors and a 4 -gang frequency -linear tuning capacitor. That's why the SEVEN is outstandingwith respect to sensitivity, IM distortion and image ratio, and offers a dial scale precisely calibrated in 250kHzsteps for pinpoint tuning.

S. TRIPLE, STEPPED EQUALIZER -TYPE TONE CONTROLS. Separate treble, bass, and midrange tone controls, the first two calibratedin 3dB steps, the midrange in 1dB steps, for custom tailoring of response across the full audio spectrum.

6. THREE -STAGE, DIRECT -COUPLED EQUALIZER/PREAMP AND CONSTANT CURRENT DRIVER AMPLIFIER. High signal-to-noise ratio, high sta-bility, extremely wide dynamic range and elimination of crossover distortion, as well as other types, all contributeto an exceptionally clean, effortless, unclipped sound. Broad frequency response beyond the audio extremes alsoprevents phase shift at the low or high end of the spectrum, to add to the exceptional purity of reproduction.

7. NEW -DESIGN, QUALITY AM TUNER. AM reception is not just an "also" on the SEVEN: learn again how good AM can sound,at its best. An RF preselector-amplifier combines with a 3 -gang tuning capacitor and an IF section that includesa 2 -resonator ceramic filter for ideal bandpass characteristics. A 2 -stage Automatic Gain Control Circuit acts onboth RF and IF sections for constant volume regardless of signal strength. A whistle filter eliminates other -stationbeat interference.

MORE THAN SEVEN-Other features of the SEVEN include:Sharp -cutoff, Negative -feedback High and Low Filters. Low-distortion circuitry using especially designed transistors provide12dB/octave characteristics.Brute -strength Power Supply. High plus -and -minus DCpower supplies with constant -voltage stabilization andripple filter applied to the equalizer/control circuits,plus4 bridge rectifiers and 2 huge 4,700-mf capacitorsfor the power amplifier. All for clean, rock -steadyhandling of signals with ample power reserve.Two Large Tuning Meters. One for signalstrength, the other for center channel, forprecision tuning.FM Muting Switch. Off for hunting distantstations; on for velvet -quiet tuning.Three -System Speaker Selector Off forheadphone -only listening; alsoA, B, C, A+B and A+C.Adjustment -free Sharp -cutoff Filter forMultiplex Carrier. Front -panel HeadphoneJack, Grounding Terminals,Switched and UnswitchedAC Outlets, One -Touch ConnectorTerminals for Speakers and Antennas,300-ohm/75-ohm FM Antenna Inputs,Loudness Switch ... and more, more, more.

and its seven wonders

,H."r/,

PIP

88 90 OP 94 96 98 100 102 104 106 108 FM -MK-1,1

SA iM 7N I00 IN 12N 1100 1605 AM -NH.00

11WW1'MO OP Sama-

SPECIFICATIONS FM Sensitivity (IHF) 1.8 microvoltsPower Output FM Signal/ Noise better thar 63 dB

IHF MusicContinuous RMS

160 watts, 4 ohms41/47 watts, 3 ohms

FM IF or Spurious -ResponseRejection

better thar 100 dB

Power Bandwidth, IHF 10 to 50,000 Hz, 8 ohms FM rapture Ratio below 1.5Frequency Response, Overall

Distortion, OverallTotal HarmonicIM

15 to 40,000 Hz +1dB,-1.5 dB (1 watt)

below 0.3%, rated outputbelow 0.3%, rated output

AM SensitivityAM Selectivity

Phono nput Sensitivity

46dB/m (bar antenna)better that' 30dB

(+10kHz)2.5 my

Hum and Noise, Overall (IHF) 80 dB (AUX input) Rano nput Maximum 100 my

tun

Action of the Triple -range Tone Controls

Wu WWWI I19WWW

11,11. rrIn tar N. +awn to +Dame aim

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- """-----

Total Harmonic Distortion vs. Dower 120 to 20,000 Hz)

THE SANSUI MODEL SIX:There's great news 'or those who want theessential performance capability of the VodelSEVEN, but whose power -output requirementsare somewhat less demanding. Look into theSuperb Sansui SIX, close relative of the SEVENwith basically the same design, features andperformance capability. $369.95. ti

11.4 111.

SANSUI ELECTRONICS CORP.Woodside. New York 11317 Gardena, Callfornia 90247ELECTRONIC DISTRIBUTORS (Canada), Vancouver 9. B.C.SANSUI ELECTRIC CO., LTD., Tokyo, Japan Sansui Audio Europe S. A., Antwerp. Belgium

1935-1911

the followingannual

tanot only twobulations

of

Top Ten "hits" reflect

eras, 1935-1950and 1951-1971,

but two rating systems.Both are an-

nual summariesof weeklbasrt

po-

sitios"and are derivedically

by

assigningpoints

inverselyto each

weeklyposition.

But the earlier years

arebased on the

weekly ratingsof

"Your Hit Parade,"which reflected

the thetaste in songs

even if,

as the accompanyingarticle points

out, they maynot have

been arrived

at very scientifically-whilethe later

years'listings

have been calculated

by Billboardfrom its own weekly

tab-

ulationsof "Hot 100"

recordings.10

is not really comparingapples

andsince,

again as the article

Points;ut, the 1950s were the years

whenin Pan Alley

. . lost out to

RecordRow

as the indicator(and

stimulator)of popular

tastes.

1935

1. In a Little GypsyTea Room

2. Red Sails in the Sunset3. Cheek to Cheek4. On Treasure Island5. I'm in the Mood for Love6. Chasing Shadows7. In the Middle of a Kiss8. Lullaby of Broadway9. East of the Sun

10. You Are My Lucky Star

1936Did Wayrnetnbet1

2. 1heIon Looli,lonight

1n theChapel

in the Moonlight

4. 1s 1t AboutWhat 'They

Say AboutDixie?

5. 'Thesef oonsh

'things

6. LostAlone

B. GoodyGoody

en Did "NuLeaveeHeaven.

.Lights Out

1937

1. Septemberin the Rain2. It Looks Like Rain inCherry Blossom

Lane3. That Old Feeling4. Penniesfrom Heaven5. Boo Hoo

6. Sailboatin the Moonlight7. Once in a While8. Whispersin the Dark9. It's De -lovely10. Vieni, Vieni

Once "Your Hit Parade" charted thepopularity of songs, but that was

before the record industry madesongs secondary to recordings.

by Owen

Welcome to

#114/Atfizt44"

IIR:11 1:11)11 HY N1 \(,/iNi

ON A RECENT VISIT to New York I spent a couple of hours in the 42ndStreet library-at the far end of the vast reading room, in the glassed -in area where bespectacled, quizzical folk may be seen bending in-tently over dim -lit microfilm desks. My film may have been the mostneglected in all the library's holdings. It snapped and crackled in theviewer. It was broken in many places. A hapless attendant had tohelp me rewind the scattered pieces properly on the spool. All told, itwas a painfully nostalgic experience. For this battered remnant isapparently all that remains of "an accurate and authentic tabulationof America's taste in popular music." It preserves, virtually com-plete, the weekly ratings broadcast to radio listeners coast to coastfrom 1935 to 1953 as "Your Hit Parade."

We were devoted listeners in those days. To anyone whose musicalconsciousness began in 1935, the "Hit Parade" seemed as perma-nent, authoritative, and civilizing a force as the presidency itself.With millions of others I waited on Saturday nights at nine for thefirst strains of Mark Warnow's orchestra and Happy Days Are HereAgain, and no week seemed to have come to a certified end until ThisIs My Lucky Day had signed it off. We sat through the jangled criesof tobacco auctioneers (F. E. Boone of Lexington, Kentucky, and L.A. "Speed" Riggs of Greensborough, North Carolina) for the harpglissandos that would introduce the next three songs in their offi-cial weekly positions, for "the song in seventh spot" which was tobring good luck in the coming week, for "the newcomer making itsfirst appearance on the survey," even for the dreadful "extras"-things like That's A Plenty and Runnin' Wild, which announcer BasilRuysdael called "all-time all -timers" but which in fact had nevermade an honest appearance in the ratings. We knew the commercialsby heart, from "I've smoked Luckies for nigh onto forty-five years"to "Lucky Strike green has gone to war," from "LS/ MFT" clackedout on insistent telegraph keys to Be happy-go Lucky chirped by pertDorothy Collins. We waited through them all as worshipers throughsome familiar sermon, till we reached the tense uninterrupted lastsegment of the broadcast-the "three top songs of the week, clearacross the nation," introduced by the customary fanfares and drum -rolls.

Through the years the number of songs varied from fifteen to tento nine to seven (depending on the amount of time CBS or NBC waswilling to allot), and the singers came and went: Lanny Ross and BeaWain, Barry Wood and Beryl Davis, Frank Sinatra and Joan Ed-wards, Andy Russell and Dinah Shore. Even Lawrence Tibbett, re-tired from the Met, had a brief fling at singing Don't Fence Me Inand Accentuate the Positive-after duly explaining that he believedin folk music, "the music of the people" (fortunately Cole Porter andHarold Arlen were in folksy moods that year). In the early days W.C.Fields did comic spots, and the music halted for "tributes" to famousAmericans like General Pershing, Helen Keller, Will Hays, and theLunts. Later Bonnie Baker and Orrin Tucker were dubbed in directfrom their nightclub act to render Oh Johnny Oh during the weeks itmade the survey, and Ethel Smith was on hand when Tico Tico was along -run extra.

There was a lot of talent: Buddy Clark. Johnny Mercer, DickHaymes, the Andrews Sisters, Margaret Whiting, Ginny Sims, Mar-tha Tilton, Georgia Gibbs, Doris Day. But it was usually kept in too -tight rein by the conductors, from Lenny Hayton who inauguratedthe proceedings on April 20, 1935, through all those middle -Euro-pean names familiar to radio listeners-B. A. Rolfe, Harry Sosnick,

Owen Lee, a Catholic priest, has written a great deal in the area of classical liter-ature including a hook on Horace.

1938

1. My Reverie2. I've Got

aof Dreamsms3. Music.

Mae4. A-TisketA -Task, Please

et5. SaysMy Heart6. Ti -Pi -Tin7. PleaseBe K8 Love. Walkedind

In9. I Let a SongGomy Heart10. Thanks

for theMeOmut

of

oryLigimw,

13391. South of the Border

2. Deep Purple

3. Scatterbrain4. Over the Rainbow

5. Wishing6. And the Angels Sing

7. Moon Love

8. Stairway to the Stars

9. The Beerarrel Polka

10. leePers C

Breepers

18401.

/7 e woodeAleT ve°dOeck4. c ore S/p or se

5 ate/ Go 116 A473/4'7p ess, 1.

7 "na- '1/,Pin.j7pillation-rsn Up or or,

toAllatbcrice 4,7efrera star

Ida/ 4keS pan s nes y erfeuruo,e 4rect

4.44.4411114441%44164,

1941 ToiapSOdYMeat

interrriez, o

5Maria El!._ Love

Sister an

"pola

D n on e

1942

2.1

Whiterpe Christ

3. Sle White Cirnas4. E, ePY (ago iffs of

S. m'iner's Tun on over6. Hellif;votion e

Si/ ears Pa;, ver r ofJan Rsangle

9. Du: Duzen Roses gleSit o

I Apple rider I.,Btu., Tree

the

-a in the Night

October 19721111111111%0,

'ftwiegaftrai63

1943

1. People Will Say We'rein Love2. You'll Never Know3. Paper Doll4. As Time

Goes By5. There Are Such Things6. Sunday, Monday or Always7. Comin' In on a Wingand a Prayer

8. In the Blue of Evening9. I've HeardThat Song Before10n't

Get AroundMuch Any More

. Do

e

19441. I'll Be Seeing

V ou

2. MyHeart 1. ells Me

Long Agoand Far Away

4.Get By

5. I'll Walk Alone

6. Amor1 Swinging

on a Star

8. I Love 'Nu

9. Shoo -Shoo Baby

10. The TrolleySong

ow./945

i Till

3the Erean, End f Time4.

Dont Loved yon

5. ent! Fence .6. Irs ,Irnentai ,oe in

7' MY Dueen a Lori utneYg, LongTimeAll the

Tirne

anis Are GettingBetterOn the

Atchison,Topeka,9. Laura

and the SantaFe10. Accentuate

the Positive

19461. They Say It's Wonderful

2. The Gypsy

3. Symphony4. To Each His Own

5.Oh. What It Seemed to Be

6. Ole ButtermilkSky

7. Five Minutes More

B. All Throughthe Day

Can't Bein to Tell You9. I

10. It Mightg

As Well Be Spring

\t'''4401110,--1

1947

1. Peg o' My Heart2. The AnniversarySong3. Near You

4. Linda5. For Sentimental

Reasons6. I Wish I Didn'tLove You So7. Mam'selle

8. That's My Desire9. Heartaches10. How Soon

1948A1. Tree in the Meadow

2.Now Is the Hour

3. Buttonsand Bows

4. It's Magic

.13allerina

6. On a Sit)*Boat to China

1. stou Can'tBe True,

Dear

B. Serenadeof the Bells

9. My Happiness

10. I'm Looking,Over a Four

Leal Clover

Leo Reisman, Harry Salter, Carl Hoff -to the indefatigable MarkWarnow, nervously conducting almost everything as if it were That'sA Plenty or Runnin' Wild. Warnow did a grand total of 496 shows,interrupted only for a time in 1947 when Frank Sinatra insisted onbringing Axel Stordahl and his more listenable arrangements withhim. Warnow's baton passed at his death to his brother RaymondScott (the name was chosen at random from a telephone book), andScott took the show from radio to television on July 10, 1950. Thestars then were Dorothy Collins, Eileen Wilson, and (a name neverseen in any telephone book) Snooky Lanson. But the shenanigansthey went through attempting a visual presentation of protorock hitslike Sh-Boom week after week is another story altogether.

Radio editions of "Your Hit Parade" continued sporadicallythrough the TV years, but it wasn't the same. Guy Lombardo nevermanaged the all -essential excitement, and he spoiled the effect bybroadcasting in the middle of the week. And Andre Baruch's laterattempt to revive the program via recordings in 1955 couldn't workbecause by then almost every local station had its own survey and itsown stack of records. "Your Hit Parade" really died on radio the dayit moved to the new cool medium.

And now, apparently, it is not only dead but forgotten -all thebreathless rankings and ratings from 1935 to 1953 stored away onone neglected roll of microfilm in the vaults of a single library. Any-one interested in American popular music of the '30s and '40s willmore easily consult Sigmund Spaeth's articles in the EncyclopediaBrittanica annuals, or Abe Green's Variety Music Cavalcade, or backissues of the trade magazine Billboard. And it may be better so, for"Your Hit Parade" was not always the most reliable index of popu-larity. In 1935 we used to make frantic efforts to guess all fifteensongs in advance of the broadcast. We were naive enough to believewith the fierceness of fundamentalist Bible -belt preachers in the ab-solute authenticity of the survey. But by 1945, when Billboard beganto run its "Honor Roll of Hits," with a dozen accompanying pages ofcharts and calculations, our faith in the radio survey was shaken.Billboard was surely "an accurate and authentic survey," if everthere was one. Even Variety, with its more limited listings, inspiredgreater confidence -and Variety's columnists never ceased to heapscorn on the findings of the "Hit Parade": "The sponsor's mother-in-law sends over a list of her favorite songs, and they play those." Bythe mid -Forties, publishers were sending sharply worded letters tothe program demanding to know why their tunes, so duly noted onother surveys, were being ignored. The publishers of Don't Sweet-heart Me (admittedly a tune best ignored) even went to the NewYork Supreme Court.The Andrews Sisters-LaVerne, Patty, and Maxine -show that Mark Warnow'sbaton was able to get the kind of reaction that any conductor might envy

What was this survey which, we were reminded weekly, checked"the best sellers in sheet music and phonograph records, the songsmost heard on the air, and most played on the automatic coin ma-chines"? While it seemed to rely mostly on radio plugs and danceband performances in the New York area, the exact nature of theconducted investigations was always a closely kept secret. Even Pres-ident Roosevelt, at a White House reception in 1944, was unable toascertain from an awed Frank Sinatra what song would be numberone the following Saturday. With "Your Hit Parade," suspense wasof the essence.

The secret probably went to the grave with the redoubtableGeorge Washington Hill, long-time president of the American To-bacco Company. Hill not only sold countless cigarettes with his ob-sessive commercial slogans, but may also be credited with thinkingup a notion which was to affect the course of popular musicprofoundly. The "song sweepstakes," as it was first called, the weeklytabulation of the popularity of current tunes, was Hill's brainstorm.The idea is so taken for granted now, so much a part of the musicscene (and so open to exploitation and manipulation) that it is al-most impossible to think of a time -and I personally cannot remem-ber a time -when it was not there, reflecting and directing populartaste.

Actually Hill had to fight his own production men to get his ideaoff the ground. They thought a straightforward presentation of thevery songs most played on every other program had no chance at allof succeeding, and for some weeks they substituted a variety showwith Fred Astaire. But when Hill finally got his way, "Your Hit Pa-rade" caught on instantly. It became the most popular show on theair, drawing loyal listeners by the million. Its musical presentation(and Hill saw to it that it remained brassy and fast-moving) set thestyle for all network orchestras. Unfortunately, as the years passedthis "happy marching sound," as Hill called it, didn't keep pace withthe times. Down Beat referred to "the shotgun tempo decreed byGeorge Washington Hill as being ideal for all tunes"; Metronomecalled the extras "murderous ragtimey junk," and Frank Sinatra,gasping for breath at the bridge of Don't Fence Me In, harrumphed,"This song has too many words."

But for all that, the period from 1935 to 1950, witnessing as it didthe heyday of the big bands, the emergence of the singing stylists,and a significant part of the careers of our best songwriters, may wellbe regarded as the golden age of American popular music, and"Your Hit Parade" is at least the most nostalgic index to that period.That is why I could not send the microfilm back to the vaults withoutmaking a few notes, and indulging in some rueful meditation.

Take this broadcast of October 24,1942, about midpoint in the eraunder consideration. We were almost a year into the war, and itwasn't going to be over so soon as we'd thought, as the song titlesindicate:

1. My Devotion2. White Christmas3. I've Got a Gal in Kalamazoo4. Serenade in Blue5. Be Careful, It's My Heart6. Dearly Beloved7. Wonder When My Baby's Coming Home8. I Left My Heart at the Stage Door Canteen9. Praise the Lord and Pass the Ammunition

10. At Last

1949

1.

Againe Enchanted

Evening2.3. Far Away

Places4. Cruisi.ngDown

the River5. You're BreakingMy Heart6. I Can Dream,7. Bali H'ai Can't I?8. Forever

and Ever9. Ridersin the Sky10. Don't

Cry, Joe

1950

\ 1. My Foolish Heart

2. Mona Lisa

3 Bewitched,Bothered and

Bewildered4. Goodnight,

Irene

5. Dear Hearts and Gentle People

6. All My Love

1. Harbor Lights

8. The Third Man Theme

9. La Vie enW

Rou oseere Commn'

10. If I Knew Y

I'd've Baked a Cake

1951

7. ToongYoU2. Becauseof You

3. HowHight

he MooQ

CoaleOn.

My House5. Be

My Covea6. On ropof Old

Srnokey7.

old.Cold

Heart8. If

9. 1..oveliest

Night10.

Tennessee

Waltzof theYear

1-44ftwilwatm.

' 19521. Blue Tango2 Wheel of Fortune3. Cry4. You Belong to Me

5 Auf Wiederseh'nSweetheart

6. I Went to Your Wedding

7. Half as Much

e. Wish You Were Here

9. Here in My Heart

10. Delicado

1953

1. Song from Moulin Rouge2. Vaya Con Dios3. Doggiein the Window4. I'm Walking

Beside You5. YouU. You6. Till I Waltz Again

with You. April in Portugal8. No Other Love9. Don't Let the Stars Getin Your Eyes10. I Believe

1. Little 'ThingsMean a Lot

1954

Wantee.3Hey There

4. Sh-Boom Me

5. MakeLove to

6. Oh, My aPa

B. Three Coinsin the FailltainI Get So

PLonely

9. SecretLove

10. Hernando's Hideaway

2.4 -channel AM/FM

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- 83 X 92 .C.1 96 se in 02 01 OE l

Fisher 40.The all -in-one4 -channelcomponent.Under '500.

The basic idea of the Fisher 40 issimple and logical. Take an automaticturntable, a 4 -channel AM/FM re-ceiver and a 4 -channel tape cartridgeplayer. Put them together on a singlechassis, to save space and weight andto avoid redundant inputs, outputsand wiring. Pass the savings on to theend user, but give him his own choiceof speakers to suit his listening roomand budget.

That's what Fisher calls the all -in -one 4 -channel component. $499.95.

Prices slightly higher in the Far We

There's nothing specifically"4 -channel" about any turn-table design, but 4 -channelinformation in the record

groove certainly requires precisetracking plus freedom from wow,flutter and rumble if it is to comethrough accurately. The 4 -speed auto-matic turntable of the Fisher 40 givesyou component -quality performancein all those areas. The high -qualitymagnetic cartridge has a diamondstylus. and both stylus force and anti -skating force are adjustable. There's acueing control for setting the stylusdown gently on any groove of therecord. And the Fisher 40 shuts itselfoff automatically at the end of thelast record.

2Fisher is particularly proudof the Fisher 40's receiverdesign, since it's un-

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Power output is 100 watts, 25 perchannel, which is enough to drive fourmain speakers and a pair of remotespeakers without the slightest strain.

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In addition, the Fisher 40 fea-tures truly sophisticated controls.Front and rear volume are adjustablewith separate slide controls. Bass andtreble controls are of the greatlysuperior Baxandall type.

And there's a control that switchesin the matrix decoder of the Fisher 40.This '2 + 2" control makes possibletwo kinds of 4 -channel playback:Ordinary 2 -channel stereo materialcan be made to produce a quasi -4 -channel effect. Or pre-matrixed4 -channel program material may bereproduced. All this, of course, is inaddition to the discrete 4 -channelcapability of the Fisher 40.

3.4 -channel tape

cartridge player.

3This beautiful little tapeplayer will play back anycartridge in the standard8 -track format, 2 -channel

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nd F1/4110e

1955)\IVil-k\\ke

1.Oloosso000, the xas

txte 0E1 eock

t'k \\OW II ?Nes

Davy4 \As of

le /0 \--e 1,1,e101 c,tocsikek't3. uTat A

ga1V20, Mi5. -stle a v"?',N 'V°B. wie\swe-1. sp\e" wante\t,2e 01

B ,k11'01 ke40`

t 0.1956

1. HeartbreakHotel2. Don't Be Cruel3. Lisbon Antigua

4My Prayer

5. WaywardWind6. Hound

Dog7. Poor Peopleof Paris8. Whatever

Will Be Will Be9. MemoriesAre Made of This10. Rock

and Roll Waltz

1951A11 Shook

UPtheSand

.love

Letters in

3. little Datiin'

A. 'Nun loye (Tab Hunter)

5. So Rate

6, Don't fotIndMe

1. Vain' the Wiles

9. sloung,Love

(Sonnylames)

9. 1oo Much

10. Roundand Roundsr

1958

1.Voiare2. All I Have to Do Is

Dream Claudette3. on't'l Beg of You4. Witch Doctor

5. Patricia6. Sail Along Silvery

Moon'Raunchy7. Catch a Falling

Star'Magic Moments8. Tequila9. It's All in the Gam10. Return to Me

e

1959. Battie

of NewOrleans

1Mack

the Knife

3.

personality

A. Venus Boyney.

Dream6 loe

1. The-Moe

SO

Beiis

B. ComeO to Me

9. Y31153SCity

10. MV.

/9601. Theme

from AGoSummerPlace

2. He'll Haveto3. Cathy's Clown4. Running

Bear5. Teen Angel6. It's7. Handy

ManNow or Never

8. I'm Sorry9. Stuck on You10. Twist

The essential thing about this list, vis-a-vis today's top ten, is not thatthe songs are necessarily better. It might be possible to find ten bettersongs current today, though they would not be at the top of thecharts. It's simply that in 1942 everyone in the country was singing,listening, and dancing to the same tunes, which were played on allradio stations and on juke boxes, and selling both sheet music andsingle records. There was no "youth market," no "good music" pro-gramming for the over -thirties, no "acid rock" station for those "withit." There were such separate genres as race, country, and jazz -butthese overlapped with the vast popular field. While today there is adistinct audience for the Osmonds, for Elton John, for Johnny Cash,and for Barbra Streisand, in 1942 everybody liked Jerome Kern'sDearly Beloved.

It's worth noting too that seven of the '42 ten are from films. In-deed the most impressive single feature of the list is that three of themovie songs- White Christmas, Be Careful, It's My Heart and StageDoor Canteen -were the work of a single composer, Irving Berlin,while three others -Kalamazoo, Serenade in Blue, and At Last -werepenned for the Glenn Miller film Orchestra Wives by the songwritingteam of Mack Gordon and Harry Warren. Such accomplishmentsare rare today, but in the "Hit Parade" radio days it was not un-common for talented tunesmiths to land three songs simultaneouslyon the top ten. In fact, Gordon and Warren had four songs on the"Hit Parade" a few weeks earlier in '42 when their lushly romanticThere Will Never Be Another You joined the three Orchestra Wivestunes. Irving Berlin scored three songs out of ten in '35, '36, '38, in '42as we've seen, and most notably in '46, when three hits from AnnieGet Your Gun appeared simultaneously for ten weeks. Rodgers andHammerstein landed two songs from State Fair and one fromCarousel together on the top ten in '45, and three from South Pacificsimultaneously for eight weeks in '49. Harry Warren also broughtthe stunt off in the first weeks of broadcast in '35, as did Cole Porterin '37 and Johnny Mercer in '42 and again in '45.

Among the "Hit Parade" names whokept the autograph hounds busy wereannouncer Andre Baruch (left)and singers Lawrence Tibbett, JoanEdwards, and Merl Bell Sharbutt.

Even those comparative unknowns, Joan Whitney and Alex Kra-mer, sent three songs up to the top ten in 1941. But that was duringthe nine long months when the networks were quarreling over royal-ties with the powerful American Society of Composers, Authors, andPublishers. In those months no new popular music was broadcastsave a handful of tunes by Latin-American composers and a fewfledgling efforts by unASCAPed songwriters like Whitney and Kra-mer. That year the networks not only brought ASCAP to its knees,they also founded the rival Broadcast Music Incorporated, the or-ganization generally credited with the crossbreeding of country andfolk and popular styles that was, eventually, to change the entire pic-ture.

BMI introduced, first, things like Pistol Packin' Mama, then amore authentic folksong craze (Goodnight, Irene), and eventuallyrock and roll. It opened its doors to a wide range of new songwritingtalent, very little of it of the ASCAP variety, and found a publicready for its product. A new middle class of less sophisticated Ameri-cans had moved from rural areas to new urban prosperity duringand after the war, and in the Fifties there was an even larger and lesscritical adolescent public, prosperous and eager to establish an iden-tity and culture of its own. As the new public began to reject sophis-tication and subtlety in its music and lyrics, as BMI tunes filledseven, eight, and nine positions on the top ten, Oscar Hammersteinand other ASCAP songwriters were in the courts pleading that theycouldn't get their kind of music played on the air.

It was small wonder that "Your Hit Parade" died, on both radioand television, in the '50s. Tin Pan Alley, Broadway, and the Holly-wood sound stages had lost out to Record Row, its proliferation ofnovelty, folk, and country tunes and its gimmick -mad disc jockeys.One spoke no more of a top ten. The spread was too wide. It had tobe a "top forty" or a "hot one hundred." And those ratings were ofindividual single recordings, not of songs. So in 1956 only one songfrom the immensely popular My Fair Lady appeared on Billboard'sweekly ten; later the songs from West Side Story, The Sound of Mu-sic, Camelot, and Fiddler on the Roof, for want of singles of mass ap-peal, did not figure in the ratings at all -though they won a wide pub-lic through long-playing albums. It may not seem important that asmarketing, broadcasting, and even listening trends changed throughthe '60s, as popular music continued to split and diversify, there wasnothing like "Your Hit Parade" to chart the popularity of the songsthemselves. It does seem clear that the emphasis on marketing singlerecords at the expense of quality brought about a decline in the mu-sical product.

But there is reason to be optimistic for the '70s. One may be ap-palled today by the exuberant ugliness of many of the single record-ings at the top of the Billboard "Hot 100," and perhaps apprehensiveabout some of the cultural values the songs convey to young con-sumers. But this is only part of the picture. The fifteen -year cross-fertilization of different idioms of indigenous American music seemsat last to have resulted in interesting and expressive styles, and thereare songwriters like Paul Simon, Jim Webb, and Burt Bacharachwho know how to use them. Then there are fresh modes of expres-sion from abroad, from composers like Paul McCartney, Michel Le -grand, and Jacques Brel. At long last the popular song has beenfreed from its constraining thirty-two bar format and its inevitablesuccession of diminished sevenths. And it has learned to sing openlyabout areas of interest and experience hitherto closed off or dis-guised in euphemistic ASCAPian deep purples, moon mists, andfalling stars. Good popular music today is nothing if not concernedabout social, moral, ecological, and other problems.

Ii

1961d

t o Piece2.s

3

Fall

IsA4.CI.

OR;silcini11.1111111Taa'ver4tiala;YStioeurisr " I 11'5.6.

8, Wheels9. Raindrops

1O. WoodenHeart

1962

1. Stranger on the Shore2. I Can't StopLoving You3. Mashed

Potato Time4. Roses Are Red5. The Stripper6. Johnny Angel7. Loco -Motion8. Let Me In9. The Twist

10. Soldier Boy

1963

1. Sugar Shack2. Surfin' US.A.53. The End of the World. Rhythmof the Rain. He's So Fine6. Blue Velvet

7. Hey Paula8. Fingertips

II9. WashingtonSquare10. It's All Right

1 I Want to Hold Your Hand1964

2. SheLoves You

3. Hello, Dolly!

4. Oh, Pretty Woman

5.Arcund

6.Everybody Loves Somebody

8. We'llSing in the Sunshine1. MI Guy.

10. WhereDid Our Love Go?9. Last Kiss

1965

I. WoolyBully2. I Can'tHelp Myself

3. ri Can'tGet

of Satisfaction4. You Were

on My Mind5. You've

Lost That lovin'Feelin'

a Downtown7. Help

8. Can'tYou Hear

M1, Heartbeat

9. Cryingn the Chapel

10.My Girli

.aireac

\-- 1966The

Ballad of the GreenBerets

3. (YoureMyl Soul and Inspiration

2. Cherish

4 Reachoa I'll Be There

6. Last Train5. 96 Tears

to Clarksville

1. Monday,' tMondayLove

u CanMondayLove

B. Y° side on."9. poor Dreacnin'10. California

1967

1. To Sir with Love2. The Letter3. Ode to Billie Joe4. Windy

5. I'm a Believer6. Light My Fire7. Somethin' Stupid8. Happy Together

9. Groovin'10. Can't Take My Eyes Off You

19681. Hey hide

2. loveis Blue

.ittin'

On) 'TheDock

o1 the BM

3. Honey

5. PeopleGot to

Be free

6. Sunshineof lour LOVe

1. ThisGuy's in love

with lou

B. The .RobinsonBad

itshe Ugly

9.Roins

10.lighten Uu

/9691. Sugar Sugar2. Aquarius/Let

the SunshineIn

3. I Can't Get Nextto You4. Honky

Tonk5. EverydayPeo6. Dizzy ple

7. Hot Fun in the Summertime8. I'll Never Fall in Love Again10.

9. BuildUp ButtercupCrimson

& Clover

. BridgeOver 'Troubled

Water1910

2. (-Theylong to

Be) Closeto 'Nu

3. PilericanWoman/

No

SugarTonight

A. RaindropsKeep

on My I -lead

High Enough5. War6. Ain't No Mountain

1G. I'llet

Be There

B.Ready

.

Band

Be

10.of Gold

1971

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And yet it will surely be some time before the new folk -rock -popsynthesis reaches the level of sophistication and style of the best mu-sic of the '30s and '40s. That too was a synthesis. The musical tradi-tions of immigrant groups (largely Jewish, with elements of Vienneseoperetta and middle -European cafe music) were blended with themarvelous jazz heritage of American blacks. The lyrics reflected theurbanity, the exhilaration, and the occasional loneliness of life in thebig New Yorks of the new world. Romantic love was the theme ofnine songs out of ten -a love that was sentimental, slightly mel-ancholic, often unfulfilled, and wishfully expressed in neat rhymesand witty turns of phrase. Cole Porter and Lorenz Hart wrote aboutmoonbeams and daydreams only for their own special parodic pur-poses; they preferred to declare their intentions in terms of belles let-tres and objets d'art. It was a music for a slightly sophisticated urbanmiddle class. Yet, as "Your Hit Parade" indicates, it spoke to and formillions of people for several decades.

The New York Library's microfilm has only one section missing-the summer of '41, the very time ASCAP music went off the air. So itis easy to calculate the various long-distance records set in the radioyears, from 1935 to 1950. The longest -running song, and so perhapsthe most popular, was Irving Berlin's White Christmas, with fifteenappearances in 1942-43 (ten of them in first place), and eighteenplaces and shows in subsequent Decembers. But for sustained popu-larity no song can equal the Rodgers -Hammerstein People Will SayWe're In Love. Its appeal was immediate, and its fresh and inventivewords and music never palled through a full thirty weeks in 1943-44.Its closest long -running rivals are ballads with obvious appeal towar -time sentiment -Irving Kahal and Sammy Fain's I'll Be SeeingYou (twenty-four appearances in '44-45) and Mack Gordon andHarry Warren's You'll Never Know (twenty-four appearances in '43).

It is not too surprising to note that Gordon and Warren are thelyricist and composer most often represented on the survey. Thougheach collaborated with other songwriters, they were most successfulin the movie songs they wrote together, e.g., the still popular Chat-tanooga Choo Choo and The More I See You. Thirty-nine of Gor-don's lyrics made the top ten, and a full forty-two of Warren's tunes(an astonishing number when one reflects that he had been turningout minor classics steadily for more than ten years before 1935).

The runner-up lyricists are, in order, Irving Berlin (33), JohnnyMercer (32), Johnny Burke (28), Leo Robin (26), Sammy Cahn (23),Al Dubin (23), and Frank Loesser (23). They wrote about slummingon Fifth Avenue, dreams, pennies from heaven, moonlight andshadows, lonely Saturday nights. Indian summers, and strange en-chantments.

Runner-up composers are, again, Irving Berlin (33), and JimmyVan Heusen (25), Jimmy McHugh (20), Harry Revel (20), RichardRodgers (19), Ralph Rainger (17), Jule Styne (17), and Cole Porter(16). They wrote about top hats, swinging on stars, the mood for love,a date with a dream, a small hotel by a wishing well, blossoms onBroadway, walking alone, and getting out of town.

Yes, the horizon was limited in the radio days of the "Hit Parade."There were no songs of social protest, no ecstasies of gospel and soul,no explorations of non -Western musical traditions, no affirmationsof the essential humanity of all races. But neither were there thebathos, the crassness, the sensation -seeking one hears at such ear-splitting intensity today. Silliness, yes. Sentimentality in abundance.But often too a subtlety, a genial understatement, a formal disci-pline, and above all a melodiousness that pop music since 1950never attained and is only now seeking to find.

** ** The Ten Best* of the Ten Best ** ** *

One cannot cast an eye over so many lists of ten, flashing across amicrofilm screen, without making a list of his own-as objective alist as he can-of the best songs of the "Hit Parade" radio years.Some of the most eligible nominees-Summertime. Begin the Be-guine, September Song-never achieved the concentrated weeklypopularity needed to make the top ten. And much of the best workof Gershwin and Kern antedates 1935. But for the period when thesong sweepstakes began to reflect and determine popular taste (andthat is as far back as I personally remember), these are, I think, thefinest achievements, listed in chronological order:

Where or When, by Richard Rodgers and Lorenz Hart.

I doubt if any songwriter can wrest as much music from a simplescale as Rodgers can, or any lyricist distill in words such feelings asdeja vu so marvelously as Hart has done here. "Haunting" is an ad-jective too often applied to the ASCAP style, but this is one songthat has haunted me for some thirty-five years. It was introduced onBroadway in Babes In Arms, and appeared on "Your Hit Parade"for eight consecutive weeks in 1937.

Love Walked In, by George and Ira Gershwin.

Kenny Baker sang this sweet and melodious ballad in the film TheGoldwyn Follies, when Andrea Leeds walked into the coffee shopwhere he was serving up hamburgers and waiting for his big breakin show business. Whether the situation be cliche or archetype, IraGershwin wrote a simple lyric for the movie audiences, and hisbrother George supplied for the musically literate an artfully ar-ranged series of melodic climaxes, supported by new and interestingharmonies. Love Walked In indicates the course Gershwin's popu-lar music might have taken had he not died suddenly after its com-pletion, at the age of thirty-nine. The song appeared fourteen timeson "Your Hit Parade," four weeks as number one, in 1938.

Over The Rainbow, by Harold Arlen and E. Y. Harburg.

No one who was growing up in the troubled days of 1939 could failto respond to this song, which Harold Arlen fashioned for thepoignant voice of a young Judy Garland. Arlen touched his broad,arching melody with traces of the blues idiom he was already suc-cessful with, and Harburg, though he regarded the octave skips astoo much "for a little girl from Kansas," penned a lyric about lul-labies, bluebirds, and chimney tops that matched the tune all theway. The front office at MGM had doubts too about the song, andthree times ordered it cut from the prints of The Wizard of Oz whilethat classic film was in preparation. Fortunately there were thosewho had faith in Over The Rainbow. It was retained in the film, re-mains one of its memorable moments, and appeared fifteen timeson "Your Hit Parade." seven times in number one position.

All the Things You Are, by Jerome Kern and OscarHammerstein II.

In 1939 this one melody survived the collapse of the Broadway showfor which it was written (Very Warm for May), to appear eleven

times on the "Hit Parade," always at the upper reaches of the list,and twice at the top. Kern's deftly patterned melody passes throughseveral ingenious and truly beautiful key changes, and Ham-merstein's words make the quintessential ASCAP lyric, passingfrom sublimated metaphor to unabashed confession. In a recentsurvey. All the Things You Are was most often cited as the favoritesong of songwriters themselves.

Blues in the Night, by Harold Arlen and Johnny Mercer.

Here black American blues idiom was only slightly commercializedby two white songwriters. The unique result-three-part jazz con-structi,m, twelve -bar pattern, immense vocal range, earthy senti-ment-won favor with a large public ranging from blues and jazzpurists through the unwashed millions to the admiring composer ofAll the Things You Are, who considered Blues in the Night one ofthe great American songs. It headed the "Hit Parade" survey twice,and found a lesser position eleven other weeks in 1942.

Skylark, by Hoagy Carmichael and Johnny Mercer.

At least one of my ten choices, I felt, should be from relatively unfa-miliar repertory. Skylark was another successful attempt to crossswing and blues idioms. Mercer's words are as good as those hewrote for Blues in the Night, and Carmichael's melancholic tunecasts a spell that long outlasts the thirty-two bars. The song madetwelve appearances on "Your Hit Parade" in 1942.

It Had to Be You, by Isham Jones and Gus Kahn.

Written and popularized in the twenties, this smoothest of torchsongs was revived in several movies in 1944, and appeared ten timeson "Your Hit Parade" that summer. As a piano player, I find thatover the years this is the song that seems to hold most memories forcouples who ask me to "play it again."

Always, by Irving Berlin.

This is the master's simplest song, and perhaps the best of his fifty-year output. Though there is hardly a year since 1925 when it wasn'tpopular, ("that's when I'll be there-always"), Deanna Durbin re-vived it in her ambitious, bittersweet movie Christmas Holiday in1944. Freshly recorded. it reappeared on the top ten for sevenweeks.

If I Loved You, by Richard Rodgers and Oscar Ham-merstein II.

After revolutionizing the American stage musical with Oklahoma!,the renowned composer -librettist team tried its hand at adapting aclassic European play. Ferenc Molnar's Liliom. The finest momentin the resulting Carousel came when a line in the original text, "If Iloved you. Mr. Liliom," took on music. In the patented Rodgers andHammerstein tradition, words and melody conspired to take thestage characters a little further into their emotions than they cared togo, and at the close of the song they were slightly different peoplethan they were when they started to sing. (This is marked in the mu-sic by an artful variation of the thirty-two bar formula.) If I LovedYou altered the musical consciousness of the American public toofor nineteen weeks in the summer of 1945. three of those weeks asnumber one.

So In Love, by Cole Porter.

This song from Porter's most successful show, Kiss Me Kate. is typi-cal of his sophisticated best: a sultry melody rising steadily to a cli-max over an insistent beguine rhythm, a sensuous lyric that pleadedfor the listener to haunt, hurt, deceive, desert. Even after a decade ofrock music, where almost anything goes. where it's easy to love andget a kick from cocaine or something else under the skin, Porter re-mains the unchallenged celebrant of the exotic and erotic in popularsong. So in Love made twelve appearances on "Your Hit Parade"early in 1949.

by Leonard Feldman

How to Understand OurAmplifier Reports

Part IIIN THE SEPTEMBER ISSUE 1 discussed the graphsand charts that appear in HIGH FIDELITY'S power-amplifier test reports. Most amplifiers today eitherare integrated amps-that is, they contain both con-trol preamps and power amplifiers-or they arebuilt into receivers. Either way, the report on theamplifier will include one more graph, that dealingwith the preamp and control characteristics them-selves.

When HF tests a control preamp all by itself thereport will include this graph (actually a rathercomplex series of curves), plus one showing fre-quency response and overload characteristics, anda third for harmonic distortion. The latter twographs are basically similar to the comparablecharts in a power amplifier report, and the specificsneed not be repeated here. The main difference isthat a preamplifier's output is measured in volts(roughly 1 to 1.5 volts is a typical output level),while that of a power amplifier is measured inwatts. With this difference in mind you can easilyunderstand HF's preamplifier reports by referringto both parts of this article.

Preamp and Control Characteristics

On this graph, like many others you see in HIGH FI-DELITY test reports, frequency is plotted on the hor-izontal axis and response in dB along the verticalaxis. If the amplifier has a built-in preamp for mag-netic phono cartridges, the first curve will repre-sent...

A. RIAA equalization. When cutting a phono-graph record, the engineer alters ("equalizes") theresponse of the recording amplifier according to aspecific formula that deliberately attenuates lowfrequencies (to prevent excessive excursion of thecutting stylus) while boosting high frequencies (tooverride inherent surface noise). This techniqueproduces a record that is more easily tracked by theplayback stylus and one that also has less audiblesurface noise. To reproduce the record accurately.however, the preamplifier must introduce a fre-Part I of Mr. Feldman's two-part article, How to UnderstandOur Amplifier Reports, appeared last month.

quency response that is the exact reciprocal of therecording curve. This playback equalization, speci-fied by the RIAA (Record Industry Association ofAmerica), is a world-wide standard. The upper-most curve in our graph shows to what degree (ifany) the phono preamplifier response deviatesfrom that specification. A perfectly straight hori-zontal line indicates complete conformance withthe RIAA standard. In the sample curve you willnote a relatively small...

B. Deviation from the ideal. The deviation, sum-marized numerically below the curve, is not seriousif it does not exceed about 3 dB at the extreme endsof the 20 -to -20,000 -Hz range. The action of thepreamp's variable controls is not so easily sum-marized. Tone controls allow you to alter the am-plifier's response to compensate for listening tastesor for deficiencies in the system, in the listeningenvironment, or in the source material. For in-stance, a heavily draped and carpeted room tendsto absorb high -frequency energy and the repro-duced program may lack brilliance or crispness. Aslight treble boost often can correct such situations.On the other hand, too brilliant a sound often canbe tamed by reducing the treble response slightly.Similarly, you might want to boost or cut the bassat times, quite apart from whatever you do (or donot do) with the treble. In addition some units havea midrange control, or even several controls, eachof which covers a separate range within the audiblespectrum. The maximum boost and cut range ofeach is shown in the solid -line curves for.. .

C. Tone controls. The upper solid -line curveshere show how much bass and treble boost can beachieved at each frequency, while the lower curvesshow how much bass or treble attenuation can beachieved by moving the control in the opposite di-rection. Bear in mind that these curves show ex-tremes only, so that varying degrees of boost or at-tenuation between these boundary lines can be setby moving the tone controls only part way. Suchmultiple setting options generally are not availablein the...

D. Filters, though occasionally more than twoswitch positions will be offered-that is, the filtermay have more options than simply on or off. A


+50

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CHARACTERISTICS

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Bass cut

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TONE CONTROLS

- - LOUDNESS CONTOUR (volume control at 9 o'clock)FILTERS

Treble boost

20 50 100 200 500 1K 2K

FREQUENCY IN HZ

high filter is intended to minimize such noises asrecord scratch or the hissing audible in listening totapes and weak FM broadcasts. A low filter, oftencalled a rumble filter, reduces noise at the other ex-treme of the frequency range and can he used tocontrol turntable motor noises and sometimes thelow -frequency feedback from poorly isolated loud-speakers. Admittedly, a filter will remove not onlynoise but also some signal frequencies. A correctlydesigned filter circuit therefore should have as littleeffect as possible on the midrange. but should in-crease its attenuation as the frequency movestoward the extreme that the filter is designed tocontrol. In our example. the high filter has little ef-fect until the frequency approaches 10 kHz: be-yond that frequency the response drops off steeply.This is an excellent filter characteristic and quitedifferent from the treble control's action. hich hasconsiderable effect on frequencies below 10 kHzbut tends to flatten out somewhat in the extremehigh end. Another frequency -selective control. butone designed for an entirely different purpose. isthe...

E. Loudness contour. Our hearing tends to beless sensitive to low and high frequencies when theyare listened to at low volume levels. Since home lis-tening often involves loudness levels well belowthose that would be heard at a live concert. we oftentend to feel that there is insufficient bass (and to alesser degree. insufficient treble) in our reproduced

Treble cutHigh filter

5K 10K 20K

music. A set of curves, known as the I .letcher-Mun-son curves (after the two scientists who docu-mented this hearing characteristic), was developedto show how this effect increases as the volumelevel is lowered. Many amplifier manufacturers in-clude a built-in circuit that can be switched in tocompensate automatically for this effect by provid-ing predetermined amounts of bass boost (andsometimes treble boost) depending upon the set-ting of the master volume control. As the soundlevel is lowered the amount of compensation is in-creased. In the graph. a plot represents the contourof this loudness compensation when the volumecontrol is set at the nine -o'clock position-that is,with the amplifier adjusted to produce about onequarter of maximum volume. The line shows themoderate amount of bass boos: that is introducedin the test sample: about 7 dB at 50 Hz. a fairly typ-ical measurement.

The succinctness and objectivity of HIGH FIDEL-ITY'S test reports are due, in great part, to the factthat performance data of units under test can bedepicted graphically in terms that are accurate andmeaningful. In choosing your own amplifier youwill want to listen to music played through it, ofcourse, and the longer you listen, the better. Thetest reports can help you get started, and the datashown often can explain the otherwise inexpli-cable. subtle differences you may hear in your lis-tening tests.

OCTOBER 1972 73

Presenting the completeBernstein/Mahler symphonies,

afewat atime.

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TheSymphoniesof GustavMahler Vo'. 3Lntieoo.4ianrGdiwatiorBemsteonNo. 5 in C -Sharp pMinorNew YorkPhilharmonic

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74

4 RECORD SET The Symphoniesof Gustav Mahler

Leonard Bernstein Vol 4No. 7 in E Minor

No. 8 in E -Flat Major"Symphony of a Thousand,

New York PhilharmonicLondon Symphony Orchestra

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Vol. 2 TheSymphonies

of GustavMahler

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1 Sy v°1- 1. TheInph onieOrGuste:f%hie;

WinnNo linSteih VP 0 ma._

No. m"Tinft7:,

No. 9 "Tragic"to,Wh_ ..Alw

a,eThont4z,

M4X 31427

rnstein is a Mahler man.h Fidelity he wroteahler's time has come,

as come? Had come, rather,was there all along, even as

each bar of each symphony was penned in that specialpsychic fluid of his."

And the Bernstein/Mahler symphonies when theycame out were praised to the skies-the High Fidelitythat reviewed 60 recorded Mahler symphonies said ofBernstein, "...It is no less than appropriate if this articlehas turned out almost as much a tribute to him(Bernstein) as it has to Mahler."

Now the Bernstein/Mahler symphonies are availableagain, not as a bulky, costly giant set, but in fourbudget -priced editions.

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JOHN WILLIAMSSEVEN GREAT

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On Columbia Records"


Heldentenorof the Century

Reissues from Lauritz Melchior'sunparalled early prime

by Conrad L. Osborne

Melchior's operatic debutwas as a baritone-Silvio inPagliacci (top) in 1913. Fiveyears later he had moved upto tenor roles and made asecond debut as Tannhauser.

LAURITZ MELCHIOR'S recording career began in 1913,when as a baritone he recorded a number of Danish -lan-guage selections in Copenhagen. They were mostlysongs, but included the baritone arias from La Traviataand Trompeter von Sakkingen.

After the hiatus during which he made the changefrom baritone to tenor, he cut several more Danish -lan-guage sides in Copenhagen, now in the new Fach. But hevery soon began recording in the German language inBerlin and other sites; this was approximately coincidentwith the launching of his international career (CoventGarden and Bayreuth, 1924; Metropolitan, 1926). Hecontinued recording in Europe (London, Berlin, andVienna) until the partnership with Flagstad and thegathering war conspired to confine his career, both liveand recorded, to the United States from the late 1930suntil his retirement.

His commercial recording career thus extended over aperiod of forty years, beginning with the Copenhagen

sessions of 1913 and ending with some MGM releases ofthe early 1950s, related to his movie career and consist-ing primarily of light music. For sheer longevity, in stu-dio and onstage, this history is approached by very fewsingers. I can think of only one important singer still ac-tive who was recording commercially or performing pro-fessionally a comparable time ago, in the early 1930s-JanPeerce. And among older recorded singers, only Gigliand (stretching the point) Lauri-Volpi come to mind,though in terms of retention of powers neither was assuccessful as Melchior. Of course, such phenomena ofendurance as Patti and Battistini would have surpassedthe forty -year mark as recording artists had techniquesbeen advanced enough earlier on. But in fact theyweren't, and Patti is represented by only a few sides fromher career's end, Battistini by many sides, all cut duringthe last half of his public career.

Melchior's repertoire, on the other hand, is relativelyrestricted, and the sheer number of records made, whileconsiderable, is surpassed by several other major singers.This of course relates to his almost exclusive concentra-tion on the Wagnerian roles from the mid -1920s on.Apart from the single complete role recorded (Sieg-mund, the two acts at different times and places) and thevery large hunks of others (Tristan, the young Siegfried),his prime -year recordings consist almost entirely of re-makes of the standard Wagner arias and other excerpt-ible sections: the Rienzi prayer at least three times, dittofor the Tannhauser Narrative, the "Wie sie selig" fromTristan, etc.

Melchior was for many years woefully under-represented in the LP catalogue, but in the past few yearsthis situation has changed dramatically. The latter(American) phase of his career has been well docu-mented on low-priced labels, the Victors on Victrola,some of the relatively few Columbias on Odyssey. Andmuch more recently, the Berlin and London recordingsof his early prime have been re-released in good portionon the discs listed herewith. For the first time we thushave available an overview of his singing virtuallythroughout his career, exclusive of the very earliest Dan-ish recordings and of the last Columbias and MG Ms ofthe late '40s and early '50s. (In the early '60s, a two -record set, ASCO 121, included nine baritone selectionsand six Danish -language tenor selections-the only LPappearance of this earliest material-as well as two of theItalian -language Otello excerpts from 1946 Columbias,later than anything currently available. This set also em-braced much of the material now under review, and isworth a search for the serious collector or student. A cur-rent Rococo release has also been announced, but I havebeen unable to track down a copy.)

To speak of Melchior's records on a comparative basisis to speak of small differences, subtle distinctions. Thefunctioning of his voice was so stable, his technique sosecure, that no substantial vocal change is apparent overthe course of better than three decades. Even the bari-tone discs reveal the basic consistency of resonance, theremarkable evenness of legato, that characterized hissinging; they lack only the extra ring and excitement of agreat voice that has found its proper level and a tempera-ment that is responding to the challenge of congenialrepertoire. The incredible stability of his singing positionis the key to both the unparalleled excitement of his toneand the durability of his voice. Regardless of the pitch,

OCTOBER 1972 75

At the peak of hiscareer, Melchior was the

very model of aWagnerian Heldentenor-

here as Parsifal

the vowel, or the dynamic, everything is sung from oneposition. There is no point in the scale at which the toneeither weakens noticeably or blurts out in an over-balance. The same vital ring informs the sound from topto bottom. The vowel formation is extremely clear, theintonation precise. Everything is based on a superblysustained, full-throated legato, and the incomparablethrust of his declamatory singing springs directly fromthat base.

Most tenors attempting to sing Wagner encounter twotessitura-related difficulties. The first is that so much ofthe music lies in the lower octave-and it is sustained,singing music, not parlando-that it becomes almost nec-essary to drive the voice into an overheavy adjustmentsimply to be audible and make some sense of the music.The second is that the most common trouble spot for thetenor voice is around the "break"-D sharp to F sharp,give or take a semitone. And this is precisely where Wag-ner has plunked his tenors for hours on end, demandinggreat dramatic outcries on the one hand and controlledlyric singing on the other. Whereas an "Italian" tenorwill never be called upon for a climactic effect below Aflat or so (when the voice is securely over onto the"head" side), the Heldentenor is repeatedly asked topour it on a third below. Most tenors negotiate the breakarea with some variety of imperfection, singing it eithernoticeably "open" or noticeably "covered." Melchiorsang with that perfect adjustment that cannot be de-scribed either way-it goes straight to the core of tonalresonance and vowel formation. He could thus lean intothis punishing writing with no fear of overbalancing thevoice on one side or another.

Of course the most obvious characteristic of Mel-chior's singing was the heroic bite and ring of the sound,its festive brilliance and exuberant masculinity. But as Irehear his recordings (and he is one of a handful of sing-ers of whom I never tire), I always find myself most im-pressed by the absolutely steady legato of his more lyricsinging. Two of the more restrained sections of Tristan,the "0 Konig" (heard here on LV 124) and the "Wie sieselig" (on both LV 124 and the Da Capo album) exem-plify this, and there is no greater singing on records.These excerpts display the true art of great lyric vocal-ism-maintaining the same basic resonance at a reducedvolume, and with real evenness of legato. And a by-product is the simply gorgeous tone produced-the "wie

schon" at the end of "Wie sie selig" is almost unearthly.Other magnificent examples are the "0 Paradis,",equivalent to that of the greatest Italian and French ten-ors (the attack on the opening note of the aria is in a classwith Caruso's), and the death of Siegfried. most espe-cially that long, perfect E natural at the magical keychange for "ein wonniges Weib"-the definitive realiza-tion of one of Wagner's most moving moments.

Perhaps a word is also in order with respect to the in-terpretive and musical sides of his singing, at least as pre-served on records. A great deal is made of the allegedmusical slovenliness of some of his performances, andindeed we have the evidence of broadcast recordingsthat the bar line was often waved aside. On the commer-cial recordings, however (and on at least some of the pre-served broadcasts, e.g., his 1940 Met Lohengrin), thestandard of musicianship with respect to pitch and notevalue is never less than respectable, and often quite un-usually sharp and well defined. And as a singing inter-preter he was extraordinary, far more imaginative andcolorful than many lesser tenors who are singled out asinterpreters, since they don't sing exactly to excess. Theintensity and fervor of Melchior's Tristan-especially inthe third act-is altogether remarkable, as is the almostcontemptuous joyousness of his young Siegfried. Muchof this relates to his vocal capacities-he was the onlytenor who could sing the damned stuff and not leave atrail of blood across the stage. But beyond this, there isno question of the genuine passion and conviction of theperformances heard here, and of the great care given to atruly musical variety of dramatic inflection.

There is not as much overt "acting" of a nonsingingsort as is today fashionable, and I would be the last todeny the great force carried by such a good artist asWindgassen at such a moment as his "Da ekelte mich derholde Sang!" in the Rome Narrative. But we must re-member that Melchior's dramatic approach dates to atime when acting styles, even in the spoken theater, wereconsiderably more formalized and consciously poeticthan they are today. Declamation was a discipline untoitself, and the verbal element in acting was paramount.In Melchior's work we can hear the love of the sounds ofwords and their dramatic effects, always within thebounds of the music, that must have marked the recita-tions of great actors and orators of half a century andmore ago. And there is an integrity and a nobility aboutit-indeed the writing clearly embraces this sort of ele-vated statement and is robbed of something essentialwhen not given its due. The monologue of Otello, inGerman, is a magnificent example of this, parallel inmany ways to the Italian version of Martinelli, thoughMelchior's is better sung. But in the insistent observanceof the music, in the building of tension and emotionthrough refusal to depart from the notes. and through apainstaking, elocutionary rendition of the text, it is verylike Martinelli's, and shares with it a mournful weight, atragic bearing, not caught by other versions.

Naturally, Melchior was not perfect. In his last yearsthere was a tendency toward increasing heaviness andthickness of texture in the lower part of his voice, somethinning and loss of vibrato on top tones, increasing dif-ficulty in singing true mezza-voce. And there is no doubtthat at times he preserved the integration of his singingthrough a certain amount of constriction and squeezing.But we are talking of relatively minor problems at theend of a very long career in the most demanding reper-


tory ever devised to challenge performers in Westernmusical theater; at his worst, Melchior was still demon-strably superior to all but a band of three or four of thefinest heroic tenors in their prime years.

And in any event, none of the latterly Melchior attri-butes need concern us here, since we are dealing withmaterial of the '20s and '30s. A few notes and commentson each of the discs under review: Heliodor: These areall acousticals, recorded in Berlin. The Rienzi prayer ishere given its best of three recorded Melchior perform-ances, the voice marginally fresher and more spinningthan in later versions. Walther's Prize Song, on the otherhand, displays a bit of flutter (quite possibly a recordingpeculiarity) and less brilliance than his second try, men-tioned below. The Tannhauser Narrative is given incomplete form, right up to Venus' appearance, omittingWolfram's lines. The performance is very intense, mov-ing, and exciting. The Wesendonk songs are, obviously,not the versions recently released for the first time onVictrola, with Ormandy. They are beautifully sung, withsome marvelous, unexaggerated diminuendos inTrezume.

In the substantial chunks of Walkare Act I, the singingis somewhat smoother and better knit than in the slightlylater versions on LV 124 (see below). But they are stillnot as good as the matchless singing in the Walter Act I,and at this point Melchior has not yet learned how tosqueeze out the last drop of excitement by increasing theintensity right at the end of each extended "WelIse! "Lei -der, who joins him in the love duet, displays a beautiful,round tone, some flutter, and a rather stately approach tothe music, full of glides. He grows more fresh and vital asthe scene proceeds. Leider is not in on the end of the act,where a cut is made to Siegmund's last line, "So blahedenn Walsungen Blut! "The two brief Siegfried Act I ex-cerpts, recorded several times by Melchior, are as incred-ible as ever here, and the voice is heard to good effect;one does miss the orchestra though, and the later electri-cals provide it. Several bands on this disc end with afade-out, which I find incomprehensible. Otherwise thesound is excellent for the age of the material.

LV 11: Rienzi again, not quite as fine vocally as theHeliodor version, but better recorded, with the orchestramuch more recognizable in this electrical edition. TheHymn to Venus follows, sung brilliantly enough but a bitrushed (side length?) and rather unvaried in its sten-torian quality. Then an excellent Elizabeth /Tannhauserscene, with Bettendorf as the partner-full-throated lyricsinging, if a swoopy style. This is acoustically recorded,and makes the once -common cut straight into the repeatof the duet, eliminating Wolfram and a number of otherbars. This is Melchior's only commercial recording ofthis scene.

The Rome Narrative is electrical for two 78 sides'worth, and the London Symphony under Coates addsconsiderably to the impact of Melchior's singing, whichis much as it is in the acoustical version. After "Die sinceschwanden mir," we revert to the acoustical version. Af-ter this the 1929 "0 Paradis," with its stunning mezza-voce and its shining B flats. True bel canto singing. TheRadames/Amneris interview from Aida, with contraltoArndt -Ober, is some of Melchior's most impressive sing-ing, and despite the awkward translation is phrased in anauthentic Verdian way. A great shame he did not recordmore of this role. Arndt -Ober is less good than I remem-bered, somewhat cumbersome and hooty. Then come

the great Otello sides (the monologue and the death),and then an almost equally splendid performance of"Vesti la giubba," in German. again decidedly Italianatein feeling. The Aida is an acoustical recording, the Otelloand Pagliacci are electrical, and with Barbirolli. Whatcan one say of the sentimental Sjoberg song, also a fa-vorite of Bjoerling's? Melchior sings it well.

LV 124 opens with Lohengrin excerpts, beginningwith the Bridal Chamber Scene, in an acoustical record-ing. Melchior's singing of this is superior to this later per-formance with Flagstad, the line a bit leaner and betterdelineated. Bettendorf is again a sensitive partner,though she is a bit extended in the more proclamatoryutterances and cannot build to vocal climaxes in theFlagstad manner. The opening section is real duet sing-ing, matching of timbre and inflection, contrasting ofmale and female timbres in the matched responses, care-ful ensemble. The scene takes in the usual cut in"Hachstes Vertrau'n," but carries through to the real endof the scene, with Lohengrin's instructions to the attend-ants. It is thus more complete than the later version.

Next, a version of the Abschied, beginning at "0 Elsa!Nur ein Jahr." Blech takes very gradual tempos that de-tract from the urgency of the climax. A fine performancefrom Melchior, but the later Ormandy version is just aswell sung, far better conducted and recorded, and morecomplete, beginning earlier. A different version of theAfricana aria, three years earlier than the 1929 on LV 11.It is marginally less good than the later one, a bit less se-cure toward the bottom, but with perhaps an even betterfirst attack. Then versions of the "Ein Schwert verhiess"and the "Siegmund heiss' ich," inferior to both earlierand later performances (these are 1929, under Blech).The singing is rather choppy and barky, with very rareexamples of some vowel distortion on the part of thesinger. He seems to have been trying for a more clipped,declamatory approach (Bayreuth influence?), and com-promises his usual model line in the process. Of coursethis is all relative; these are still good, sturdy perform-ances.

Then the Gotterdammerung excerpt, taking in theblood -brother oath duet and some of the subsequentdialogue. Not really one of Melchior's most impressivediscs, though the way he snaps off the boastful side of thecharacter is unique. Schorr sounds a little tubby andhooty, but it is a real pleasure to hear both singers reallyphrase and look after dynamics in the duet itself. Watzkeis a rock -solid Hagen, but Frau Topas, the Gutrune, hasa tone of a more porous constitution. There follow thetwo magnificent Tristan discs mentioned above, and therecord ends spectacularly with the glorious 1931 Preis -lied, tolerably recorded with Barbirolli. The inter-pretation has great exhilaration and urgency, and thevoice soars and rings like that of no Walther ever heardin the theater.

Da Capo: This two -record set takes in much of thematerial on the two Preiser records, with some additionsand substitutions. This is perhaps the place to say thatboth the Da Capo (Electrola) and Preiser transfers are ex-cellent, with the Da Capo tending to a somewhat darkersound that suggests some high -frequency filtering to cutdown on surface noise. The orchestra is occasionally abit muddy and muffled in consequence, but the voicedoes not seem to have suffered, and there is slightly lesssurface scratch on two or three bands.

The album begins with Walkiire: the Blech "Ein

OCTOBER 1972 77

LIKE CASEY STENGEL. Lauritz Melchior iseighty-two and one of the last of the authenticheroes. He takes smaller steps now, and hishearing is dim. He has lost weight in the lastfew years, though his bearlike frame keepshim a big man.

But as he bends across a table to speak. hismouth and eyes mark a temperament that isstill acute and mischievous. Grave as well, likemany Danes, when the issue is native food anddrink. He is concerned about each item on myplate, about whether or not it has its propersauce, about whether or not I am taking thingsin proper sequence. Also about the aquavit."You don't drink it right," he says, and makesa gesture of tossing it down. "Believe me." Itell him, "it's better if I sip, a little aquavit, alittle beer...." He frowns, gently.

But we were just starting to talk of the earlyrecording days, of his first records. He grinsand nods, then pauses a bit to time the begin-ning of his Narrative. I stare across the table. Iam remembering my first Giiiterdammerung. Iwas thirteen (it made a man of me). plasteredagainst the Family Circle standee rail, andway down there amidst the pre -Wieland rockswere Traubel and Janssen and Ernster andHarshaw, when she was still a mezzo, and thisman, a Fach unto himself.

That's a quarter -century ago, but he isthinking back much farther, to the days of myfather's childhood. "Two rooms, in a hotel,"he is saying. "In one room are the singers andall the musicians. The orchestra on a platform,with the kettledrums underneath, becausethey would be too loud. In the other room theengineers, with the horn through the partition.

"And you know what else? Wax. And thewax must be kept warm, on the fire, to be keptready for cutting the record. Hot! Sometimeswe sang with no shirt on. And you know, it wasvery hard, to try to get the right balance, to getthe instruments placed right. So you do itthrough, then you play it back, for test. Butwhen you play it. the wax is destroyed. youdon't have that record anymore. So you sing itmany times, all the way from beginning toend, to get one side. Sometimes we ran out ofwax."

Another 120 degrees around the kold table,I ask what else he particularly recalls from theearly days. "Did you know that mine was thefirst male singing voice that went over the ra-dio? That's right. Melba was the first female. Iwas the first male.

"This happened because Marconi himselfpicked me. He was searching for voices thatwere completely even, up and down the scale.He had already picked Melba, who had a veryeven scale, and of course she was famous, shehad been a great singer for many years. But Iwas completely unknown, it was before any ofmy big successes. But Marconi happened tohear me, and told me I had the most even malevoice he had heard, and he wanted me to singfor this test with Melba. So we did it, it was inEngland not far from London, and test lis-teners were all over. Marconi picked it up on aship in the Mediterranean.

"And you know. years later, when electron-ics were more advanced, they tested my voice.and it was the most even of all the ones theytested. And Marconi heard this, back then."

speaking ofrecords

Melchior TodayThe legendary tenor reminisces about

recording in the early days.

We spoke for a while of the non -Wagnerianroles Melchior had sung in Europe, before theWagnerian specialty took over his career.They included Canio and Otello, Samson andRadames. and even a Meyerbeer role: John ofLeyden in Le Prophete. He considers Ra-dames to have been one of his finest roles, andOtello as the greatest challenge outside ofWagner. "This is very hard in every way, butespecially for me. because the character iscompletely unlike me-I was never jealous.what Otello goes through is not part of me."

Nevertheless, he sang it a number of times:and whereas most dramatic tenors considerOtello a role to be approached after manyyears of singing experience, and then withgreat care, for Melchior it was a way station tothe heaviest of all tenor parts. the matureWagner heroes. "A singer must know his ownvoice, what it can and can't do. Today mostyoung singers are not as fortunate as I was, tobe able to study and test slowly. We students atthe Royal Conservatory had to learn every-thing: we were in the ballet corps, we would bein one small scene. or carry a table on or off,but we learned to do this. Of course, anotherfellow and I, we played all sorts of tricks anddid everything we could to get thrown out ofthe ballet. And finally we did-we had to pre-tend we were very disapponted -but this wasgood for me. to do these small things on thestage.

-And I was kept on while I studied tochange from baritone to tenor. It is hard todayin this country. and in Europe too, where wehave no more the established theaters andschools, and everyone is rushing around.

"Singers do not take time to learn theirvoices, to protect themselves. You know, arole I never sang was Walther von Stolzing.Gatti wanted me to. he made me a big offer fora series of performances. I told him 1 didn'tknow, but I would learn it and try it out overthe summer, and we would see. Well, I learnedit and sang it through. many times, day afterday, in the studio. And every time I gotthrough it. I was tired, more than after Tristanor Siegfried.

"You see. I had to have music that kept go-ing down, getting me back to the low, then go-ing high. I could sing any high note, but stay-ing high. like Stolzing does, without ever achance to get back to the low-this tired myvoice. But another singer might do it withouttrouble, yet not be able to sustain the heavierroles. Every singer must learn his voice. trythings before he sings them, and then insist onthis. I told Gatti, 'I am tired when I finishStolzing,' so I never sang it."

When it is time to leave, Lauritz Melchiorslowly stands at the table. Left on his plate is asprig of dill, which he has fastidiously laidaside. He regards it with a disdainful grin."Christmas tree." he says. C.L.O.


Schwert" referred to above, then over to the 1935 ViennaWalter set with Lehmann for the whole section begin-ning at the "Winierstiirme" through to the end of the act.No point in again saying the obvious about this corner-stone performance-the whole act is available in a Sera-phim pressing. Then on to Siegfried, with the passagestarting at "Nothung!" through to the end of Act I takenfrom the old ten -record 78 album. It still sounds well;Reiss is an immensely crafty if vocally shredded Mime(he was advanced in age by 1929). Melchior is so far be-yond comparison in this music it's hardly worth discuss-ing-he is hairraising. And even better in the Act III con-frontation with Wotan. perfectly capturing the cockinessof the invincible young Siegfried. BOckelmann isenormous here, pouring warm, big tone over the Wan-derer's music in impressive fashion-it really sounds likea superhuman battte on both sides. But then the excerptends, just as Siegfried heads off through the flames, andone must appeal for the restoration of this whole collec-tion, with Schorr's splendid Wanderer for the RiddleScene; Melchior and Tessmer for more of the first actand Tessmer and Habich for the Mime/Alberichsquabble: some of Melchior's best lyrical, inward sing-ing in the Waldweben and end of Act II; and above allthe whole final scene with Melchior and FlorenceEaston. Melchior's young Siegfried is a unique embodi-ment of what Wagner was writing about; the music can-not be properly understood unless it is heard sung to thiseffect. German Odeon at one point had most of the ma-terial in a two -record set, and a good pressing should berestored to the catalogue.

Then we have the Siegfried/Gunther scene again, butin this pressing cut short right after the oath duet. ThenSiegfried's Narrative and Death,record. Melchior is a trifle heavy-handed imitating theForest Bird. but it all has great brilliance and some hu-mor, and as noted above, the death is stupendous on ev-ery count. Helgers is a good, black -voiced Hagen. Rienziagain, and the Rome Narrative again, both in their sec-ond, electrical versions, and with the Narrative endingthis time without reverting to the earlier version for thelast section.

The Leider/Melchior Liebesnacht also deserves itsreputation, and it is good to have it restored to LP. Aswith the Lohengrin scene, this is superior to the later per-formance with Flagstad so far as Melchior's singing isconcerned; it is better integrated and more precise. thedynamics more securely controlled, and the pitchesclearer, particularly in the "0 ew'ges Nacht," etc., whereintonation is crucial. The "0 sink hernieder" sectiondraws forth some of his finest mezza-voce singing. Lei -der really has quite a hard time of it in the opening sec-tion; she is whoopy and approximate, and the music isrushed in a way that is particularly uncomfortable forher. In the latter sections, though, her singing is rich andsettled, her phrasing musical and sensitive. This makesdifferent cuts than the Flagstad/Melchior edition, start-ing at Tristan's entrance, but then excising BrangAne'sWarning.

Then the 1930 "Wie sie selig," already mentioned, andthe first part of the Bridal Chamber Scene with Betten-dorf, with a later "Hochstes Vertrau'n" under Blechtacked on and the last part of the scene missing-too bad.Side 4 duplicates material available on Preiser-the Lo-hengrin Abschied, and the L'Africana, Otello, and Pa-gliacci excerpts.

LAURITZ MELCHICR: Opera Recital. Preiser LV 11,$5.98 (mono).

WAGNER: Rienzi: Allmacht'ger Vater, blick herab (1929); Tannhauser: DirVine Lob (1929); 0 FUrstin (with Emmy Bettendorf; 1924); Inbrunst imHerzen (1930); Als ich erwacht (1926). M : L'Africaine: Land sowunderbar (1929). VERDI: Aida: Schon sind die Priester all vereint (withMargarethe Arndt -Ober; 1923); Otello: Gott. warum hast du gehauftdieses Elend; Jeder Knabe (1930). LIONCAVALLO: Pagliacci: Jetzt spielen(1929). Emma: Toiera (1926).

[HiLAURITZ MELCHIOR: Opera Recital. Preiser LV 124,$5.98 (mono).

Finally, there is TC9048, a strange disc which I wouldnot mention except that it does contain a few more sec-tions of the Siegfried set, though in oddly assorted snip-pets and sound that is none too clean. Good to have theend of Act II, with Nora GrOn (Grunebaum on the oldVictor labels) as a pleasant Forest Bird. The single 78side of Act III (" Wie end ich die Purdy") is merely tanta-lizing.

The override includes an earlier chunk of the WalterWalkare set, from Hunding's entrance through "Nunweisst du," again with somewhat edgy sound and withvery unsophisticated splicing. Then it goes back to theearlier (inferior) versions for the rest of Siegmund'ssolos. All in all, not recommendable unless one is reallyeager for the brief sections of Siegfried otherwise un-available.

Depending upon which specific material one wants,one could obtain a fairly decent cross-section of this pe-riod of Melchior's career by purchasing the Heliodorand either the Da Capo or the two Preiser discs-onecannot purchase both without considerable duplication.The real Melchior fan or the devoted student of greatsinging will, I'm afraid, be laying out import prices forthe sake of two or three unduplicated bands. But then,he's used to that.

LAusirz MELCHIOR: "The Wagner Tenor of the Can-tury."Da Capo 147-01259/60, $11.96 (two discs,mono).

WAGNER: Die WalkUre: Ein Schwert verhiess rrir der Vater (1929). Win-terstUrme ... Du bust der Lenz . . Siegmund heiss' ich (with Lotte Leh-mann. 1935); Siegfried: Nothung! Nothung! Neidliches Schwert . .

Schrriede, mein Hammer, ein nartes Schwert (1929); Kenntest du mich,kUhner Spross (with Rudolf 13Ockelmann; 1929); Die GOtterdamme-rung: Hast du, Gunther, ein Weib? (with Friedrich Schorr; 1929): Sosinge Held . . . Mime heiss ein mUrrischer Zwerg (with Otto Helgers:1930); Rienzi: Allmacnrger Vater. blick herab (1929); Tannhauser: In-brunst im Herzen (1930); Tristan und Isolde: Isolde! Tristan! Geliebter!. . . 0 sink' hernieder. Nacht der Liebe (with Frida Leider; 1929); Unddrauf Isolde Wie sie selig (1930); Lohengrin: Das susse Lied verhallt(with Emmy Bettendorf; 1926); HOchstes Vertrau'n (1928); 0 Elsa! Nurein Jahr an deiner Seite (1928). Mayaneamt: L'Africaine: Land so wun-derbar (1929). VERDI: Otello: Gott. warum hast du gehauft dieses Elend;Jede' Knabe (1930). LIONCAVALLO: Pagliacci: Jetzt spielen (1929).

H

H

WAGNER: Lohengrin: Das siwse Lied verhal t (with Emmy Bettendorf:1926); 0 Elsa! Nur ein Jahr an deiner Seite (1928); Die WalkUre: EinSchwert verhiess mir der Vater: Siegmund heiss' ich (1929); Die Gatter-dammerung: Hest du, Gunther, ein Weib? (with Liselotte Topes, Freid-rich Schorr, and Rudolf Watzke, 1929); Tristan und Isolde: Wohin nunTristan scheidet: Wie sie selig (1930); Die Meistersinger: Morgenlichleuchtend (1931). Men . L'Africaine: Land so wunderbar (1926).

H LAusirz MELCHIOR: "Berlin damals: Lauritz MelchiorSings Wagner." Heliodor 2548 749. $5.98 (mono).

WAONER: Allmacht'ger Vater, blick nerab (1923); Die Meister-singer: Morgenlich leuchter.d (1923). Tannhauser Inbrunst im Herzen(1924); Die WalkUre: Friedmund dart ich nicht heissen; Ein Schwertverhiess mir der Vater; Du bust der Lenz .. 0 susseste Wonne Sieg-mund heiss' ich (with Frida Leider; 1923): Siegfried: Nothung! Nothung!Neidliches Schwert Schmiede, mein Hammer, ein hartes Schwert(1923); Wesendonk Lieder: Schmerzen: Traume (1924).

LAURITZ MELCHIOR. Wagner Recital. Top Classic TC9048, $5.98 (mono).

WAGNER: Die WalkUre: Mud am Herd fend ich den Mann (with Lotte Leh-mann and Emanuel -ist; 1935): Ein Schwert verhiess mir der Vater. Win-terstUrme; Siegmund heiss'ch (1929): Siegfried: Das fist nun der Liebeschlimmer Lohn (with Heinrich Tessmer): Nothung! Nothung! Neid'ichesSchwert (with Albert Reiss); Da keg' auch du, dunkler Wurm (with NoraGrOn); Wie end' ich die Furcht (1929).

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OCTOBER 1972 79

Luciano Berio George Crumb

by Robert P. Morgan

Sonic Innovationsfor the String Quartet

Crumb's overwhelming Black Angels and Berio's richly subtle Sincronie

IN SURVEYING present-day musical composition, one isstruck by the resiliency shown by the traditional musicalmediums under the onslaught of recent technical inno-vations. Whereas it is certainly true that one of the mostcharacteristic attributes of "the new music" has been itspreference for "special" instrumental combinations,conceived uniquely for the dictates of one specific com-position, contemporary composers-and among them,some of the least traditionally oriented-have never-theless remained intrigued by the problem of composingfor standard ensembles. Admittedly, this is partially ex-plained by the simple practicalities of current musicallife: Such ensembles, ranging in size from the symphonyorchestra to the piano/violin duo, exist in abundance,and many of them are interested in stretching their rep-ertory to include new works-ones which, moreover, arenew not only chronologically but also in their demandsupon the performer.

This is well illustrated by two recent works for stringquartet included on recent releases from CRI and Desto:George Crumb's Black Angels and Luciano Berio's Sin-cronie. Both pieces were commissioned for establishedensembles-the Crumb for the Stanley Quartet (in resi-dence at the University of Michigan) and the Berio forthe Lenox Quartet (in residence at Grinnell College atthe time of the commission, but now at the State Univer-sity of New York at Binghamton); and both represent se-rious, and I think successful, attempts to rethink the pos-sibilities of string quartet writing in terms of newcompositional interests and inclinations.

On the surface the string quartet might seem to be themost resistant of traditional ensembles to the main thrustof recent compositional developments: for whereas thelatter have been marked by exploration of the extremesof timbral variety, the quartet is perhaps the most uni-form of the ensembles inherited from the past. The fourinstruments, although encompassing a considerablepitch range and a wide variety of what might be called"expressive" possibilities, form a remarkably homo-geneous total unit. How is the modern composer to ap-proach such a medium?

Certainly the most radical answer to this question-not only in reference to these two pieces but to any re-cent quartets I have heard-is offered by Crumb's BlackAngels for electric string quartet, which is nothing lessthan a tour de force of sonic innovation. The "electric"refers to the use of contact microphones with each in-strument, a device which preserves the basic string qual-ity while allowing for a certain psychological "distanc-ing" of the sound. so that the tone quality assumes an

almost surrealistic atmosphere essential to the compos-er's intentions. In addition. Crumb uses a variety of spe-cial performance techniques to enlarge his timbralframe: For example, he calls for several unusual effectsinvolving partials (some of which, so far as I know, areunprecedented), requests the use of a glass rod and ametal plectrum to strike the string, has the players usemetal thimbles on their fingers, and in two places evenrequests that they hold their instruments (with the ex-ception of the cello) like viols-i.e., placed on the kneeand held vertically-and bow them on the "wrong" sideof the fingering hand (which involves learning a new,"reversed" fingering and results in a marvelously "an-tique" string sound). Further, he reinforces the four ba-sic instruments with the addition of a tam -tam, maraca,and a set of tuned water glasses, all of which are per-formed by the string players, and with the exception ofthe maraca and occasionally the tam -tam are "bowed"for the production of their sound. (The effect of thebowed water glasses, which are used in an extended to-nal passage in B major as an accompaniment for a cello"aria," is hauntingly beautiful.)

One should not conclude from this, however, thatBlack Angels is only a grab bag of instrumental tricks.All of the special devices are integrated into an over-allplan in which each plays a decisive role. The basic designof the work is symmetrical: Thirteen sections are laid outin an "arched" arrangement so that the first mirrors thethirteenth, the second the twelfth, etc., with the first, sev-enth (middle), and thirteenth sections functioning asprincipal formal reference points. Unlike most ofCrumb's recent music, Black Angels has no text: yet it isessentially dramatic in conception and is based on acomplex program (subtitled Images from the Dark Land)which is closely related to the arched formal plan. Al-though the details of this program are too intricate to de-scribe here, the basic idea is of a spiritual journey of thesoul (curiously-consciously?-reminiscent of Beetho-ven's E flat major Piano Sonata, Op. 81a): departure(loss of grace), absence (descent into the Dark Land),and return (redemption). Also important is a numbersymbolism closely related to the program (the numbersinvolved are, significantly, seven and thirteen, which areperiodically counted out like some sort of incantation bythe players in a variety of languages) and which to an ex-traordinary degree determines such aspects of the pieceas phrasing, number of attacks, and pacing.

The important thing, of course, is what the composeris able to make of all this, and the point to emphasizehere is the remarkable impact of Crumb's composition.


Less precious than his recent Lorca settings, Black An-gels makes an overpowering impression. It fills itstwenty -three -minute span with an amazing variety ofsound, ranging from the "electric insect music," whichopens the work with a truly terrifying scream of sound,to the beautifully distanced, viol -like quote of Schubert'sTod and das Madchen (Death and the Maiden). Thisquote, along with several others (such as the Dies Iraeand Tartini's so-called Devil's Trill) are, although relatedto other material in the score, primarily dramatic in sig-nificance and are intended to reinforce the basic idea ofthe composition, which in Crumb's words "was con-ceived as a kind of parable on our troubled contempo-rary world"-written, as the score attests, "in temporebelli, 1970."

It would be difficult to imagine an approach to the re-vitalization of the string quartet further removed fromCrumb's than that of Berio's Sincronie. If Black Angelscan be taken as an attempt to maximize the timbral dif-ferentiation within the quartet, Sincronie accepts the en-semble's basic homogeneity of sound and uses it for thepoint of departure in determining its basic musical sub-stance. The work is conceived as if for a single, ho-mophonic instrument, and the music consists essentiallyof a series of chordal blocks which are elaborated overand over again so that they appear in ever new guises.No special effects are employed which are not now astandard part of the quartet vocabulary. Yet despite this,the work is far from monochromatic. Although the fourinstruments achieve little individuality, they never-theless move with a certain degree of independencewithin many of the vertical sound masses (achieved inpart through the use of very elaborate grace -note pat-terns) and occasionally even break away from the wholefor brief stretches-either through sustained tortes heldwhile the other instruments rest, or with short, "melod-ic" patterns, acting as effective foils to the prevailingtexture. There is also considerable variety in the rhyth-mic pacing, both in -regard to the rate of surface speedand to larger sectional relationships, so that despite theone -movement plan, a clear sense of formal regulationof contrasting segments emerges in the course of the

piece. Written in 1964 and revised in 1967 by the addi-tion of a closing section after the original ending (the lat-ter version recorded here), Sincronie is a work whosesubtle internal differentiations-which are, as it were,"played down"-require repeated hearings for their ade-quate perception. But with time the listener becomesaware that this is music of unusual richness. Althoughneither so immediately striking in effect nor so compel-ling in impact as the Crumb, it is nevertheless an impres-sive addition to the literature.

A brief word about the other pieces included in thetwo discs. Charles Jones's String Quartet No. 6, whichunlike the Berio and Crumb works remains firmly withinthe earlier twentieth-century tradition of quartet writingestablished, among others, by Bart6k, was completed in1970. It is a well -written piece in four continuous move-ments; despite its derivative qualities and a certain de-gree of (not unattractive) eclecticism, it displays consid-erable originality, particularly in the combination ofmarkedly contrasting materials. Less interesting is themuch earlier Sonatina for Violin and Piano (1942). It ispleasant enough in its use of an uncomplicated, free-wheeling diatonic style, but the music does not make astrong impression. Coupled with the Berio is Ezra La-derman's Stanzas, an extended piece in five movementsfor chamber orchestra. Like the Jones quartet, the workis extremely eclectic, but here the material is managedwith a heavy-handedness that I find rather tedious. Thecomposer certainly knows what he is about and the pieceexhibits technical facility, yet the final impression is oneof too much said about too little.

The performances are uniformly excellent. Even theunidentified chamber orchestra in Stanzas plays well.The liner notes, in all cases supplied by the composers,are also helpful.

CRUMP: Black Angels. JONES: Quartet for Strings, No. 6;Sonatina for Violin and Piano. New York String Quartet; PaulZukofsky, violin; Gilbert Kalish, piano (in the sonatina). Com-posers Recordings CRI SD 283, $5.98.BERIO: Sincronie. Laaaamaa: Stanzas. Lenox String Quartet(in the Berio); chamber orchestra, Jorge Mester, cond. (in theLaderman). Desto DC 7129, $5.98.

by Arnold Shaw

The Scott Joplin RenaissanceRagtime: the missing link in pop and jazz

Four delightful albums from Nonesuch and Vanguardare the latest in a continuing effort by ragtime aficion-ados to revive the style that so roguishly expressed thejaunty spirit of America between the Spanish-AmericanWar and World War I.

What gives them special significance is that three ofthem are by classically trained pianist/composers whohave sparked an interest and re-evaluation of ragtimeamong "serious" music critics. Joshua Rifkin, with a de-gree in composition from Juilliard and in musicologyfrom Princeton, is a member of the Brandeis Universitymusic faculty. William Bolcom. with a Doctor of Musi-cal Arts from Stanford, has taught music at Queens Col-

lege in New York and the University of Washington.Both display deep feeling for the jingly-jangly, sportin'-house music and play the pieces reverently on uprightpianos, just as they were written down by their compos-ers. Yet the most satisfactory of the four albums is byMax Morath, who learned to play ragtime from hismother (a silent screen accompanist) and who has foryears been an interpreter, collector, and performer of theturn -of -the -century style.

William Bolcom is more impressive than his None-such colleague. Without sounding thumb -tacky, histouch is more typically raggy and he performs with moreof a dance beat than Rifkin. In ballad -rags like Helio-

OCTOBER 1972 81

Scott Joplin-a composer withouthonor in his own time, his music is

enjoying a major revival.

trope Bouquet, he achieves a bittersweetness that charac-terized Scott Joplin's more personal rags and that some-how escapes Rifkin's languorous, legato style. For thosewho seek a fuller insight into the scope and developmentof Joplin's work, Rifkin's two volumes are illuminating,even if Bolcom is the more expressive interpreter.

Opening inevitably with the well-known Maple LeafRag (1899), Rifkin pedals through sixteen rags, includ-ing Joplin's last, Magnetic Rag, written in 1914 when,frustrated and embittered by the rejection of a ballet andtwo operas, the composer was literally going mad. Wehear the harmonies grow more experimental and thetexture richer in dissonance, chromaticism, and contrarymelodic motion. The high point in Rifkin's program ishis inspired playing of Solace (1909), hardly a rag and apiece of such lovely lyricism that current comparisons inhigh places of Joplin and Chopin do not seem inapropos.I would argue that he is closer to Mozart.

Like Morath's, Bolcom's album is not limited to Jop-lin, but includes other ragtime pioneers as well as threerags by himself (b. 1938) and an associate, William Al-bright (b. 1944). Ragtime Nightmare by sportin' house -owner Tom Turpin affords us a brief hearing of the so-called St. Louis School of ragtime-Joplin followed pub-lisher Joseph Stark from Sedalia, Missouri to St. Louiswhere the pianists were more showy. Joseph F. Lamb'sEthiopian Rag (1909) and Charles Luckeyeth Roberts'Pork and Beans (1913) give us an insight into the NewYork scene where "shouts" by Eubie Blake and Willie(The Lion) Smith, stride piano by James P. Johnson, andcommercial rags like Irving Berlin's Everybody's Doin' Itforeshadowed the future transformation of the style intopop.

Max Morath's double album constantly conjures upnostalgic images of dancers two -stepping, cakewalking,slow -dragging. Ragtime was rhythm music even when itwas played as background for poker, rye whisky, or hori-zontal dancing. Duplicating six Joplin rags also to befound in Rifkin's two volumes, Morath plays with asmile, crispness, and rhythmic thrust that give his rendi-tions an authenticity only approached by the two Profes-sors (no quotes) of Ragtime.

Morath's second disc offers an instrumental expan-sion-guitar, banjo, and bass added-of a basically pianoart. It profits mostly from the single -string banjo style ofJim Tyler, who played with Morath when he had his"Original Quartet" at the Village Vanguard in NewYork City's Greenwich Village. But the disc is inter-

esting mainly as a novelty, and for the inclusion of JamesScott's masterful Grace and Beauty rag and two rags writ-ten by Morath himself, one a polymetric original.

Polyragmic, as the Morath original is called, is as con-cocted as its title, though it is not unattractive in its trickysyncopation. Along with the three contemporary rags inBolcom's album, it raises a number of aesthetic questions.Since 1940 there have been periodic issues of ragtimerecordings. Except for three albums released by Riv-erside Records (from piano rolls made by the pioneersthemselves, Joplin, James Scott, etc.). these releases haveinvariably been accompanied by hoopla about a Rag-time Revival. In the '40s there was seemingly a concertedpush, with Wally Rose of Lu Watters' Yerba BuenaBand recording rags for Columbia and Good Time Jazz,and other pianists cutting on Capitol and other labels.

In 1960 Max Morath, whose 100 Ragtime Classics isthe largest published compendium of rags, presented aseries of shows on NET -TV titled "The Ragtime Era."Two years later he offered a second series, "The Turn ofthe Century." Again there was chatter that ragtime wasnot nostalgia, but now.

And now we have a concatenation of events thatmakes a revival almost a reality. Morath may havetouched off the chain with a one-man show in the springof '69 at Manhattan's Jan Hus Playhouse. By the summerof '71 Rifkin's first Joplin album was on Billboard's best-selling list of classical LPs. In rapid succession came "AConcert of Joplin Works" at Lincoln Center: the firstfull production of his opera Treemonisha by an all -blackcast at the Memorial Center in Atlanta; and publicationby the New York Public Library of Collected Works ofScott Joplin in two large, facsimile volumes. All this plusthe recordings under review and the release of at leasttwo other Joplin LPs on Audiophile and BiographRecords.

What does all this add up to? A ragtime revival, no.(Why can't one love and enjoy ragtime for what it was,just as we appreciate the Romantic composers for whatthey were?) A Joplin revival, yes-also a much -neededreassessment of his creative contribution without thesnobbery and prejudice that eventually sent him to amental institution. At the beginning of the ragtime era,Musical Courier used such epithets as "vulgar," "filthy,"and "nigger music" to reach the conclusion that "a supe-rior race may not mingle with an inferior without caus-ing degeneration, debasement." At the same time, theMusician argued that it was "not possible for coon song


composers to invent anything" unusual in rhythmic syn-copation.

Nevertheless, America two -stepped, turkey -trotted,and cakewalked into the twentieth century to the off-beat rhythms of ragtime. After the John Philip SousaBand introduced the sound in England, the craze sweptacross Europe, igniting even composers like Debussy(Golliwog's Cake Walk) and Stravinsky (Ragtime).When the onward -and -upward hopes inspired by thenew century were exploded by World War 1, Scott Jop-lin died the very day (April 1, 1917) we entered the con-flict-ragtime died almost overnight (almost as swing didin World War II).

But long before them Tin Pan Alley had commercial-ized the style evolved largely by black "professors"playing in the sportin' houses, honky-tonks, and gam-bling saloons of the Midwest and South. In 1910 IrvingBerlin launched his fabulous career as a songwriter withAlexander's Ragtime Band, a piano piece to which headded lyrics the following year. Other songwriters tookup the craze with When Ragtime Rosy Ragged the Ro-sary. Baffin' the Jack, Twelfth Street Rag, and the famousNola. The syncopated sound persisted into the '20s withZez Confrey's Kitten on the Keys, Stumbling, and DizzyFingers. And though it is generally forgotten. HoagyCarmichael's great standard Star Dust was originallypublished as a ragtime piano solo. Truth to speak, rag-time had never died-and that may be why it cannot berevived. Can you think of a single Western on the screen,radio, or TV without the sound of a raggedy, out -of -tuneupright?

It is, in fact, because ragtime provides such an instan-taneous evocation of a time and place that it cannot enjoya large-scale revival. And composing a ragtime piececannot be more than an exhilarating exercise, even if it isdone as well as Bolcom and Albright do in GracefulGhost and Brass Knuckles. For them, ragtime is not an

expression of their world, time, and guts, as it was forScott Joplin and his confreres. The pioneer creators ofthis primitive style and innocent sound not only did itbetter. They exhausted it, as Joplin's later and largerworks reveal.

But what the current upsurge of interest in Scott Joplinhas done is to remind us that ragtime is the missing linkof jazz and pop. Had historians paid more attention to it,they would long ago have recognized the falsity of theNew Orleans theory of the birth of jazz. Ragtime is notjazz since it is written -down music for piano. But it hasthe blue notes, syncopation. contrapuntal rhythms ofjazz, since it is written -down music for piano. But it hasLouis. Historians would also have had a clearer pictureof the African alchemy worked by blacks on Europeanmaterial (march and rondo forms, diatonic scale, andmarching beat). They would have earlier recognized theblack origins of American pop since rags were writtenin the sixteen- and thirty -two -bar forms that dominatedTin Pan Alley until the rise of rock.

History and aesthetics aside, there is much listeningpleasure in these ragtime piano records-the nostalgicsense of an innocent time underscored by a reminder ofthe travail endured by gifted as well as ordinary blacks.The current Joplin renaissance is a long overdue recog-nition of a neglected composer who had the talent with-out which there is no music-the gift of graceful andmemorable melody.

B

JOPLIN: Piano Rags, Vol. 1. Joshua Rifkin. piano. None-such H 71248, $2.98.HELIOTROPE BOUQUET. Rags by Joplin, Turpin, Lamb,Roberts, Bolcom, and Albright. William Bolcom. piano.Nonesuch H 71257, $2.98.JOPLIN: Piano Rags, Vol. 2, Joshua Rifkin, piano.Nonesuch Fs 71264. $2.98.JOPLIN: "The Best of Scott Joplin." Max Morath, piano.Vanguard VSD 39'40, $5.98 (two discs).

An Evening with Scott Joplin

On October 22, 1971, the first concert ever devotedto Scott Joplin was sponsored by the New YorkPublic Library, celebrating the NYPL's publica-tion of The Collected Works of Scott Joplin. Thealbum has been produced by Nonesuch Recordsand is available in a limited edition of 1,000copies. Included are the Lincoln Center perform-ances by three contemporary pianists as well asfour excerpts from Joplin's then unproduced op-era, Treemonisha.

The pianists are academician/performers Wil-liam Bolcom and Joshua Rifkin, and jazz artist/composer/arranger Mary Lou Williams. BothBolcom and Williams play rags previously re-corded on Nonesuch by Rifkin (Maple LeafRag, Solace, The Ragtime Dance, Elite Syncopa-lions, and Pine Apple Rag). Bolcom's renditionsare superior by virtue of their tempos, phrasing,and dynamic contrasts. Mary Lou Williams, who

adds tenths and other decorative devices, achievesa jazzy piano -roll sound somewhat less authenticthan Rifkin's but she does capture a flavor thateludes him. But Rifkin shines in Magnetic Ragand in the concert waltz Bethena, both of whichare available on his other Nonesuch albums.

The Treemonisha operatic excerpts, performedunder the direction of John Motley, include TheCorn Huskers, Good Advice, A Real Slow Drag,and an encore of We're Goin' Around (A RingPlay). All profits from the sale of this disc are ofcourse going to the financially distressed NYPL.

A.S.

AN EVENING WITH SCOTT JOPLIN. Barbara Christopher, so-prano; Clamma Dale, mezzo; Michael Gordon, baritone;William Bolcom, Mary Lou Williams, and Joshua Rifkin, pi-anos; John Motley, cond. Available from Library & Museumof the Performing Arts, Music Division/Joplin Recording,111 Amsterdam Ave., New York, N.Y. 10023; $10.

OCTOBER 1912

classicalreviewed by

ROYAL S. BROWN

IL D. DARRELLPETER G. DAVIS

SHIRLEY FLEMING

ALFRED FRANKENSTEIN

CLIFFORD F. GILMORE

HARRIS GOLDSMITH

DAVID HAMILTON

DALE S. HARRIS

PHILIP HART

DONAL J. HENAHANPAUL HENRY LANG

ANDREA MCMAHON

ROBERT C. MARSH

ROBERT P. MORGAN

K C. ROBBINS LANDONSUSAN THIEMANN SOMMER

ANDERSON: Chamber Symphony-SeeThorne: Liebesrock.

BACH: The Complete Cantatas, Vol. 3: No.9: Es ist das Heil uns kommen her; No. 10:Meine Seel' erhebt den Herrn; No. 11: Lo -bet Gott in seinen Reichen. Paul Esswood,countertenor; Kurt Equiluz, tenor; Max vanEgmond, bass; King's College Choir, Cam-bridge; Leonhardt Consort, Gustav Leon-hardt, organ continuo and cond. (in Cantatas9 and 10); Vienna Choir Boys; Chorus Vien-nensis; Concentus Musicus, Nikolaus Har-noncourt, cond. (in Cantata 11). TelefunkenSKW 3/1-2, $11.96 (two discs).Selected comparison (Cantata No. 10):MOnchinger Lon. 26103

BACH: Cantata No. 147: Herz und Mund undTat und Leben; Motets: Der Geist hilft un-srer Schwachheit auf, S. 226; FUrchte dichnicht, S. 228; Lobet den Herrn, alle Heiden,S. 230. Elly Ameling, soprano; Janet Baker,mezzo; Ian Partridge, tenor; John Shirley -Quirk, bass; King's College Choir, Cam-bridge; Academy of St. Martin -in -the -Fields,David Willcocks, cond. Angel S 36804, $5.98.Selected comparison:Richter Arc. 198331

BACH: Cantatas: No. 32, Liebster Jesu,mein Verlangen; No. 57, Selig ist der Mann.Elly Ameling, soprano; Hermann Prey, bass;German Bach Soloists, Helmut Winscher-mann, cond. Philips 6500 080, $6.98.Selected comparison:Werner MHS 1007

Cantata collectors are hereby notified thatthere's a bumper crop this month with threenew releases containing six cantatas in all, andeach recording has its excellent points. Let'ssee first what's in the Telefunken box, Volume3 of a series which in about ten years will coverall two -hundred -plus cantatas. Performingduties continue to be shared by Harnoncourt'sVienna -based group and Gustav Leonhardt'sAmsterdam forces, and the remarkably high

over-all level of performance established inthe first two volumes is once again in evidencehere-as is the lavish presentation, which in-cludes full scores of all three works. No. 9, achorale cantata from Bach's Leipzig years, isvery likely to be new to most record collectorssince it has had only one earlier recording-avery old Grischkat performance on the Re-naissance label. Aside from occasional weaktone from the sopranos and altos, the largeopening chorus receives a wonderfully deli-cate, bouncy performance. The soprano/ altoduet with flauto traverso, oboe d'amore, andcontinuo is the most interesting piece, how-ever; the instruments develop a series of ca-nons which become complex double canonswhen the voices enter, but the prevailingmood of gentle, loving sweetness completelybelies the incredible technical prowess thatwent into its creation.

Cantatas 10 and I1 will be more familiar.since both have already had several record-ings. No. 10, another chorale cantata, isknown as the German Magnificat, since its textparaphrases the Magnificat, hymn of the Vir-gin Mary, traditionally sung at Vespers and onthe feast of the Visitation of the B.V.M. Theonly weak link in this performance is the un-named boy soprano soloist from the Regens-burg Cathedral Choir, who lacks the vocal se-curity of his counterpart from the ViennaChoir Boys who sings in Cantata No. 11 and inseveral numbers in Volumes I and 2. Here,too, Telefunken is up against strong competi-tion from MUnchinger's superb performanceof this cantata on a London disc (coupled withBach's Latin Magnificat). The soprano soloistthere is Elly Ameling, who doesfine job.

Cantata No. Ills in fact the Ascension Ora-torio, and should be grouped with the sim-ilarly designated works for Christmas andEaster instead of with the cantatas. It is longerthan the other two cantatas here (filling tworecord sides), is more festively orchestrated(three trumpets and drums, two flutes, twooboes, and strings), and concludes with a vig-orous, foot -tapping chorale chorus. An altoaria with unison violins, "A ch, bleibe doch," isborrowed from the same music from whichBach later borrowed the Agnus Dei of the Bminor Mass, and Paul Esswood sings exqui-sitely. In fact, the whole performance here (byHarnoncourt's group and the Vienna ChoirBoys) easily outclasses all the competition,past and present. I urge all cantata collectorsto keep up with this remarkably fine series.

Moving on to the Angel recording of Can-tata No. 147 and three motets, we find that, inspite of the presence of the same chorus em-ployed in two cantatas in the Telefunken box,this is a very different kind of performance.There's an aria each for the four soloists, andthe all-star performers guarantee some im-pressive singing and playing here. JanetBaker's aria is lovely and gentle with a deli-cately ornamented oboe line and Ameling isshimmering, though the tempo is a little slowand careful here. The tenor aria bouncesgently and the bass aria with trumpet is reallymajestic and regal. Still, Willcocks' over-allview of the work shows discernible traces ofVictorian religious sentimentality, so unlikethe more incisive Telefunken performances.In the rather too slow chorale, for instance, hegoes for the long, arching line at the expenseof individual articulations. And occasionally

we sense some wringing of hands and tear-stained cheeks in an exaggerated attempt onthe part of some of the soloists to be "expres-sive." You might prefer Richter's reading onArchive, but this is still a superb perform-ance-and it will be quite a few years beforeTelefunken reaches No. 147.

The King's College recording of Motets 2, 4,and 6 completes their recording of the canoni-cal six, though I don't believe Nos. 1, 3, and 5have ever been released in this country. (Aneven older Argo recording of No. 3, sung inEnglish, is still in the catalogue, however.) Pre-sumably, the question will never be answeredwhether these works should be sung with ac-companiment or without. I believe they allshould be supported by doubling instruments,but Willcocks, anxious to show off his group'sskill, presents Nos. 2 and 4 a capella and No. 6only with continuo, and these excellent per-formances support his argument admirably.The King's College Choir sings with its cus-tomary careful precision, silken tone, and per-fect intonation (even in the treacherous"Furchte dich nicht"). Bach certainly neverhad such singers at his disposal; yet if he did, Isuspect he might have demanded a little morepunch from the fine choral tone, and he cer-tainly would have insisted on a firmer pronun-ciation of consonants.

The Philips recording of Cantatas 32 and 57demonstrates once again that Elly Ameling isamong the finest Bach sopranos around. Onthis record she is joined by Hermann Prey fora pair of duo cantatas in which the chorus isemployed only for the closing chorales. No.32, which dates from the Leipzig years, is pos-sibly a rearrangement of a lost secular cantatawritten in COthen. The joyful vivace finalduet, in the style of a peasant dance, wouldseem to support that notion, though it cer-tainly matches the sense of its new words aswell.

No. 57, written for the second day of Christ-mas and subtitled Concerto in Dialogo. is amore serious affair with the two singers takingthe parts of Jesus and the Soul in an extendeddialogue. There are two arias each for the twocharacters, separated by three recitatives. Thebass's second aria is another vigorous vivace,somewhat reminiscent of the first movementof the Fifth Brandenburg Concerto, and Preybrings it off smashingly. Ameling's last allegroaria is also in a folksy dance vein.

The orchestra and instrumental soloists arealso excellent throughout and the recording issumptuous. The only serious competition isfrom Agnes Giebel and Barry McDaniel on anexcellent disc available from the MusicalHeritage Society of these same two works, andat a considerably lower price. The singersthere are every bit as fine and the recording isnearly as good; only Werner's direction lacks

Explanation of symbolsClassical:

81 BudgetHistoricalReissue

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some of the verve that makes Winschermann'sperformances so lively. It's still worth investi-gating. C. F.G.

BEETHOVEN: Serenade for Flute, Violin, andViola, in D, Op. 25 BACH. C.P.E.: Duet forFlute and Violin, in G. TELEMANN: Trio So-nata for Flute, Violin, and Harpsichord, in Aminor. Pinchas Zukerman, violin; MichaelTree, viola; Eugenia Zukerman, flute; CharlesWadsworth, harpsichord (in the Telemann).Columbia M 31309, $5.98.

No phrase is taken for granted. no note per-

functorily put forth. no reasonable nuance ofdynamic shading neglected in this fine record-ing of chamber music. And small wonder: Allfour participants are chamber players par ex-cellence-though to be sure. Pinchas Zuker-man is caught out in front of an orchestraupon occasion, just like Isaac Stern and othernotable practitioners of the intimate art. Allfour musicians here, of course, have workedtogether as part of the Chamber Music Societyof Lincoln Center. of which Charles Wads-worth is director, and their familiarity withone another has put them in a hand -in -gloverelationship: they coalesce, move apart. inter-twine. give and take on a single impulse, and

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Pinchas Zukerman-joining the group.

the ability to do this allows them a splendidflexibility in dynamics as well as an instinctivefeeling for the just balance of parts.

The Beethoven is particularly attractive,and among its high points are the perfect in-terworking of violin and viola in the first trioof the second movement, the dark coloringand pure grit of the Allegro motto. theromping spirit of the finale, with its incisiverhythm and hair's-breadth timing in the inter-locking of parts.

The C.P.E. Bach duet is straightforwardlydealt with, as it should be, with even the littletag ends of phrases emerging gracefully. TheTelemann is. to me. the least interesting of thethree works -being, I imagine, more fun toplay than to hear-but it is not the bore itmight have been, thanks to the sheer quality ofthe performance. The fine legato line sus-tained in the Affettuoso movement and thesense of momentum in the finale are by them-selves enough to sell the piece. with no ques-tions asked. S.F.

BACH, C.P.E.: Duet for Flute and Violin, inG- See: Beethoven: Serenade for Flute, Vio-lin, and Viola, in D, Op. 25.

BERIO: Sincronie. Lenox String Quartet. Fora feature review of this recording with worksby Crumb, Jones, and Laderman, see page80.

BROZEN: In Memoriam-See Thorne: Lieb-esrock.

CouPENiN: Pieces de clavecin: Ordres VIII,XI, XIII, XV. Rafael Puyana, harpsichord.Philips 6700 035, $13.96 (two discs).

COUPERIN: Pieces de clavecin.COUPERIN, L.: Pieces de clavecin.Albert Fuller, harpsichord. NonesuchH 71265. $2.98.

COUPERIN: XV Ordre: Musete de Choisi; Musete deTaverni; XXVI Ordre. COUPERIN, L.: Chaconne in Gminor; Prelude in F. Allemande grave; Courante:Tombeau de Mr. de Blancrocher; Branle de Basque:Chaconne in D minor; Pavane in F sharp minor; LaPiernontaise in A minor.

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SEPTEMBER ISSUTHERLAND MONTH

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tOipOiT:RECORDS

A thrilling event for all lovers of great singing.

Richard Bonynge's fabulous edition ofOFFENBACH'S

T E TALES OFHOFFMANN

with

JOAN

SUTHERLAND

PLACIDO

IIEM*:in all four soprano roles In the great tenor title role

Olympia. Antonia. Giulietta. Stella of Hoffmann

GABRIEL BACOUIERas the four villains

Lindorf, Coppelius, Dapertutto, Dr Mira(

HUGUETTE TOURANGEAU PAUL PLISHKAas Niklaus as Cresrwl

HUGUES CUENOD JACOUES CHARONas Andres. Cochenille, of the Com6die FrancaisePitichinaccio. Frantz as Spalanzani

with

RICHARD BONYNGEconducting

L'ORCHESTRE DE LA SUISSE ROMANDE

AND CHORUSOSA-13106

This is very difficult music to perform ade-quately because everything here lives by ac-cent, a sort of interior accent; it is a type ofmusic that reveals itself by little coups. WhileCouperin places titles on his pieces, even callssome of them portraits of known persons, hisattempts at descriptive music, at "effects," areinfrequent, and in this art there is no calcu-lated exploitation of personal dynamism. Agood harpsichordist knows this and wants tobe nothing more than the medium throughwhich these evanescent accents are communi-cated-but such a medium cannot help havinga character of his own. Or perhaps he wants tobe a faithful witness-but a witness too cannotavoid exhibiting a personality. Whichever waythe performer approaches this music, he musttravel through the cliches, through the knownpatterns to the unknown ones; through the in-numerable curlicues he must search out thesignificant.

Rafael Puyana is an excellent artist withvery good technique; the fast movements hedelivers with verve and clean articulation, butthe more delicate pieces do not always revealtheir inner accents, they are a bit foursquarewith a degree of sameness. More variety inrhythmic and agogic nuances is needed whensuch a large amount of French harpsichordmusic is offered in one sitting. Couperin was acomposer of genius, delightful and affecting,but the absence of sophisticated and highly in-dividual conception in the presentation of hismusic can cause aural fatigue; the endless cas-cade of ornaments becomes tiresome.

Puyana does a creditable job. but I preferAlbert Fuller's playing. He has a spacious waywith the small and the slow pieces that givesthem weight, he pays close attention to theconstantly changing accents, his tempos areexcellently chosen, and the pace fluctuatesever so discreetly. Above all, his execution ofthe ornaments is imaginative; by never beinghasty or perfunctory it effectively removes theennui they can create when routinely applied.This is a highly recommended performance,the more welcome because half of the record-ing is devoted to Louis Couperin, the cele-brated uncle. His music is very attractive andthis elder of the clan deserves to be betterknown. The sound is excellent in both sets.though as usual with harpsichord recordings.far too clangorous for this instrument. Atten-uation of the volume does help. P.H.L.

CRUMB: Black Angels. New York StringQuartet. For a feature review of this recordingwith works by Jones, Berio, and Laderman,see page 80.

DEBUSSY: "My Favorite Debussy." Van Cli-burn, piano. RCA Red Seal LSC 3283, $5.98.Tape: *. R8S 1268, $6.95; 5 RK 1268.$6.95.Clair de lune; Etude pour les Octaves: Feuxd'artifice; La Fille aux cheveux de lin; Lisle joy-euse; Jardins sous la pluie: La plus que lente; Ref -lets dans l'eau; Reverie; Soirée dans Grenade: LaTerrasse des audiences du clair de lune.

Van Cliburn's "Favorite Debussy" turns outto be a fairly catholic sampling of that com-poser's output. He includes some of the purestexamples of "impressionism" (how the com-poser came to loathe that word!) by way ofJardins sous Is pluie, Reflets dans l'eau, and LaTerrasse des audiences du clair de lune; one ex -



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ample of Debussy's cryptic, tongue-in-cheeklate style (the octave etude); a hefty serving ofthe master's popular repertory including thebravura L'Isle joyeuse and Fireworks; and thelyrical Clair de lune and Girl with the FlaxenHair.

Cliburn's way with the music is a bit uncon-ventional. For one thing, he tends to favorhefty, red-blooded sonorities; for another, heprefers clarity to haze (although he does occa-sionally use the pedal for color). I found himespecially admirable in the etude which islarge -scaled, exciting, and completely withoutaffectation. He also does right well with theearly Clair de lune and its more complex coun-terpart in the Book II Preludes. The phrasingof these is spacious, savoring of the beautiesand yet completely continent and without

cloying sentimentality. On the other hand, atrace of sentimentality does afflict the easy -to -overplay La plus que lent, while La Fille auxcheveux de lin and Soirée dans Grenade aresimilarly tainted (compare Cliburn's tentative.melting rhythm in the latter with the thrillingaccount of Ricardo Vines on the Pathe/OdeonDebussy centennial disc). Another rather sub-stantial disappointment is Cliburn's pre-tentious account of L'Isle joyeuse. Its climax,in particular, sounds overbearing and dis-tended with its elephantine sonority.

Reverie, on the other hand, is impressive inits stately, broader -than -average tempo. Thelittle piece is given a Gothic breadth and dig-nity and doesn't sound the worse for beingtreated rather like a Brahms intermezzo. Jar-dins sous la pluie and Feux d'artifice are given

EINT5BRAHMS: VIOLIN CONCERTO, OP. 77. Grumiaux, violin; NewPhilharmonia Or( hestra/Davis 6500.299RAVEL: DAPHNIS ET CHLOE, Suites 1 and 2; Ma Mere I 'Oye.Concertgebouw Orchestra/Haitink 6500.311MOZART: RELIGIOUS CHORAL WORKS. Vesperae Solennes deConfessore, K. 339; Exsultate Jubilate, K. 165; Kyrie, K. 341; AveVerum Corpus, K. 618. Te Kanawa, Soprano; London SymphonyOrchestra & Chorus/Davis 6500.271BRAHMS: PIANO CONCERTO NO. 2 IN B -FLAT, OP. 83.Arrau, piano; Concertgebouw Orchestra/Haitink 6500.019GREGORIAN CHANTS: Benedictine Monks of the AbbeySaint -Maurice & Saint -Maur of Clairvaux 6580.061CHERUBINI: SYMPHONY IN D MAJOR.New Philharmonia Orchestra/Boettcher 6500.154R. STRAUSS: SYMPHONY FOR WIND INSTRUMENTS;Serenade for Wind Instruments, OP. 7. Netherlands WindEnsemble/De Waart 6500.097

CRISTINA DEUTEKOM INVIENNA: Music by Zeller, Ziehrer,Johann Strauss, Jr., and JosefStrauss. Orchestra of the ViennaVolksoper/Allers 6500.228BEETHOVEN: PIANO CONCERTONO. 4 IN G, OP. 58. Arrau, piano;Concertgebouw Orchestra/Haitink6580.060WEBER: SYMPHONY NO. 1 IN CMAJOR, OP. 19, 6500.154

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earnest readings but miss some of the brood-ing electricity that is essential for a completerealization.

RCA's sound has a plangent reality. It's notthe most colorful tone I've heard in Debussy,but the ear soon becomes accustomed. H.G.

GERI4ARD: Symphony No. 4; Concerto forViolin and Orchestra. Yf rah Neaman, violin(in the concerto); BBC Symphony Orchestra,Colin Davis, cond. Argo ZRG 701, $5.98.

Only in recent years has Roberto Gerhard be-gun to receive the attention he deserves as oneof the century's strongest and most interestingcompositional figures. A native of Spain, a stu-dent of Schoenberg's in Berlin, and a residentof England from the time of the Spanish Re-publican defeat in 1938 until his recent death,Gerhard wrote music that reflected the eclec-ticism of his own varied background: Onehears an astonishing range of influences in hiswork. Yet Gerhard was one of those rare com-posers able to assemble an original and per-sonally valid musical language out of a seem-ingly disparate stylistic mix.

This may well account for the fact that in re-cent years Gerhard was able to incorporatemany aspects of the "new music" into hiswork without in any way jeopardizing its in-tegrity; rather, these innovations seem to haveenriched and revitalized his creative output.One feels this, for example, most persuasivelyin the Symphony No. 4, which was commis-sioned for the New York Philharmonic's125th anniversary and completed in 1967.There is never any question that this is a workof the '60s, although the title would seem tobetray a more traditional approach. It is, how-ever, the seeming contradiction between theimplications of the title and the specific musi-cal substance that lends the piece its extraor-dinary originality. On the one hand, the workseems to be only marginally a symphony: It isin one continuous movement and consists ofmany relatively short, highly contrasted sec-tions which appear to deny the kind of large-scale sectional relationships germane to thesymphonic conception. Yet the element ofdramatic contrast essential to extended multi -sectional, multimovement works is never-theless very much present, only here the sec-tions have become fragmented andinterspersed throughout the course of onelong movement. What evolves is a tightly in-terlocking structure of thematic and texturalcross-references in which new and old appearin constantly changing juxtaposition. Thus de-spite the ceaseless renewal of musical mate-rials, the work's logical development and for-mal cohesiveness lend adequate sense to thetitle. But titles aside, this is, I feel, one of themajor compositions of the past decade.

The Violin Concerto is a much earlier piece,completed in 1945. Once again one is struck bythe multiplicity of stylistic references, al-though here the most pervasive quality is alush romanticism, at once tonal and chro-matic, which suggests Berg (whose own ViolinConcerto was clearly a special influence). Butone hears also echoes ranging from Schoen-berg (the row of whose Fourth Quartet ap-pears as the subject of a chorale in the slowmovement) to, as Anthony Payne observes inthe liner notes, the "ghost of Sarasate" in thefinale. Indeed, there is even an extended quoteof the Marseillaise, as well as references to a



"The performance of the LST is trulyprodigious."

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ioNER 1972 91

simple folksong. Yet again, the piece is clearlyGerhard's own. It is a beautiful, stronglymelodic vehicle of considerable virtuosity forthe solo violin, written in a brilliant orchestralstyle and couched in a form which, despite itsclassical framework, abounds in originaltouches. In sum, the concerto is a fine exampleof Gerhard's diversified, undoctrinaire ap-proach to composition.

Yfrah Neaman plays the difficult violin partof the concerto most convincingly, and ColinDavis leads the BBC Orchestra in secure, well -shaped performances of both works (althoughthese lack the excitement of the same orches-tra's performance of Gerhard's Concerto forOrchestra, also recorded on Argo). The soundis excellent, remaining clear even during sev-

eral unusually soft and delicate sections fea-turing pitched percussion instruments in thesymphony R.P.M.

GLUCK: Don Juan. Academy of St.Martin -in -the -Fields, Neville Marriner,cond. London Stereo Treasury STS15169. $2.98.

Just as the war started, RCA brought out a 12 -inch 78 of excerpts from Gluck's Don Juan.Critics were astounded to see that the per-formance was by the "RCA Victor Orches-tra," a wartime panic -pseudonym for theKammerorchester der Berliner Philharmoni-ker conducted by Hans von Benda (the origi-

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nal disc had been made for German Electrolain the mid -1930s). This beautiful record wasthe first many of us had heard of this greatscore. Then, in 1949, Rudolf Moralt and theVienna Symphony recorded the music com-plete in the edition of Robert Haas; this discwas issued in the U.S.A. by Westminster.

Now we have the first stereo recording ofthis extraordinary score. Gluck wrote it in1761 for the Vienna Court Theatre. In 1761Haydn, a day's ride away from Vienna at Eis-enstadt, was composing his first music forPrince Esterhazy-the Symphonies Le Malin,Le Midi, and Le Soir. Boccherini was also inVienna, playing the cello in the court orches-tra and composing his first string quartetsmodeled on Haydn's, which were widelyplayed and discussed. In the middle of this ac-tivity, Gluck's score must have burst like a sty-listic bomb. Here, in the last scene, is terrifyingmusic (Gluck later used it as an entr'acte in theFrench version of Orfeo). Count Carl von Zin-zendorf, who kept a diary which is mostly stillunpublished, was at the first night of Don Juanat the Burgtheater on October 17, 1761. Zin-zendorf wrote that the subject of this ballet depantomines was "extremely sad, lugubrious,and frightening" and added that Gluck's mu-sic was "very lovely."

With Gluck's spectacular Finale, the worldof the Austrian Sturm and Drang was officiallylaunched. But apart from this music for thedancing demons, the rest of the ballet is de-lightful. There is even an eighteenth -centurypizzicato polka, and in one of the numbers theastute listener will be surprised to hear a Span-ish fandango (No. 18) which Mozart also usedfor the prewedding ceremonies in Le Nozze diFigaro. Stylistically Don Juan is partlybaroque, partly entirely modern. The 'use ofthe high trumpets in the so-called clarino reg-ister looks backward, but many of the orches-tral effects are very modern. Gluck took thetrombones from the church loft and installedthem in the orchestra, where they create achilling effect in the Finale. 'Although the Fi-nale is perhaps the most spectacularly modernpiece in the whole ballet, its form, a chaconne,is a traditional baroque conclusion to operaand ballet (Mozart also had recourse to a cha-conne in the ballet music to Idomeneo). Un-fortunately the whole scenario has survivedonly in fragments, but there is enough evi-dence from contemporary sources for a cleverimpresario to be able to stage the work. Whatan opportunity for some enterprising balletcompany!

Like everything I have ever heard NevilleMarriner do, this record is stylistically impec-cable and is, moreover, performed with gusto.The Academy of St. Martin -in -the -Fields isprobably the greatest chamber orchestra in theworld today: It puts to shame all the Germanand Austrian ensembles and is rivaled only byRenato Fasano's Virtuosi di Roma. In fact therecord is a delight from beginning to end, notleast the excellent sleeve notes by Erik Smith.

H.C.R. L.

JANMEK: "Famous Male Choruses." Mora-vian Teachers' Choir, Antonin TudapskY,cond. Supraphon 1 12 0878, $6.98.The Soldier's Lot; Our Birch Tree; The EveningWitch; Leave-taking; Czech Legion; The WanderingMadman; Schoolmaster Halfar; Marydka MagdO-nova; Seventy Thousand.


Continued on page 98


The ADC-XLM a class by itself."

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Frequency response The CBS STR-100 testrecord showed less than± 1.5dB variation upto 20,000Hz. Stereo Review...response is within ±2dB over the entire range. AudioFrequency response is exceptionally flat. High Fidelity

Tracking This is the only cartridge we have seenthat is really capable of tracking almost all stereo discsat 0.4 grams Stereo ReviewThe XLM went through the usual torture test at0.4 grams (some top models require more than agram). High FidelityThe XLM is capable of reproducing anything found ona phonograph record. Audio

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The XLM has remarkably low distortion in comparisonwith others. AudioAt 0.6 grams the distort:on was low (under 1.5 percent. Stereo Review

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11 Bose Corp 5Bozak 34

101 British Industries Co 85103 British Industries Co 7

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19 Capitol Tape 51-5414 Clark. David, Co., Inc 108

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1972 97

continued from page 92The Moravian Teachers' Choir, a group longassociated with the music of Janatek. hereprovides an excellent sampling of the compos-er's music for male chorus, ranging fromworks of a political nature to lightheartedcourting songs. With very minor exceptions,the performances are of first quality; the re-corded sound is good; and the whole is a finerepresentative survey oflanatek's work in thisgenre.

The nine selections fall rather easily intothree types. Four of them-The Soldier's Lot,Our Birch Tree, The Evening Witch, andLeave-Taking-are relatively uncomplicatedpieces, using subjects and styles drawn from

folk music. Although they are all enjoyable,The Evening Witch-part of a cycle written inthe early years of the century especially forthis choir-is probably the most interesting.

The Czech Legion, and the three choruseson texts of the nationalistic poet Petr Bezruc-Schoolmaster Halfar, Maryeka Magdbnova,and Seventy Thousand-are compositions of apatriotic, political nature. The first celebratesthe exploits of the Czech soldiers who foughtagainst the Central Powers in World War I;the Bezruc settings express anguished opposi-tion to the Austro-Hungarian dominance overCzechoslovakia. All four are extremely effec-tive, musically as well as politically. MaryekaMagdbnova, the tragic tale of a poor orphan, is

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the most successful in its use of dramatic, de-clamatory choral style.

The ninth selection, The Wandering Mad-man, stands by itself. On a text by Rabindra-nath Tagore, it recounts the story of a manwho ceaselessly searches for gold, finds it byaccident, and discovers his strength failing ashe seeks its ultimate source. The three soloperformers-soprano, tenor, and baritone-are rather undistinguished, but in no way de-tract from the haunting, eerie beauty of thepiece. One can sense here a climax in thecourse of Janieek's choral composition.

The informative booklet enclosed with thedisc falls down on only one count: It wasevidently thought necessary to include textsand translations only for the Tagore and Bez-ruc settings. While these may be viewed as themost important pieces, the other works wouldbenefit by inclusion of their texts as well.

This is a recording that offers fine perform-ances of consistently interesting, and some-times electrifying, music. It should be a valu-able addition to anyone's collection of vocalliterature. A.M.

Amalie Lachian Dances; Taras Bulba.London Philharmonic Orchestra, FrancoisHuybrechts, cond. London CS 6718, $5.98.Selected comparison (Taras Bulbs):Kuban k DOG 2530 075

Huybrechts, a Belgian still only in his mid -twenties, is a onetime winner of the New YorkMitropoulos and European Von Karajan con-ducting competitions, a former assistant toboth Bernstein and Szell, and a fast -rising starin the international musical world. He makeshis London recording debut in a refreshinglynonconventional program which reveals boththe extent and limitations of his present skills.

He does extremely well with Janata's de-lectably piquant Laski Tance, reminding usagain how unjust is the relative neglect ofpieces which should be every bit as popular asSmetana's Slavonic and Brahms's HungarianDances. Certainly two of Janatek's (Poleh-nanj, and Pilky) are if anything even more ir-resistibly lilting, while another (Starockivnpl)is a quite incomparably enchanting mood evo-cation. However, Huybrechts demonstratesless personality projection and less taut dra-matic control in the much more elaborate andpicaresque Taras Bulba Rhapsody-or at leasthe's made to seem so by comparison with lastyear's masterpiece by Kubelik. Then too, thepresent recording, admirably clean and honestas it is, is outmatched by the extraordinarilyimpressive DGG engineering.

But we'll be hearing again, and often, fromso promising a youngster as Huybrechts-andmeanwhile his Lachian Dances should not bemissed. I can't claim that they're preferable tothe Newman/Telefunken version of a yearand a half ago, since I haven't yet had a chanceto hear those, but I can heartily recommendthe present recorded performances for theirown mightily engaging appeals. R.D.D.

Joins: Quartet for Strings, No. 6; Sonatinafor Violin and Piano. New York String Quar-tet; Paul Zukofsky, violin; Gilbert Kalish, pi-ano. For a feature review of this recordingwith works by Crumb, Berio, and Laderman,see page 80.

KAGEL: Acustica. Cologne Ensemble forNew Music. Deutsche Grammophon 2707059, $13.96 (two discs).

CIRCLE 18 ON READER -SERVICE CARDCIRCLE 61 ON READER -SERVICE CARD -IP

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seem perfunctory, the players evoke fromtheir unusual instrumental arsenal a truly star-tling variety of sound effects. The result is a"noise" piece in the purest sense: Instead ofmusical line and development, there is onlythe momentary quality of the sound on whichthe ear can focus.

Kagel does this kind of thing very well (hehas a sense of musical humor, which doesn'thurt), although the one -hour -and -twenty -minute length of this work may well put offmany listeners. The piece is divided into fourindependent sections, however, each of whichis on one side of the two records; and the com-

********************by R. D. Darrell

The Real Stephen FosterRediscovered

SOME OF OUR quintessentially "American"musical prophets, like Billings and Gotts-chalk, were honored in their own day, thenneglected for years, and only recently havebegun to make a comeback. Another, Ives,was largely ignored during his active lifeand only lately has begun to win at leastvogue attention. Stephen Foster. however.always has commanded incalculable masspopularity; yet, paradoxically, relativelyfew of his many works are generallyknown nowadays and these almost invar-iably only in arrangements that disguise ordistort their inherent features. In particu-lar, Foster is far too often known as a

blackface minstrel. And while a few of hismore representative nostalgic airs andsongs of unrequited love are familiarenough, they are seldom if ever sung in theway Foster intended and as his contempo-rary listeners knew them.

Innumerable Foster recordings, pastand present, have been of no help in re-placing myth with truth-with only two ex-ceptions of which I know: the 1959 collec-tion by Robert Shaw soloists and ensemblewith occasional banjo -only accom-paniments (RCA Victor LSC 2295); andthe 1963 recital by Richard Dyer -Bennetwith piano accompaniment (Dyer -BennetII). But the former is largely confined torelatively familiar selections which aredone in arrangements, even though theseare exceptionally deft and in good taste;and the latter, while wider -ranging rep-ertorially and done admirably "straight,"was recorded in mono and probably neverachieved a fraction of the circulation itsmerits deserve.

These considerations throw into evenhigher relief the impressive attractions andauthenticity of the present release. It com-prises four duos and ten solo songs whichare evenly divided between a mezzo-so-prano and a baritone, and which representnovel as well as familiar aspects of Foster'smelodic inspiration. Except for one com-position of 1846. the songs date from the

1850s and '60s, and they are done, as theymight have been in that period, withsimple parlor piano or wheezy reed -organaccompaniments, occasionally augmentedby discreet flute, violin, or (in one case)keyed -bugle obbligatos. Even the instru-ments themselves date back to this period:an 1850 "square" piano, 1864 melodeon,etc., all drawn from the collection at theSmithsonian Institution in Washingtonwhere these recordings were made. Andbest of all, the performances by both vo-calists and instrumentalists are ideally re-strained yet fervently expressive, nevereven threatening to slip over the thin edgethat separates genuine sentiment from theabyss of sentimentality. Everyone and ev-erything here wins lively praise, not ex-cluding the clean ungimmicked engineer-ing and the complete, full -text liner notes.

Yet, for me at least, even such excep-tional musicological and other attractionsare dwarfed by the sheer magic of MissDeGaetani's voice and artistry. It's onlynow that I realize how much I lost in miss-ing her earlier recorded appearances,mostly in avant-garde works; but even bel-atedly .she is a rare discovery indeed. Sowhile Nonesuch's remarkable "Songs ofStephen Foster" is a must for every collec-tor of the best in musical Americana, MissDeGaetani's heart -twistingly beautifulsinging makes it no less essential to every-one who recognizes and responds to su-preme vocal gifts.

FOSTER: Song Recital. Jan DeGaetani,mezzo; Leslie Guinn, baritone; GilbertKalish, piano and melodeon; Robert Shel-don, flute and keyed bugle; Sonia Mono-soff, violin. Nonesuch H 71268, $2.98.Jeanie with the Light Brown Hair; There's aGood Time Coming; Was My Brother in theBattle?; Sweetly She Sleeps, My Alice Fair; IfYou'd Only Got a Moustache; Gentle Annie; WiltThou Be Gone, Love?; That's What's the Matter;Ahl May the Red Rose Live Alway; I'm NothingBut a Plain Old Soldier; Beautiful Dreamer; Mr.and Mrs. Brown; Slumber My Darling; SomeFolks.

****************** **100


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OCTOBER 1972

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poser informs us that he doesn't assume thatone will listen to the entire work continuously.The recording is excellent, and the album in-cludes a three -page photo spread showingsome of the new instruments. The composer'snotes are also helpful, although the Englishtranslation is incredibly bad and in someplaces completely misleading. R.P.M.

LADERMAN: Stanzas. Chamber Orchestra,Jorge Mester, cond. For a feature review ofthis recording with works by Crumb, Jones,and Berio, see page 80.

MENDELSSOHN: Concertos for Violin andOrchestra: in E minor, Op. 64; in D minor.Yehudi Menuhin, violin; London SymphonyOrchestra, Rafael FrUhbeck de Burgos,cond. Angel S 36850, $5.98.Selected comparison (E minor concerto):Zukerman Col. 7313Selected comparison (D minor concerto):I Music' Phi. 6500 099

Mendelssohn's much -played, much -recordedE minor Concerto can still be a delight, espe-cially when played with the affection thatMenuhin reveals. For those who enjoy ex-tremely romantic interpretations-completewith heavy vibrato, elastic rhythm, and muchsobbing and sighing from the soloist-Men-uhin is it. He takes a slower tempo than usual,a tempo that gives him freedom to milk themelodies for all they are worth and one thatdoes good things for the finale, where the solocan sound skittish and scratchy at high speed.

Neither the tempo nor the rhythmic freedomdoes the piece any harm; the pulse is never lostand the themes and structure are strongenough to bear some exaggeration. AlthoughMenuhin is delightful-and technically flaw-less-all through, he probably reaches hisheight in the slow movement. His playing hereis as close to singing as an instrumentalist canget; it makes one wonder if the movementwouldn't sound just as good arranged as atenor aria.

The Zukerman recording represents the op-posite pole of interpretation. It is more con-ventional in tempo; it is straightforward, ex-tremely well played, but utterly lackingMenuhin's lushness. Choice here is obviouslya matter of personal preference, either forslightly understated or slightly overstated ro-manticism. The two recordings make conven-ient reference points to show how very differ-ent a familiar piece can sound as played bytwo different men.

The London Symphony and FrOhbeck deBurgos give Menuhin fine support here, buttheir presence is somewhat overwhelming inthe D minor Concerto, a work first performedin public by Menuhin. He plays it excellently,but the over-all effect is spoiled because theorchestra is simply too large. Mendelssohncomposed this at fifteen for one of his familymusical salons; it is safe to assume that eventhe wealthy Mendelssohns did not have theLondon Symphony at their disposal for infor-mal soirees. For this work I prefer the record-ing by I Musici. Roberto Michelucci cannotquite compare to Menuhin as a soloist, yet the

piece is more effective when played by thesmaller ensemble A.M.

MozART: Concertos for Woodwinds and Or-chestra. Andreas Blau and James Galway,flutes; Lothar Koch and Karl Steins, oboes;Karl Leister and Herbert Stahr, clarinets;Gunter Piesk and Manfred Braun, bassoons;Norbert Hauptmann, horn; Fritz Helmis, harp;Berlin Philharmonic Orchestra, Herbert vonKarajan, cond. Angel SC 3783, $17.94 (threediscs).For Bassoon, in B flat, K. 191 (Piesk); for Flute, in G,K. 313 (Blau); for Clarinet, in A, K. 622 (Leister); forOboe, in C, K. 314 (Koch): for Flute and Harp, in C,K. 299 (Galway and Helmis); Sinfonia Concertantefor Oboe, Clarinet. Horn, and Bassoon, in E flat, K.297b (Steins, Stahr, Braun, and Hauptmann).

MOZART: Concertos for Horn and Orches-tra. Barry Tuckwell, horn; Academy of St.Martin -in -the -Fields, Neville Marriner, cond.Angel S 36840, $5.98.No. 1, in D, K. 412; No. 2. in E flat, K. 417; No. 3, in Eflat, K. 447; No. 4, in E flat, K. 495; No. 5, in E, K.494a; Concert Rondo for Horn and Orchestra, in Eflat, K. 371.

Selected comparison (oboe concerto):Holliger, Stadlmair Arc. 198342Selected comparison (clarinet concerto):De Payer, Maag Lon. 6178Selected comparisons (horn concertos):Brain, Karajan Ang. 35092Tuckwell, Maag Lon. 6403

Is it possible, just barely possible, that Mozartreally was a minor composer? After hearing

Continued on page 106

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OCTOBER 1972

Karajan's Schumann-The Best Edition Ever of the Symphonies

by Harris Goldsmith

Von Karajan has to his credit two recordingsof the Schumann piano concerto (the cele-brated 1948 version with Dinu Lipatti and anexcellent but less well-known version withWalter Gieseking from the mid -1950s); thereis also an earlier edition of the Fourth Sym-phony (EMI, vintage 1959, never released inthis country). On the whole, though, Schu-mann has not been a particular mainstay inthis conductor's repertory, on or off records-astrange lacuna, because the present collectionamply demonstrates his affinity for the music.As with the recent Scotch Symphony by Men-delssohn (another composer previouslyslighted in Karajan's discography), this con-ductor's flawless refinement, his classical bent,his patrician reserve, and his sense for atmos-pheric nuance make him a natural for earlyRomantic music. While it is possible to findKarajan's Mozart, Haydn, and Beethoven abit too smooth and soupy in tone, the touch ofsensuousness is far more appropriate in Schu-mann.

In any performance of the Schumann or-chestral works, there is the question of scoringto be considered. For years, Schumann was re-garded as a sort of orchestral stepchild. FelixWeingartner, for example, regarded all thelast movements save that of the Spring Sym-phony as empty banality, and thought that thismusic made a better effect as a piano duet.Both he and Mahler recommended wholesalerevisions in the instrumentation, and even agenerally conservative director such as the lateGeorge Szell followed some of their sugges-tions without making them obtrusive. Leon-ard Bernstein, on the other hand, made a bigpoint of recording the Schumann symphoniesin their original orchestration; but he receivedsuch dismal, cavernous sound, and balancedhis forces so poorly that nothing could beheard clearly. On their recordings, Paul Parayand Rafael Kubelik, though, appear to be us-ing either Schumann's original or somethingextremely close to it and yet then manage toobtain clarity and suavity.

Karajan provides another such examplethat Schumann did know what he was about.Perhaps the finished album will include a fewwords vis-à-vis the conductor's choice of edi-tion, but listening to the test records blind, soto speak, my ear heard little deviation fromthe printed text. There were no Mahleriantrombone reinforcements at bars 27 et seq. inthe Adagio of No. 2, none of Szell's strange oc-tave -higher adjustments at bar 359 onward inthe same work's finale, nor were the hornsallowed to double the clarinet and bassoonparts in the first movement of the Rhenish bars61 to 70-although that revision is bothfrequently encountered and, I think, highlydesirable (it helps bring out an importantcountermelody that at best sounds a bit thinand drab in Schumann's original scoring). Onthe other hand, the opening of the last-namedsymphony is so smooth and lustrous in sound

that it is quite possible the conductor haspruned the chug -chug tremolando figures ofthe violas and second violins as many conduc-tors do. Karajan, then, may well be making afew adjustments, but if so they are of a highlysubtle nature-nothing at all like the sweepingchanges of a Mahler or a Toscanini (whoadded drum rolls and even extra trumpet mot-tos in the last movement of No. 2).

The type of recorded acoustic is as crucial toSchumann's music as any minor (or major)details of scoring. For the most part, DGG'ssonics are highly attractive and appropriate.The producers have given us a moderately dis-tant pickup in a big hall with a fairly wide re-verberation span. and yet plenty of impactivedetail. In a way the sound here is rather likethat afforded Kubelik in his earlier DGG trav-ersal with the same orchestra, but-save for asingle exception-a bit sharper in perspective,lighter, and more brilliant. By comparison,Columbia's ultraclose pickup for Szell seems amite boxy and unreal-everything is heardthere to be sure, but the effect is rather cannedand one-dimensional alongside the solid andlifelike Karajan sonics. What little I haveheard of Solti's London set seems a trifle rawand brash by comparison; and as noted ear-lier, Bernstein's sonics are a full-fledged disas-ter.

Karajan's account of the Spring Symphonyhas a vernal freshness. I have heard more frol-icsome readings (the fine old Leinsdorf/Cleveland, for instance), but for a combina-tion of clean-cut vigor and tonal beauty. Kara-jan's would be hard to beat. He judges all thetricky tempo relationships to a tee and thefine -spun detail is all there yet not too obtru-

sive. The triangle in the first movement, to citeone specific, is used in a coloristic way and notlike an overzealous alarm clock.

The first movement of the Second Sym-phony fits together with wonderful tautness,and Karajan's decision to have his timpanistplay with hard sticks is to be applauded. TheScherzo, though not unduly fast, has a Men-delssohnian fleetness and none of the spikymot° perpetuo show-off quality unpleasantlystressed in the readings of Solti and Szell. Thefinale seemed fast rather than powerful onfirst hearing, but after several repetitions Icame to like it more. Certainly it must be ad-mitted that Karajan holds the movement's dy-namic and lyrical dichotomy in admirable bal-ance (with none of Szell's finnicky point -making at bar 474 after the l'istesso tempo).Unfortunately, the Adagio espressivo-my fa-vorite Schumann symphonic movement-isdisappointing as Karajan does it: He phrasesvery carefully but reverts to his earlier slick,bland style. I suspect that the problem is acombination of a slightly too reticent phrasingand a faulty recorded balance which blunts thetimbres. Certainly the all-important bassooncountermelody beginning at measure 9 issadly underrecorded. On the whole, Kubelik'saccount is preferable and readers might like toknow that Toscanini's sensational 1941 per-formance is available on disc-in surprisinglygood sound-from the Toscanini Society.

Karajan's Rhenish is a splendid statement-clean, direct, admirably energetic, and beau-tifully engineered. His performance resemblesSzell's in its cleanliness and lack of rhetoric.Some listeners will feel that Giulini. Kubelik,and Toscanini all gave more profile and indi-viduality to the music, but it is hard to faultKarajan's statement in any way.

Karajan's account of the Fourth Symphonyis pretty much in a class by itself among cur-rent editions. He commands the orchestrawith crackling impetus and produces an idealblend of light clarity and dark mass, caressingrubato and hair-trigger rhythm. Szell's ac-count, by comparison, sounds a shade busi-nesslike, while Kubelik's goes slack in a fewsections. At first I thought Karajan verged onmannerism in the finale, but he does it all soconsummately I was ultimately convinced.

Everything considered, this is probably thebest edition ever of the complete Schumannsymphonies.

SCHUMANN: Symphonies: No. 1, in B flat,Op. 38(Spring): No. 2, in C. Op. 61; No. 3, inE flat, Op. 97 (Rhenish); No. 4, in D minor,Op. 120; Overture, Scherzo, and Finale,Op. 52. Berlin Philharmonic Orchestra. Her-bert von Karajan, cond. Deutsche Grammo-phon 2709 036. $20.94 (three discs).Selected comparisons:Bernstein Col. D3S 725Kubelik DGG 138860/138908/138955Solti Lon. 2310Szell Odys. Y3 30844


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Continued from page 102

Karajan's bloodless album of wind concertos,one could easily be excused for entertainingthe doubt. As might be expected, the Berlinsoloists acquit themselves with honor, andKarajan's authority and technical expertiseproduce an ensemble sound that rarely lets aseam show. But such pallid and powderedMozart they give us, and such a plethora ofcandlelight -and -silver mannerisms. Didn'tthis style peak out around the time of Ray-mond Scott's In an 18th Century DrawingRoom? Evidently not, as a sampling of this col-lection at almost any point will demonstrate.Compare, for instance, the Holliger perform-ance of the oboe concerto with Lother Koch'sin the Karajan set; see how Holliger curvesphrases, colors the tone. and varies timbre and

body in a thousand ways. whereas Karajan'sman plays with little brio and a numbing lackof contrast. Or listen to the clarinet concerto inDe Peyer's tastefully inflected version. inti-mate and graceful. yet more expressive at ev-ery turn than Karl Leister's accomplished butrelatively drab reading. What. one comes towonder, is Karajan trying to tell us in theseperformances? That the clarinet concerto isnot, as we had imagined, a touching statementby a mature genius, but rather an interlude ofdinner music? That the Flute Concerto No. I.which we know to be a lively piece eventhough not the best Mozart. is actually rococotrash? Certainly the flutist. Andreas Blau.seems unwilling to suggest even mild pleasure,and his clear, uncolored tone contributes tothe antiseptic severity.

The uniformity of approach, of course. is

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Karajan's contribution, and is reflected clearlyby the soloists in the flute and harp concerto.That genial charmer is no more only a light sa-lon piece than the other wind concertos-Ein-stein has written that all these works evoke acertain fresh -air quality, as if windows hadsuddenly been opened in the concert hall. ButKarajan. with his overconcern for smooth -edged attacks and orchestral homogeneity,keeps all windows closed. He drains off theemotion from the stronger works and deprivesthe lesser ones of their danceable pulse. Howsuccessfully he contrives all this may be heardduring a few moments when his hand leavesthe wheel-for instance, in the first -movementcadenza of the flute and harp concerto. Here,even the harp, which has plunked along in thedistant background as if on an obbligato as-signment, takes life, while the flute (JamesGalway) puts on a spirited and quite dazzlingdisplay.

But if one cannot agree with Karajan'srather vulgar manicuring and trivializing ofMozart. Barry Tuckwell's remake of the Mo-zart horn concertos offers a thoroughly per-suasive alternative. Tuckwell's older versionof these works, with Maag, stood up wellagainst all competition, although DennisBrain's legendary mono performances remainin a special untouchable category. Tuckwell'snew disc, however, moves close to that cate-gory, thanks in large part to the lithe and sensi-tive accompaniments provided by NevilleMarriner and the Academy of St. Martin -in -the -Fields. Marriner's instrumental group in-cludes a harpsichord, which may be justifiedfor reasons of texture and sonority but also be-cause its presence requires moderated volumelevels that permit the horn to play in its mosteffective dynamic range, without cracking orforcing.

As on the older London disc, Tuckwell in-cludes not only the four apparently completeconcertos (there has long been some questionabout the two -movement K. 417) and the frag-ment in E flat, but also the unfinished Con-cert Rondo. K. 371. Tuckwell has filled outthe orchestral parts to the Rondo-the solopart was finished by Mozart-and the result isa slight but pleasing addition to the horn rep-ertory. The E flat fragment is left, as in theolder Tuckwell disc, to flicker out on an unre-solved note, like The Art of Fugue.

Even without benefit of comparison withKarajan's Mozart, the Tuckwell/Marrinerperformances would lift one's spirits. Thehorn's agility here is phenomenal: the sus-tained notes effortless, unwavering and deadon pitch; the staccato clean and unsmeared:the ornaments deftly integrated into the or-ganic whole, not grafted to the music's skin;the cadenzas (brief and sensible) flicked offwith a trumpetlike flexibility and brilliance.

But what makes Tuckwell's playing irresist-ible is not, in the end, that he plays the horn sowell. but that he plays Mozart so well, in a waythat redeems that composer from the imper-sonal clutches of Karajanism. A tucket,please. for Tuckwell. D.J.H.

SHApEr: Rituals for Orchestra; Quartet forStrings, No. 6-See Shifrin: Three Pieces forOrchestra.

SHIFRIN: Three Pieces for Orchestra.SHAPEY: Rituals for Symphony Orchestra;Quartet for Strings, No. 6. London Sin -



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Oc-ToBER 1972 107

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fonietta, Jacques Monod, cond. (in the Shif-rin); Ralph Shapey, cond. (in Rituals). Com-posers Recordings CRI SD 275, $5.95.

These three works are all fairly recent winnersof the Naumburg Recording Award, althoughthe works themselves are not recent-theywere composed in the Fifties-and thereforedo not represent their conipdsers' latestthought.

Seymour Shifrin's Three Pieces for Orches-tra is actually a symphony in three movementswith the brusque, vigorous, dynamic outsidemovements so typical of its period; but theprofoundly serious, lyrical, and deeply mov-ing middle movement of the kind that tran-scends considerations of period because itachieves a great musical statement. Shifrin haswritten much fine music, and far too little of ithas found its way onto discs; it is difficult toimagine, however, that he has anything finerin his portfolio than this magnificent Largo as-

Shapey's Rituals is a short, somewhat We-bernian piece wherein motive -shapes buildand build and build, constantly proliferatinginto new and fascinating forms until the musicbursts forth in an aleatory passage whereinthree solo saxophones and the rest of theorchestra raise both the roof and the hair onthe listener's head. You have had an Experi-ence, capital E, when you have heard thatfinale to Ralph Shapey's Rituals.

His Sixth String Quartet is as quiet and un-derstated as Rituals is boisterous; the lyricismof the music is attained in part through the ex-tremely subtle handling of nuance; you don'tknow what pianissimo can do until you haveheard this remarkable string quartet.

Performances are presumably authoritativeand the recordings are excellent. A.F.

SCHUBERT: Quartets for Strings: No. 13, in Aminor, D. 804; No. 12, in C minor, D. 703(Quartettsatz). Guarneri Quartet. RCA VictorLSC 3285, $5.98.Selected comparison (Quartet No. 13):Amadeus DGG 139194

A couple of years ago, on the occasion of thefifth anniversary of its founding, one of themembers of the Guarneri Quartet remarked inan interview that as time went on the groupfound itself growing mellower and more "Eu-ropean." He recalled that after a concert inGermany a listener had commented that theGuarneri played like a German ensemble,while some German ensembles were begin-ning to play more "American." Well here it is,corroborated in this splendid Schubert A mi-nor Quartet: a performance that refuses to behurried, refuses to slice into accents simply forthe sake of quick excitement, that takes thetime to let inner and bottom voices makethemselves felt. And it is perhaps this lastcharacteristic which is the real secret of theGuarneri's special quality. For in Schubert,after all, so much more goes on than merelythe activity of the top melody line; and evenwhen it predominates, the little confirmingcomments of the viola, for instance (see theMinuet), or the sturdy reassurance of the cello(during that hymnal beginning of the An-dante) are a good part of the story. There arefew ensembles around today that match theGuarneri in this exceptional sensitivity to bal-ance, and when this is added to its other assets,



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OCTOBER 1972


109

like warmth of tone, cohesiveness of rhythm,and flexibility of dynamics, the result is cham-ber music in a close to ideal state.

The A minor Quartet is taken, in eachmovement, at a duly deliberate pace, whichnever sags because the rhythm holds every-thing together. The Amadeus Quartet, for in-stance, is consistently faster, and makes a goodcase for itself. The Minuet simmers with amore overt energy than in the Guarneri per-formance, and the finale is tighter and snap-pier. But somehow the Guarneri loses nothingby its deliberation-quite the contrary. Thedeep introspection of the first movement isemphasized; and the finale, if it doesn't"snap," has the springiness of a cat's tread,and that is even harder to achieve. In short, theGuarneri has pulled off another triumph.

The Quartettsatz performance re-empha-sizes the points already made, though the pac-ing is less deliberate and the bite is more em-phatic. One's overriding impression, onceagain, is the magnetism of the inner voices,which adds an extra dimension to the work.

S.F.

ScHuBERT: Sonata for Violin and Piano, inA, D. 574; Fantasia for Violin and Piano in C,D. 934. David Oistrakh, violin; Frieda Bauer,piano. Melodiya/Angel SR 40194, $5.98.Selected comparison (sonata):Schneider/Serkin Van. 71146

Oistrakh and his keyboard partner of twelveyears, Frieda Bauer, combine a seasoned mel-

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lowness with a driving vigor that is wonderfulfor Schubert; it comes to the fore right away inthe first movement of the A major Sonata,where the gentle and benevolent presentationof the first subject is surmounted by a surpris-ingly intense second subject. I say surprisingbecause the generally high -voltage perform-ance by Schneider and Peter Serkin makes lessof the contrast between the two sections. Youcan argue the movement both ways, and Imust acknowledge that even Oistrakh cannotmake me lessen my regard for the olderrecording in toto, in which the piano part has aspecial feeling of restrained power and the co-hesion between the two players is almostunique. But there is room for both versions,and they are not as far apart as one might haveimagined. Oistrakh and his pianist bite intothe Scherzo and let themselves go with an ex-citing impetuosity without reaching the almostdemonic point that Schneider and his pianistdo, and Oistrakh is extremely sensuous, al-most insinuating, in the trio. The Andantino,with its simple little tune that might serve asone of those deceptive openers in a Paganinicaprice, is handled with the directness it de-serves, and the interplay between violin andpiano, here as elsewhere, is breathtakinglybeautiful. The finale is a tenser matter withOistrakh than with Schneider, but the rhyth-mic control remains elegant and resilient.

The Fantasia-which emptied the hall whenit was first played in Vienna in 1828-is a thor-ough joy. Oistrakh captures the distant omi-nousness, the extreme inwardness, of thatamazing opening, and then Miss Bauer takesflight and soars. The Allegretto is jubilant; thetheme and variations are to the point, and thebrilliance of the march theme in the course ofthe final section seems to put a stamp of ap-proval on everything that has gone before.Only one complaint: The Melodiya recordingrenders the violin sound rather harshly, anddouble stops in particular tend to be edgy. Thepiano, on the contrary, is mellow and clear.But don't let considerations of sound, in thiscase, stand in your way. S.F.

SCHUMANN: Abegg Variations, Op. 1; Sym-phonic Etudes, Op. 13. Claudio Arrau, pi-ano. Philips 6500 130, $6.98.

It is always a pleasure to hear Schumann's pi-ano textures unfold under the hands of a mas-ter such as Arrau. The sonority, thoughsparely pedaled (and in this case closelymiked), takes on infinite deepness and variety.Arrau's almost fanatical care for detail and hisimaginative sense of color and inner voicesadd a third dimension to the music. You mightsay he provides the requisite magic carpet tolaunch Schumann's soaring inspiration.

Alas! There are difficulties with the take-off. This pianist, it has always seemed to me, isat his best in concert. In the recording studiohe is sometimes apt to become ensnared in hisown meticulousness. Here a finicky concernfor point -making effectively prevents the mu-sic from taking wing. Time and again, longerlines are fragmented by little hesitations andaltitude is simply lost. This is particularly trueof the Op. 13 which Arrau apparently regardsas a series of individual studies rather than onecontinuous whole. Everything points to thatconclusion: the slow tempos; the insertion atarbitrary points of the five introspective vari-ations expunged by the composer from his

110 CIRCLE es ON READER -SERVICE CARD -4

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later edition (they expand the work emotion-ally but don't exactly help succinctness); theuse of the original 1837 version of the finale,which to my mind is a trifle rambling andweak structurally. Gorgeous playing, to besure, but I find it rather frustrating, so intro-verted as to be unnerving. In the end I have thefeeling that we have Arrau's subjective reac-tions to the music rather than the object itself.The earlier Abegg Variations give less roomfor such soul-searching, and fortunately Arrauis mostly content to lavish beautiful pianismon them without asking too many questions.But even here I have heard more sparkle andlightness. Arrau brings warmth and charm tothe score, but not the humor and whimsey.

To sum it all up, Arrau is not at his best

here, but students of fine pianism should hearthese performances anyhow: They can learn agreat deal from them. H.G.

&muss, R.: Capriccio.CountessCountFlamandOlivierLa RocheClaironMonsieur TaupeItalian TenorItalian SopranoMajor Domo

Gundula Janowitz (s)Dietrich Fischer-Dieskau (b)

Peter Schreier (t)Hermann Prey (b)

Karl Ridderbusch (bs)Tatiana Troyanos (m)

David Thaw (t)Anton de Ridder (1)

Arleen Auger (s)Karl Christian Kohn (bs)

Chorus and Orchestra of the Bavarian Radio,Karl Bohm, cond. Deutsche Grammophon2709 038, $17.94 (three discs).

can pay twice as much,system. Write TRUSONI

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Selected comparison:Sawallisch Ang. 3580

It was time for another version of Capriccio.The pioneering Angel set, now about thirteenyears old, was never more than sonically ade-quate, and at some points (the Octet, for ex-ample) the recording failed to do anything likejustice to the music's complexity and ampli-tude. Today the Angel album sounds lusterlessand lacking in clarity. Not so the performanceitself, which still comes through as vibrant, lu-cid, and, best of all, touching. Everyone en-gaged on that project seems to have been firedby a sense of occasion. The conversational ex-changes that form so large a part of the work'sstructure are handled with impetuousness andease, the text is buoyantly alive, the big dra-matic moments are compelling, the lyricalscenes are irresistible. A lot of this comes fromthe admirable conducting of Wolfgang Sa-wallisch, a lot from the fine cast of singers ledby Elisabeth Schwarzkopf.

To give a warm greeting now to Karl13Ohm's recording on DGG is not by anymeans to imply that the earlier performance issuperseded. These sets are not alternativechoices. Each is musically good enough to co-exist side by side.

What makes the present set so welcome,however, is its vastly superior sound. Thesimple fact that the opera has been recorded instereo means that the many strands of the mu-sic are clearer, the textures are more trans-parent, and the balances more finely adjusted.There is a new intimacy and richness to themusic, a satisfying combination of delicacyand refulgence, of subtlety and sensuousness-essential features of Strauss's later composi-tions. With these discs it is now possible fullyto appreciate the radiance of the composer'sfinal operatic vision.

Capriccio, subtitled A Conversation Piece forMusic in One Act, is an intimate work. Thoughit is scored for a large orchestra, it begins witha string sextet, and it never strays far from or-dinary social behavior. Its subject, whichmight at first glance seem dauntingly abstractfor a theater piece, is nothing less than the pe-rennial conflict between words and music, andthe need for a composer of opera to reconcileone with the other. But Strauss never mistakesthe stage for the lecture platform, and his ar-gument is exemplified-that is, brought tolife-by characters who embody the differentsides of the dispute. At the center stands theCountess Madeleine, on either side her suit-ors-Olivier, a poet, and Flamand, a compo-ser. The two men are to collaborate on an op-era in her honor, and she must choosebetween them. None of these personages is asengagingly human or sympathetic as earlierStrauss characters like Elektra, the Marschal-lin, the Composer, the Dyer's Wife, or Ara-bella, but even if they do not call forth our loveand understanding in quite the same way wenever doubt that they exist. They engage ourattention and draw us into Strauss's imagina-tive orbit. Unlike their predecessors, they donot have destinies to fulfill, they have person-alities to reveal. They constitute Strauss's agedhomage to man's civilizing instincts. Becauseof their unheroic scope, because their mediumis lyrical discourse, they are best encounteredin the confines of a tiny house (though prefer-ably one with high performing standards!)like Glyndebourne or the Cuvillies' Theater inMunich. Or, for that matter, on disc. Although


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Why Does inFiniTyUse a 12" Woofer inTheir $139 Speaker?

Virtually all speaker systems in thisprice range use a 10" or smaller woofer.This is to cut costs and to obtain decentmidrange response. However, we weredetermined that at $139.00 our Infinity1001 should have the widest and smooth-est response possible for a bookshelf -sizesystem.

From the basic laws of physics, welearn that the resistive component of theair load on the bass speaker is greaterfor larger woofers. This means that atlow bass frequencies a 12" woofer willtake a much larger "bite" on the airthan a 10" woofer. Furthermore, a 12"woofer has to move a much smaller dis-tance than a 10" woofer for equal soundpressure levels. This fact implies lowerdistortion characteristics for the largerwoofer, particularly on the low organtones and heavy bass guitar passages inrock music . . . bass you can actuallyfeel. The Infinity 1001's 12" woofer isloaded into a transmission line enclosure.This type of loading provides very uni-form response down to extremely lowfrequencies while maintaining smoothand well -dispersed midrange response.What we have accomplished is a "tight-ness" and clarity associated only withlive music - not with other speakers.

Another feature contributing to the1001's sonic accuracy is the utilizationof a frequency boost network for thetweeters which allows constant energyresponse to 20 KHz. Both front andrear facing tweeters combine to eliminatethe high frequency beaming effect whichis sonically irritating and which hampersstereo imaging.

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CIRCLE 37 ON READERSERVICE CARDI I 4

in the latter case there is a distinct visual loss,we do have the compensation of being able tofollow all the ramifications of ClemensKrauss's wise and witty libretto and of appre-ciating the ripeness of Strauss's compositionalskill. Sheer inspiration visited the composerless frequently in old age than in his prime, butat the end his cunning was prodigious.

Bohm makes the most of this element inStrauss's work. Bohm's firm grasp and sense ofpropulsiveness in the ensembles are admi-rable. The parlando passages move like clearrunning water, the dances (set to violin, cello.and harpsichord) have a fitting lilt and deli-cacy. the outburst of the theater director. LaRoche, in defense of his art resounds with pas-sion. Less appropriate is &ohm's way withStrauss's lyrical expansiveness. At these pointswhere the old man's genius took over from histalent-especially in the long self-questioningmonologue for the soprano which brings theopera to a ravishing conclusion-Bohm losesenergy. slows up too much, lets the texturescoarsen slightly. Consequently the perform-ance, admirable, skillful, and musicianlythough it is. doesn't quite take flight as itshould. Even the aged Strauss needs to be han-dled with lyric fervor.

Gundula Janowitz. the Countess, is coolerthan her predecessor. more like Lisa DellaCasa than Elisabeth Schwarzkopf. Janowitz'flutey choirboy sound gives her performancean appropriate well-bred reserve. but becomeshard to enjoy after a while. since it tends tomonotony and verbal remoteness. She fails toheed the warning contained in the composer's

'Gait/tyatThis is a complete recording of EdwardFitzgerald's 5th version, and is the cu.mulative effort of three men of genius.

It is followed by a few comments andcomparisons, and also Pedro Calde-ron de la Barca's The Dream CalledLife and Life is a Dream.

Lastly, beginning with Hamlet's solilo-quy, there is some of the best that isto be found in Shakespeare.

A purchaser writes: "The record is be-ing played over and aver, it is mytreasure."

And from Canada, this judgment andrequest: "Because the record is such abeauty, send me another one ..."

A superlative delivery of superlative poetry

by Levi. ZouL

S6.50

PI.. Applicable Soles Tea

only for N.Y. Slot. residents)

Available Only By Mail

PUBLIC OPINION

Box H -4044 Long Island City,New York 11104


preface to the score when he advised the sing-ers to aim for "the clearest possible pronuncia-tion of consonants." On the other hand,Schwarzkopf on Angel overemphasizes thetext. She overinflects and as a result sounds toostudied, too unspontaneous to be musicallyconvincing. Moreover, her vowels now seemdecidedly odd.

But as a whole, each cast is exceptionallystrong. The new La Roche, Karl Ridderbusch.is very different from Angel's Hans Hotter.Hotter is as majestic as only he can be, but hisvocal manner is ungainly, whereas Rid-derbusch is no less intelligent and a muchmore beautiful singer. His performance of themonologue is superb and full of sensitive de-tail, like the inflections he gives the lines " VollPietist huge ich das Alte" ("Full of reverence Iguard the past") while still maintaining a flowof beautiful legato tone. Dietrich Fischer-Dieskau, Sawallisch's admirable Olivier. is

now BOhm's unemphatically masterful Count.Madeleine's brother. Clairon, the actress he isintrigued by, is played very satisfactorily byTatiana Troyanos. though she is less fascinat-ing than Christa Ludwig. Peter Schreier's Fla-mand and Hermann Prey's Olivier are first-rate, and David Thaw's Monsieur Taupe, thepathetic prompter who rises up like a ghosttoward the end of the opera, is a marvelouscharacterization. The entire cast is admirable.except Anton de Ridder, the rather weak Ital-ian Tenor. The Bavarian Radio Orchestra, notquite the equal in virtuosity of the old Philhar-monia Orchestra. is a fine responsive bodynonetheless. Under Bohm they impart a glow-ing refinement to what is in effect Strauss's tes-tament as an opera composer. D.S.H.

SZYMANOWSKI: Metopes, Op. 29. TUROK:Transcendental Etudes, Op. 30; LittleSuite, Op. 9; Passacaglia, Op. 10. Regis Be.noit, piano. Orion ORS 7274, 5.98.

Szymanowski's music is rarely performed, atleast in this country, and it is good to have thisrecording of three of the Polish composer's pi-ano pieces. "Metopes" are the reliefs found infriezes of Greek temples of the Doric order,and these similarly named pieces are, as itwere, musical "reliefs" representing femalefigures from the Odyssey: the Sirens, Calypso,and Nausicaa. respectively. Written about1920, they feature elaborate pianistic fig-uration in combination with a somewhat lan-guid melodic conception in a style stronglyreminiscent of Debussy and, at times, Scria-bin. Yet the works are not without their ownpersonality. and they wear well over repeatedlistenings.

The compositions by Paul Turok, whichmake up the remaining (and major) portion ofthe disc. are much more difficult to deal with.Turok, an American born in 1929, was pre-viously unknown to me as a composer, and heis not an easy one to place. First of all. his mu-sic is extremely derivative; yet the sources ofderivation seem to change from piece to piece.and range from pure Liszt (e.g., in the first ofthe Transcendental Etudes, which in fact in-corporates Liszt's Nuages gris complete andunaltered) to a sort of simplified Bartok in thesecond movement of the Little Suite. It is ofcourse no surprise to hear influences in a com-poser's work, but rarely does one encounter solittle apparent attempt to establish a personal


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voice. Yet what is finally most striking in thesepieces is how beautifully realized they are. Tu-rok is obviously a composer of extraordinarytechnical accomplishment, and despite the de-rivative aspect his music is never predictable.In fact, all of these works are of considerableinterest, both as studies for the piano ( forwhich Turok writes with unusual flair) and assolutions to compositional problems. My ownfavorite is the second of the Etudes, which inits evocation of bell -like sounds seems like alatter-day pianistic reflection of the opening ofthe Coronation Scene from Boris Godunov.

Pianist Regis Benoit performs all the com-positions with technical and musical assur-ance, although 1 find his playing a bit reservedfor this kind of music ( pianistically consid-ered. the Szymanowski and Turok have muchin common). Unfortunately. the piano soundis not completely clean, and there is consider-able extraneous sound, particularly in louderpassages. R.P.M.

TELEMANN: Trio Sonata for Flute, Violin,and Harpsichord, in A minor-See Beetho-ven: Serenade for Flute. Violin. and Viola, inD. Op. 25.

THORNE: Liebesrock. ANDERSON: ChamberSymphony. BROZEN: In Memoriam. JanetPrice, soprano (in the Brozen); Royal Phil-harmonic Orchestra, James Dixon, cond. Com-posers Recordings CRI SD 258, $5.95.

The most interesting item here is FrancisThorne's Liebesrock. Although the formal or-ganization seems almost painfully obvious,consisting simply of a gradual accumulationof materials until a climax is reached near theend, Thorne sustains interest through his ef-fective use of musical elements derived fromrock. He does not introduce these in a literalway, but gradually, almost imperceptibly,weaves them into the total fabric of the com-position. The work is intended as a balletscore, and I suspect that it would be partic-ularly effective in that role.

The other two composers represented, T. J.Anderson and Michael Brozen, are new to thecatalogue. Anderson's Chamber Symphonyhas many interesting and imaginative mo-ments, but it is structurally so fragmentary thatit has difficulty sustaining its extended, one-movement plan. Brozen's In Memoriam, asong cycle for soprano and string orchestra, isa very pleasant, if not overly compelling, set-ting of excerpts from Tennyson's poem of thesame name. It is well -written, solid music of asomewhat conservative nature, but to my ear itlacks the focus of a really strong composition-al personality.

The performances by the Royal Philhar-monic Orchestra under James Dixon seemquite good, though there are occasional rag-ged moments. I suspect that rehearsal timewas on the short side. Soprano Janet Price.who sings the Brozen, has clearly studied thework very carefully. Her somewhat hard,forced sound, particularly in the upper regis-ter. is not to my taste, but she communicatesthe sense of the score quite effectively. R.P.M.

TuRoK: Transcendental Etudes, Op. 30;Little Suite, Op. 9; Passacaglia, Op. 10-See Szymanowski: Metopes, Op. 29.

WAGNER: Die Meistersinger: Ex-cerpts. Friedrich Schorr (b),. GotaLjunberg (s), Elisabeth Schumann (s),Gladys Parr (c), Rudolf Laubenthal (t),Lauritz Melchior (t), Ben Williams (t).Various orchestras, Leo Blech, SirJohn Barbirolli, Albert Coates, andLawrance Collingwood, cond. Sera-phim 60189, $2.98 (mono; from AngelCOLH 137, recorded 1927-31).

Fliedermonolog: Gut'n Abend. Meister!: Schuster -lied: Wahnmonolog; Abendlich glUhend in himm-!;sches Gluth; Aha! Da streich die Lene schon urnsHaus; Quintet: Euch macht ihr's leicht; Verachtetmir die Meister nicht.

This budget reissue of a notable album in the"Great Recordings of the Century" seriesmakes readily available a glimpse of one of thegreat operatic portrayals of the twentieth cen-tury. Actually, as the years go by, FriedrichSchorr's Sachs assumes ever more legendarystatus, since the role has become increasinglydifficult to cast. Schorr sang the part for twentyyears at the Metropolitan (1924-43), and dur-ing his prime-that is, until the mid-thirties-he was without serious rivals in this country.The combination of poetry and authority, ofwisdom and courage has eluded most of thosewho have followed him. In the post -WorldWar II years Ferdinand Frantz and PaulSchoeffier were the only really successfulSachses, and neither had the full measure ofthe part. Schoeffier's bluff and genial assump-tion lacked inwardness, and Frantz's sensitiveand refined portrayal tended to be vitiated bya lack of vocal stamina.

To judge by this record, Schorr had both in-wardness and stamina at his command. Hiswarm, sympathetic voice is beautifully suitedto Wagner's demands: The tone is full andrich, and the style heroic yet lyrical; the line al-ways clean, always legato. Even in moments ofgreatest stress or emotion (like the Schuster -lied or the final scene) he never rants. Hemaintains at all times a poet's elegance. Dur-ing the five years in which these recordingswere made (1927-31) Schorr's voice was agenuine Heldenbariton, with a huge and solidmiddle register capable of riding the largestorchestra, together with an easy upward ex-tension to F. That alone would differentiatehim from most of his successors. But in addi-tion to this vocal endowment he had the tech-nique to encompass those vocal subtleties andnuances which go a long way to create the po-etical nature of Hans Sachs: grace notes, grup-pettos, messe di voce, high pianissimos, and thelike.

Most of Sach's big moments are representedon this disc. However, it should be pointed outthat the Schusterlied ("Jerum! Jerum!") omitsall of Beckmesser's exchanges, and that theFliedermonolog is a disappointing perform-ance. This latter is not the same version thatused to be available on 78, but an unpublishedone which sounds unwontedly tentative. Butthe remainder of the disc is superb.

Of the two Walthers, Laubenthal comesacross as vocally stiff, Melchior as marvelouslyyouthful and impetuous. dOta Ljunberg's in-telligent -sounding Eva is affected by excessivevibrato. Elisabeth Schumann, however, is mi-raculously beautiful. After all these years oflistening to her in the Quintet, I still find thatthe grace and delicacy of her opening phrasesgo straight to the heart.

The sound on Seraphim is slightly less cleanthan it was on Angel. but the 78 transfers stillseem uncommonly good. D.S.H.

B recitalsand miscellany

LAURITZ MELCHIOR: Opera Recitals. Ex-cerpts from works by Wagner, Verdi, Mey-erbeer, and Leoncavallo, recorded be-tween 1923 and 1935. For a feature reviewof these historic reissues, see page 75.

PAUL ROBESON: Songs of MyPeople." Paul Robeson, bass; Law-rence Brown, tenor and piano. RCARed Seal LM 3292, $5.98 (mono; fromRCA Victor originals, recorded 1925-29).

Paul Robeson's old (musical rather than po-litical) admirers will be happy to learn that af-ter too long an absence as a black -listed, ex-patriate nonperson he is alive and (I hope)well back in his hometown of Princeton. NewJersey. They will be even more delighted to re-hear-for the first time in many years for mostof us-what he sounded like in his now -legen-dary Victor recordings of 1925-29. Thepresent program, admirably free from elec-tronic rechanneling or any other kind of gim-mickry, comprises no less than twenty selec-tions dubbed from their original 78 -rpm press-ings; the shellac -disc scratch may be presentbut so is the startlingly unfaded "presence" ofthe singer himself, and there is even consider-able tonal naturalness in the ideal LawrenceBrown piano (and occasionally vocal) accom-paniments. Ironically, the original releaseswere black -label 10-inchers (i.e., pop series).yet even in those days Robeson was widelyrecognized as unique: not as an art -song inter-preter, like Roland Hayes, to be sure, but as amaster of eloquent simplicity as well as posses-sor of one of the truly great bass voices of alltime.

His all -spiritual repertory here (except forthe somewhat superfluous Dunbar -JohnsonLi'l Gal) is of course done in the arrangements(by Brown, Boatner. Burleigh, et al.) so longthought necessary for concert presentation ofany folk music-even the dialect spelling of

Paul Robeson is back-alive and well.


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many titles is painfully anachronistic thesedays. Nevertheless when one listens again, orfor the first time, to these eternally spell -bind-ing performances of Water Boy, Ifere YouThere?. E:ekiel Saw de Wheel, Nobody Knowvde Trouble I've Seen, I It 'ant to be Ready. Hearde LIM'S and Bre and Bye. nothingcounts except the poignant eloquence of themusic and voice. They struck me as incompa-rable some thirty-five years ago when I re-viewed many of the Robeson/Brown discs inthe now long -extinct Phonograph Month& Re-view: they grip me no less magnetically today.

R. D. D.

PLEASURES OF THE COURT. Morley Consort;Early Music Consort of London, David Mun-row, dir. Angel S 36851, $5.98.SUSATO: La Mourisque; Branle Quatre Branles:Ronde & Salterelle; Ronde mon amy; Allemaigne &Recoupe; Pavane mdle regretz; Basse danse Ber-geret sans roch & Reprise le pingue; Ronde; PavaneLa Bataille. MORLEY: Mounsier's Alman; LachrimaePavan; Michill's Galliard; Captaine Piper's Pavan &Gaillard; My Lord of Oxenforde's Maske; Lavolto: LaCorante. DOWLAND: My Lord Chamberlain's Gaillard.NICHOLSON: The Jew's Dance.

Anyone who enjoyed the television re -crea-tions of Tudor England last winter in The SixWives of Henry VIII and Elizabeth R. mayhave noticed the irresistibly delightful music.Credit -watchers know the man responsible fortheir pleasure was David Munrow, whoseEarly Music Consort will rekindle yourmemories with this lively selection of instru-mental dances. I can't recall if any of the se-lections on this disc were actually played onthe television series, but any of them couldwell have been. The lusty enthusiasm of aNetherlandish band piping away at TielmanSusato's joyful dances conjures up the youngHenry cavorting about and showing off hisdancing skill and high spirits before his youngSpanish queen. And the more elegantly re-fined chamber style of Thomas Morley's con-sort lessons with their rich instrumental colorcombining strings and plucked instruments isan aural counterpart to the intricate brocades,starched ruffs, and jeweled coiffures of Eliza-beth's wardrobe.

Unlike Morley, Susato leaves the instru-mentation up to the performers. Munrow haschosen a delightful and effective variety ofcombinations from the rackety sound of thefull band with its drums and tambourines to abuzzing consort of crumhorns and the mellowbeauty of recorders and lute which lend an ap-

propriately pastel color to Susato's adaptationof Josquin's melancholy pavan Mille regret:.The personnel of the two ensembles is almostcompletely different, but the performances areuniformly excellent. S.T.S

ANDRE KOSTELANETZ; "Works for Orches-tra." Orchestra, Andre Kostelanetz, cond.Columbia M 31077, $5.98.GLAzUNov; The Seasons. Op. 67: Ballet Suite FAURE;Shylock Suite. Op 57: Entr'acte: Nocturne. FinaleKHACHATURIAN; Masquerade Suite: waltz. VILLALooms; Bachianas Brasileiras No. 1: Modhina (Pre-ludio). WOLF -FERRARI: I Gioielli della Madonna:Intermezzo No. 1; Neapolitan Dance.

Not many listeners. even among passionateballetomanes. really want much more of theSeasons ballet than one of the usual suites. Sothis one-comprising Nos. 1.4, 7.9, 10. 13 ( thepopular Bacchanal), 14. and 15 of the fullscore's fifteen pieces-should satisfy almostanyone with a mild taste for Glazunov's salon-ish but ingratiating and colorfully orches-trated music. (Those who want more can finda complete ballet version, conducted by BorisKhaikin. on Melodiya/Angel SR 40088 of1969.) Kostelanetz seems somewhat tenserthan usual here and his orchestra's tonalcoarseness is italicized by an extremely strong.vivid. close recording. A true Glazunov fanundoubtedly will do better with Ansermet'sSeasons Suite, augmented by the composer'stwo Concert Waltzes (London CS 6509 of1968). But the present release is more enticingfor its shorter works-characteristic examplesof Kostelanetz's programming catholicity andimagination.

Most significantly, he brings back to the re-corded repertory (for the first time in stereo, Ibelieve) three -fourths of the suites drawnfrom Faure's incidental music to a French ver-sion of Shakespeare's Merchant of Venice.That title is used in the labeling here althoughit properly should be that of Haraucourt'sadaptation. Shvlock. Also included are themore familiar, if certainly not hackneyed.richly sonorous second movement of VillaLobos Bachianas Brasileiras No. I (for an all -cello ensemble): the dashing MasqueradeWaltz by Khachaturian: and two once popu-lar excerpts from Wolf -Ferrari's opera Jewelsof the Madonna; the serenadelike Intermezzoto Act II and the rambunctious NeapolitanDance that is sometimes known as the ApacheDance or Dance of the Camorristi-all ofwhich Kostelanetz and his men play with in-fectious enthusiasm. R.D.D.

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OCTOBER 1972 I I 9

the lighter side

reviewed by

MORGAN AMES

R. D. DARRELL

HENRY EDWARDS

MIKE JAHN

JOHN S. WILSON

symbol denotesan exceptional recording

THE MOONGLOWS: The Return of theMoonglows. Ron Baker, vocals andbass; Bobby Eli, vocals and guitar;Norman Harris, vocals and guitar; EarlYoung, vocals and drums; VernonBullock, vocals and piano; strings ac-companiment. Sincerely; When I'mwith You: You've Chosen Me; sevenmore. RCA LSP 4722, $5.98.

Harvey Fuqua. an original member of theMoonglows, has reassembled this powerhousegroup from the Fifties and produced a brand-new disc featuring their delightful vocal har-monies. The Moonglows had eight undisputedyears of success during those days when to-day's Golden Oldies were once new. Herethey resurrect two of their greatest hits. Sin-cerely and The Ten Commandments.

Sincerely opens exactly as it did when it wasfirst recorded. The Moonglows then runthrough it using a more contemporary ap-proach. and the results are just as gratifying. Anew tune, I'll Stop Wanting You, is also giventhe a capella treatment the first time throughand once again, the Moonglows' vocal blend isbreathtaking. Credit must be given to JackFaith's strings and Vernon Bullock's key-boards accompaniment which enable thegroup to retain their original fervor and yetcreate a sound somewhat more relevant for amuch more hectic time. "The Return of theMoonglows" is more than welcome. H. E.

HUGH MASEKELA: Home Is Where the MusicIs. Hugh Masekela, trumpet; rhythm accom-paniment. The Big Apple: Maseru; Blues forHuey; seven more. Blue Thumb 6003, $5.98.WISHBONE ASH: Argus. Andy Powell, MartinTurner, Steve Upton, and Ted Turner, vocalsand instrumentals. Sometime World; TheKing Will Come; Warrior; four more. Decca 7-5347, $4.98.

These two albums are not brought together inone review because they share a similar musi-cal style. Indeed, they are at widely dividedcrossroads of the pop spectrum. WishboneAsh is a group of rock musicians from Eng-land. where they enjoy more success than theydo as yet in the U.S. Of their three albums, thisis the softest and most imaginative. Hugh

Masekela is a distinguished black artist. Hismusic has for years ridden a unique line some-where between jazz and black pop music. Thisalbum was recorded in England and has a par-ticularly beautiful ballad called Minawa by S.Toure. The track features a gorgeous pianosolo with no credit.

The point of the double review is the artwork. Perhaps music reviewers are not sup-posed to notice such things. nor comment onthem. Certainly we do not comment oftenenough. Art work is critical to sales, for onething. It is the first element that attracts thebrowser to an album by an unfamiliar groupIt is also a highly sophisticated field, for all itslack of acclaim.

These two albums are the most striking Ihave seen in a long time. The Wishbone Ashcover folds out into a long color photograph ofa helmeted and caped warrior viewing anempty, misty forest. At the far side of thephoto is a small shining object in the sky thatappears to be a flying saucer. The blend ofmedieval and science fiction hits with pow-erful impact. Graphics are credited to Hip -gnosis. probably a British company.

Hugh Masekela's album is ingeniously de-signed with several fold -out flaps. none ofwhich gets in the way of the disc itself. Eachbears a reproduction. either a painting or asketch, of the work of Dumile Feni. presum-ably a black artist, whose work is strong.knowing, and emotional. Graphic designs(and one fine portrait photo of Masekela) areby Tom Wilkes and Barry Feinstein for Cam-ouflage Productions of Los Angeles. Wilkesand Feinstein have been responsible for anynumber of extraordinary album designs. in-cluding those for Delaney and Bonnie. BarbraStreisand. and Dave Mason.

Check these two albums next time you're ina record store. Records are more than music.They are also big business. M.A.

DAVID ACKLES: American Gothic. Da-vid Ackles, vocals and piano; vocaland instrumental accompaniment.American Gothic: Love's Enough; Bal-lad of the Ship of State: One NightStand; Oh, California; Another FridayNight; Family Band: Midnight Carou-sel; Waiting for the Moving Van: Bluesfor Billie Whitecloud; Montana Song.Elektra EKS 75032, $5.98.

In this age of cynical pop songwriters it's goodto see someone unafraid of making state-ments-someone who will risk losing his coolby offering an opinion. Ackles writes definitesongs about definite subjects: real people whoare doing something that is tragic or funny orwhatever. But they do something.

In American Gothic we are given a farmcouple: the drunk husband and the part-timeprostitute wife. Love's Enough has advice forlovers, a type of song that's rare these days.Ship of State is about the Vietnam war. Astunning number, it sets a somber and pitifulplea against a Mr Fair Lady -type jolliness.One Night Stand is a perfect. traditional jazzballad about ... you guessed it. But it's donewell; the song may have been written in 1970but it sounds as if it comes from the great olddays of jazz singing. One track only is a disap-pointment: the final. featured piece. a longnumber called Montgna Song. This going -back -to -the -fatherland lyric is a nice idea, but

David Ackles-a potential sensation.

just too sodden with clicUs. too much weep-ing over the parental grave.

Ackles should be a Broadway musical writerand singer (even if he does associate with folk -singers and rock -and -rollers), for in "Ameri-can Gothic" there is incredible promise, notonly for the popular music field, where Acklesis a delight, but for Broadway. where he couldbe a sensation. M.J.

JIM PRICE: Sundego's Travelling Or-chestra. Jim Price, vocals, keyboards,brass, arrangements, and songs. ABCDunhill DSX 50125, $4.98.

Each month reviewers receive a batch of new -artist albums. Some are made in the U.S.(L.A., New York, Nashville. Memphis. etc.)and some in England (mostly London). For along time it seemed that most of the London -made pop albums were a bloody bore.Recently the London fog has cleared and thereverse is happening: Seven out of ten new -group albums that are interesting turn out tobe products of England.

Jim Price is a case in point. His album wasrecorded at Olympic Studios in London andproduced by Andrew Johns and Price himself.

Price's talent is steady and imaginative inmany areas. He sings. composes. plays key-boards and brass instruments. and arranges.With all that going, it figures that he shared inthe production end as well.

Price's music is big and sure of itself. Histempos are strong, his brass lines loud andlinear, his string writing mellow. His voice issolid, but his singing is loose. At the same timePrice is highly musical and professional. Histreatment of ballads is sweet and earthy.Price's expertise reminds me of that of DavidGates. singer/composer/arranger/leader ofBread (though the two have little similarity insound).

There is a note on the album giving specialthanks to Harry Nilsson and George Greif.Since Harry was in London not too long agoworking on his own album, perhaps he had ahand in this one as well. If not, one can cer-tainly see why Harry and Greif are admirers ofPrice. For part of the pleasure of Harry Nils-son is the fact that he always knows exactlywhat he is doing and what he wants musically.

Price communicates the same quality. Thatmeans there are no gray areas in the album.You may or may not like what he does, butJim Price stands firm. I like him a lot. M.A.


NILSSON: Son of Schmilsson. HarryNilsson, vocals and piano; vocal andinstrumental accompaniment. Take54: Remember (Christmas): Joy; TurnOn Your Radio; You're Breakin' MyHeart: Spaceman: The Lottery Song;At My Front Door: Ambush; I'd RatherBe Dead: The Most Beautiful World inthe World. RCA LSP 4717, $5.98.

Nilsson has been hinting at genius for yearsand now has finally achieved it. I don't know if"Son of Schmilsson" makes Nilsson a madgenius or just a little torrid in the central lobes.but I will be surprised if a better rock albumappears during the remainder of 1972. It's afunny record-Steve Katz of Blood. Sweat &Tears feels it's the comedy album of the year.And it's a magnificent hard -rocker, from thethree -feet -on -the -bass drums sound of Take54 to the rehash of the 1950s standard :It Mi.Front Door.

Two songs. Take 54 and You're Break in' ItHeart, take lyrical steps that can only be called"poetic licentious." Remember (Christmas) is afine "standard" ballad. Joy is a bogus c & wsong. and such a good satire of country moan-ing that RCA tried to foist it on the nation'scountry radio stations as a joke. using apseudonym for Nilsson. Spaceman turns outto be just that, appropriately employing a PhilSpector-ish cosmic orchestral arrangement.Ambush, one of the few serious cuts on the LP.is an antiwar song. I'd Rather Be Dead is a jollysingalong. pairing Nilsson with an accordionand a senior citizens chorus. It works, despitea rather tacky lyric about bedwetting. The fi-nale, The Most Beautiful World in theis a sly calypso which builds to a fine. pre-tentious ending and an exchange of good-bysbetween Nilsson and producer Richard Perry.

The album flows well. shifting from onekind of mood to another contrasting one as ifthe two were born together. In all. "Son ofSchmilsson" is a complete joy. M.J.

RucluE HAVENS: The Great Blind Degree.Richie Havens, vocals and guitar: Paul Williams.guitar; Emile Latimer, drums: Eric Oxendine,bass; Bob Margouleff and Malcolm Cecil, Moogsynthesizer; orchestral accompaniment. WhatAbout Me; Fire & Rain; In These Flames; ThinkAbout the Children; Fathers & Sons; Teach YourChildren; What Have We Done. Stormy ForestSFS 6010. $4.98.

Richie Havens remains among the best inter-preters-one of the few recording artists whoregularly sacrifices songwriters' royalties formusical integrity. There is not one Havenscomposition on this LP. which indicates thathe knows he is not the best songwriter in theworld. There is nothing wrong with the albumsave two things: the "see me. feel me. touchme, heal me" segment from Tommy (used as atag at the end of Fire and Rain) and the stringarrangements. Why Havens, with a voice thatis rich, emotional, and powerful, feels the needto add sweetening is beyond me. It's likethree inches of icing on a one -inch cake.

Still, the album flows despite the occasionalschmaltz. Note expecially Dino Valente'sWhat About Me; James Taylor's Fire andRain; Cat Stevens' Fathers and Sons; andGraham Nash's Teach Your Children. There isan emphasis on children, especially child -parent relations, running through the album.

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and the liner notes include some philosophyon the generation gap from a book Havens haswritten. The Great Blind Degree. M.J.

DE SYLVIA, BROWN & HENDERSONREVISITED. Cab Calloway, BlossomDeane, Gloria De Haven, DorothyLoudon, and Charles Rydell, vocals;orchestra, Norman Paris, arr. andcond. Broadway: There I Go Dream-ing Again; Without Love: Heel Beat;My Song; Isn't It June?: I Want to BeBad; seven more. Painted Smiles1351, $4.98VINCENT YOUMANS REVISITED. CabCalloway, Blossom Deane, Gloria DeHaven, Dorothy Loudon, Charles Ry-dell, Mary McCarty, and MaureenStapleton, vocals; orchestra, NormanParis and Dick Hyman, arr. and cond.Drums in My Heart; Mean Man; HappyBecause I'm in Love: Oh Me. Oh My:Rise and Shine; The One Girl: HeCame Along; eight more. PaintedSmiles 1352, $4.98.IRA GERSHWIN REVISITED. BlossomDeane, Mary McCarty, Danny Mee-han, Charles Rydell, Ethel Shutta, andMargaret Whiting, vocals; orchestra,Dick Hyman, arr. and cond. Give a Girla Break; It Happens Every Time: In OurUnited State: Shoes with Wings On;Applause: Boy Wanted: A Rhyme forAngela; Swing Trot; six more. PaintedSmiles 1353, $4.98.

Oh it's a nice day after all. That crazy man BenBagley has found another way to get hisunique albums aired.

I cannot resist producer Bagley. He goes toso much loving trouble to give us gifts wedidn't know we wanted. He pores throughdusty catalogues of such composers and musi-cal comedy teams as Gershwin. Cole Porter.Rodgers and Hart. etc. He then chooses themost obscure and least appropriate songs.dresses them up with a showy orchestra andsome singer you haven't heard from in years.and then presents the whole package with anaffection that makes rejection impossible.

Bagley's liner notes are as touching andfunny and unlikely as his albums. This is fromthe "Vincent Youmans Revisited" set: "Vin-cent Youmans was born in New York. the sonof a prosperous manufacturer. He joined theNavy in 1917. Many of his finest musicals werenautical musicals. Mr. Youmans was veryfond of sailors. I also have something else incommon with Mr. Youmans. TB! He wasstricken with tuberculosis in 1933 while work-ing in Hollywood (a filthy place) on his lastcomplete score.. . ."

Now we all know what we suspected. Campnever killed me. but Bagley is a world untohimself. He was also into the No. No. Nanettenumber years before it was chic. His albumsare its handbooks.

Bagley also makes use of the one -of -a -kindvocal talent of Blossom Deane. and who elsecan make that claim? Not to mention GloriaDe Haven. Maureen Stapleton. DorothyLoudon. Danny Meehan. and Margaret Whit-ing. Margaret Whiting! Even if you have twothousand albums on your shelf, you still havenothing like Ben Bagley. He requires his ownindex card and "miscellaneous" won't do.

Whether or not you seek out Bagley's threeCIRCLE 57 ON READER -SERVICE CARD


new albums listed above depends on your ownsense of whimsey. Myself, I wouldn't miss BenBagley for the world. M.A.

BOOKER T. & PRISCILLA: Home Grown.Booker T., vocals and keyboards; Priscilla,vocals; rhythm and strings accompaniment.Save Us from Ourselves; Born Under a BadSign; Maggie's Farm; five more. Share SP4351, $5.98.

Booker T. Jones and his wife, Priscilla, seemdetermined to mate a jazzlike treatment ofrhythm and blues with Priscilla's rather extra-vagant attempts at singing soulfully. After lis-tening to the result, I can only conclude thatBooker T. seems to have lost his musical judg-ment and Priscilla at best achieves nothingmore than parody. It seems as if two colossalegos are at work here and, rather than com-promise, both have decided to do their thingas loudly, repetitively, and with as much ea-gerness as they could possibly muster.

Born Under a Bad Sign, one of the cuts onthis disc, is over eight minutes long and WhoKilled Cock Robin?, a Booker T. and Priscillacomposition, runs on for twelve endless min-utes and twenty seconds. These extremelengths give Priscilla the opportunity to dis-play every wail, bellow, moan, and groan thatshe can possibly summon forth from her lar-ynx and the results are far from illuminating.In addition, Mr. and Mrs. Jones perform twoDylan tunes, Maggie's Farm and Don't Think Twice, It's All Right. They suffer in theprocess.

Booker T. once led one of the better-knownsoul bands, Booker T. & the M.G.'s. One canonly hope that he rediscovers his roots. H.E.

RANDY BURNS: I'm a Lover, Not a Fool.Randy Burns, vocals; strings, rhythm, key-board, and vocal accompaniment. Hold On;I'm a Lover, Not a Fool; She's No Good; eightmore. Polydor PD 5030, $5.98.

Let's say this for Randy Burns: He is a tal-ented young performer! A folkie from Man-chester, Connecticut, Burns not only cancreate a simple and occasionally eloquentsong but he can also sing his own material witha warm, unaffected delivery. There's plenty offeeling on this disc's opener, Hold On. Thetitle tune is also a solid number with a stand-out pedal steel guitar back-up by Bill Keith.Lisa, a perfectly conventional song backedprimarily by piano, is also totally lovely.Burns's vocal on Lady Rain Again is a primeexample of his ripe singing style.

Burns is not at a stage in his career when ev-erything that appears on one of his discs is pol-ished to perfection. The back-up voices here,for example, are sometimes exceedingly shrill.Burns needs to find a way to distinguish him-self more clearly from the horde of other folksingers who have had the same musical in-fluences and take the same approach to theirmusic. "I'm a Lover, Not a Fool," does clearlyindicate, however, that he is headed in theright direction. H.E.

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jazzJOPLIN: Piano rags played by Joshua Rif-kin, William Bolcom, and Max Morath. For afeature review of this recording, see page 81.

BENNY GOODMAN: The GreatSoloists. Ben Selvin's Orchestra;Buddy Campbell and His Orchestra;Ben Pollack and His Orchestra; RoyCarrol and His Sands Point Orchestra;Lloyd Keating and His Music; TenFreshmen; Mills Musical Clowns;Steve Washington and His Orchestra.I've Got Five Dollars; One More Time;Bag o' Blues; eleven more. BiographC 1, $5.98.JACK TEACIARDEN: The GreatSoloists. Jimmy McHugh's Bosto-nians; Mills Merry Makers; Cornell aidHis Orchestra; Ben Pollack's Orches-tra; Wingy Mannone's Orchestra;Frankie Trumbauer's Orchestra. Fu-turistic Rhythm; When You're Smiling;Diga Diga Doo; eleven more. BiographC 2, $5.98.THE BOSWELL SISTERS: 1932-1934.Bunny Berigan, Manny Klein, andManny Weinstock, trumpets; TommyDorsey and Charlie Butterfield, trom-bones; Jimmy Dorsey, Benny Good-man, Larry Binyon, and Chester Haz-lett, saxophones; Joe Venuti andHarry Hoffman, violins; Martha Bos-well, piano; Dick McDonough, EddieLang, Carl Kress, and Perry Botkin,guitars; Joe Tarot, Artie Bernstein,and Dick Cherwin, bass; Stan King,drums; Jimmy Grier's Orchestra; Bos-well Sisters, vocals. Hand Me DownMy Walkin' Cane; Old Yazoo; Sophis-ticated Lady; eleven more. Biograph C3, $5.98.

Arnold Caplin of Biograph Records hasscored a significant breakthrough in theAmerican jazz reissue field by arranging tolease certain masters from Columbia for re-lease on his own label-this marks the firsttime a major label has made such an agree-ment. The arrangement became possible be-cause Caplin was interested in recordingswhich Columbia, in the normal course ofevents, would probably never release on mi-crogroove.

The first fruits of this deal are a bonanza forcollectors whose 78s are becoming worn to afrazzle or who have never had an opportunityeven to hear some of the fringe -area jazz of thelate '20s and early '30s. They include the firstI2 -inch LP collection of the Boswell Sistersand two discs by the studio bands that re-corded for Columbia and the AmericanRecord Company (Perfect, Banner, Vocation.Harmony. Velvetone) as Mills Merry Makers.the Ten Freshmen. Jimmy McHugh's Bosto-nians, Buddy Campbell and His Orchestra,and Roy Carrot and His Sands Point Orches-tra, as well as using such real life leaders asBen Pollack, Ben Selvin. Wingy Mannone,and Frankie Trumbauer. These are the groupsthat make up the Goodman and Teagardenreleases. The tunes are, with two exceptions(Sr. James Infirmart and Beale Street Blues onthe Teagarden disc), pop songs of the mo-ment; but with the Dorsey brothers. Jimmy

McPartland, Charlie Teagarden, EddieMiller, Adrian Rollini, and Bill Moore amongthose helping out Benny and Big T. the per-formances are filled with the sparkle of airy.casual jazz.

It is incredible that the Boswell Sisters havebeen neglected for so long. Connee Boswell'sunique arrangements-with their changingtempos, fascinating harmonies, imaginativeuse of scat phrasing and remarkable built-insense of swing-are unlike the writing for anyother vocal group (and what a pale follow-upthe Andrews Sisters were!). Beyond the writ-ing, there is the warm, colorful vocal texture ofthe trio, keyed to Connee's very personal vocalquality, and-far from least among the meritsof the Boswell Sisters' records-the excellentjazz backing they got in the early '30s fromgroups that included the Dorseys, Bunny Ber-igan, Joe Venuti, Eddie Lang, and DickMcDonough. This set is scarcely "the best ofthe Boswell Sisters"-it includes a few of theirlesser efforts-but there are several topnotchexamples of the marvelous mélange of ideasthat cropped up in their performances. includ-ing There'll Be Some Changes Made, If It Ain'tLove, Sentimental Gentleman from Georgia.and Mood Indigo. J.S.W.

STAN KENTON AND HIS ORCHESTRA: StanKenton Today. No personnel given. Mala-guena; Artistry in Percussion; Yesterdays;fourteen more. London Phase -4 SPC 44179180, $11.96 (two discs).

Although Stan Kenton has formed his own la-bel, Creative World, this two -disc report ofone of his English concerts in early 1972 comesout on London Records-and happily so, be-cause it gives the band the benefit of London'sPhase -4 recording which catches the full colorof both the power and the shadings of theKenton juggernaut. The program is a well-balanced mixture (much like the programs heplays everywhere these days) of flamboyantrecent additions to his repertoire (Hank Levy'sChiapas, Bill Holman's Malaga, Ken Hanna'sBogota, slow ballads featuring Kenton's piano(What Are You Doing the Rest of Your Life)and some old Kenton favorites (The PeanutVendor, Opus in Pastels, Artistry in Rhythm).

For veteran Kenton followers, the mostprovocative aspect of the album is his contem-porary view of some of his old pieces. Opus inPastels, for example, which features the saxo-phone section, remains much as it was in the1940s, although Kenton's present saxophonesplay it a bit gingerly, lacking a lead with realbite. Intermission Riff, on the other hand, hasbeen completely recast, starting with a perky,off -center piano bit and building in muchmore complex fashion than the straight-forward riff of yore when Vido Mussopumped it out. The best of these old works isone that has always been one of Kenton's mostcompletely realized pieces. the lovely Inter-lude, which retains all its gentle charms eventhough the present band is really too top heavyon slow pieces such as this. J.S.W.

ELVIN JONES: Merry Go Round. Joe Farrell,David Liebman, Steve Grossman, and Pep-per Adams, saxophones; Frank Foster, altoclarinet; Chick Corea and Jan Hammer, key-boards; Yoshiaki Masuo, guitar; Gene Perla,bass; Don Alias, conga; Elvin Jones, drums.


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RECORDS IN REVIEW. 1972 EDITION.

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THE BALLERINAS FROM THE COURT OF LOUIS XIV TO

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trated portrait gallery. Three centuries of ballet arerecounted through the careers, personalities, lives,and loves of all the great ballerinas from the 17thcentury to Diaghilev's dancers. No. 2108... $10.95

CMTPC AT THE OPERA. Paul Henry Lang.

An informal historical discussion of opera,

bounded largely by the works Lang saw while he was

music critic of the New York Herald Tribune. ". . a

valuable work ... its style is straightforward andcleat enough to be understood by any opera lover(who need not fear that a demon musicologist issnorting in the wings)."-11F/MA. No. 2109 ... $6.95

THE SONGS OF JOHNNY CASH.

Cash's greatest song hits arranged for piano andguitar, with a photographic biography of this enor-mowsly popular singer. No. 21010... $9.95

THE NEW MUSIC. The Sense Behind The Sound.

Joan Peyser.

A penetrating account of the development of 20th-

certury music through a discussion of its outstanding

personalities. No. 21011... $7.95

THIS BUSINESS OF MUSIC. Revised & Enlarged Edi

tion, Dec. '71. Sidney Shemel & M. WilliamKrasilovsky. Edited by Paul Ackerman.

Anyone involved or just interested in the music -record -tape industry needs this unique and indispens-

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(Federal and International laws, statutes, contracts,applications, agreements, etc.) No. 287 ... 515.00

Music Listeners' Book ServiceHIGH FIDELITY, 165 West 46th Street, New York,

I enclose check or money order for $indicated by the circled numbers below. (No cash,

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OCTOBER 1972 125

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Round Town; Brite Piece; Lung; five more.Blue Note 84414, $5.98.

Unlike most Elvin Jones records, this set ismore concerned with Elvin as a supportivedrummer than as a dynamic soloist or a bruis-ing driver of ensembles. This one is for thesidemen-Dave Liebman, Joe Farrell, JanHammer, and Chick Corea-and they have afield day both as writers and performers. Highpoints are Liebman's Brite Piece, primarily ashowcase for his light, lyrical soprano saxo-phone, although Farrell joins him for somebrief but charming soprano duets; Farrell'sgracefully shaded flute solo on his own com-position, A Time for Love, a slow ballad of al-most classic beauty; and Corea's gay andbristling Fiesta, on which his swirling pianosolo is matched by the boiling excitement of aFarrell solo on soprano saxophone.

There is a bit of something from everybodyin the set-Hammer is spotlighted in a compo-sition of his own. Lungs, and bassist GenePerla contributes two tunes, one of which.'Round Town, has some superb saxophone en-semble passages involving Liebman, Farrell,Steve Grossman, and Pepper Adams. And foreven further diversification, Frank Fosterturns up on one of his compositions, Who'sAfraid ..., playing alto clarinet over the liftingpulsation of that same saxophone section.

J.S.W.

in briefCARLOS SANTANA & BUDDY MILES: Live! Co-lumbia KC 31308, $5.98.Two of the best larger bands in rock combinefor a concert recorded live at Diamond HeadCrater, Hawaii. Informal. Quite nice over-all.

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THE HOLLIES: Distant Light. Epic KE 30958,$5.98.The Hollies have not been able to sustain thesplash they once made in the United States.Yes, they can sing: no. they're not very inter-esting. H.E.

BIG BLACK: And the Blues. Uni 73134,$4.98.

Big Black is a conga player turned singer. Hehas a rich, deep. and mellow voice not unlikethat of Joe Williams, but his style and outlookare more earthy and contemporary. It's a goodalbum. M.A.

ARTHUR LEE: Vindicator. A&M SP 4356,$5.98.Arthur Lee, formerly the leader of Love, awell -respected Los Angeles rock group, wascriticized in the past as a black who sang likea white (Mick Jagger) who sang like a black.Now he can be criticized as a black who singslike another black, Jimi Hendrix. The wholething is highly silly. M.J.

CARPENTERS: A Song for You. A&M SP

35ll highly,$5.98.Morepolished Musak from the brotherand sister team who will never be confusedwith Peter and Jane Fonda. H.E.

Buzz LINHART: Buzzy. Kama Sutra KSBS2053. $5.98.Unlike most other rock singers, Linhart makesa conscious effort to sing in a jazz -influencedstyle. He has a fascinating, moving live actwhich doesn't often translate well onto wax.Here he does quite well, breezing through anumber of songs which add up to straight-forward rockers. It's marred, though. by asloppy reading of Elton John's Take Me to thePilot. M.J.

THE BEST OF JOHN HERALD AND THE GREEN -BRIAR BOYS. Vanguard VSD 79317, $5.98.I his disc is a winning introduction to bothbluegrass music and the lovely voice of JohnHerald. H.E.

ENGLAND DAN AND JOHN FORD COLEY: Fa-bles. A&M 4350, $5.98.I don't know about you. but I can never re-member this group's name. Nevertheless, theyare very good and have been struggling justunder the surface of success for the past yearor so. Maybe this is the album that will do itfor them. It is beautifully produced by guitar-ist Louie Shelton and engineered by some ofA&M's finest: Henry Lewy. Norm Kinney.and Rick Porter. M.A.

NEIL DIAMOND: Moods. Uni 93136. $5.98.A perfectly satisfactory set featuring Neil'smonster hit Song Sung Blue. v H.E.

THE LAST POETS: Chastisement. BlueThumb 39, $5.98.Quincy Jones was one of the first to recognizethe power of this unusual group and pass theword. They are African -oriented. and oftenspeak/shout forceful speeches over their mu-sic. No way to peg them into a category, butthey're strong. M.A.

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126



HIGH FIDELITY CLASSIFIED165 W. 46th St., New York, N. Y. Phone :2121 757-2800

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CANADIANS-DYNACO COMPONENTS at TREMENDOUS DIS-

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STEREO SALES AS YOU LIKE IT! We can sell for less on top

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SPEAKER CROSSOVER coils and parts. Build your own cross-

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OLD RADIO PROGRAMS. CATALOG $1.00 (REFUNDABLE). RA-

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SLEEP -LEARNING -HYPNOTISM! TAPES, NECORDS, books,

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DIAMOND NEEDLES and Stereo Cartridges at Discount prices

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free catalog. All merchandise brand new and factory sealed. LYLE

CARTRIDGES, Dept. H, Box 69, Kensington Station, Brooklyn,New York 11218.

RADIO RERUNS catalogs $1.00 (refundable). Box 724-14F, Red-

mond, Wash. 98052.

HIGH FIDELITY IS ON MICROFILM: Back copies of HIGH FI-

DELITY are available on microfilm dating from APRIL 1951 to DE-

CEMBER 1970. Microfilm copies of articles from any of these is-

sues may be obtained from Billboard Publications at a cost of$1.00 per page. For further information contact: Denis HylandCorporate Research Division Billboard Publications, 165 W. 46th

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CIRCULAR CASSETTE CAROUSEL Compact tape file system. Elim-

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OPERATIC ART GRAPHICS in varying sizes -numbered series

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services

RENT 4 -TRACK OPEN REEL TAPES -ALL MAJOR labels -3,000

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RENT STEREO TAPES $1.50 week, Postpaid -new. Catalog 254.

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CASH FOR UNWANTED STEREO LPS AND PRERECORDED

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new equipment for sale

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LOW, LOW PRICES, on Audio Equipment and blank tape. Allfactory fresh, 1st quality items. Write for FREE CATALOGS to Mr.

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IDEAL 5 -ACRE RANCH, Lake Conchas, New Mexico. $2,975. Nc

Down, No Interest, $25.00 monthly. Vacation Paradise. MoneyMaker. Ranchos, Box 1095HF, Alameda, California 94501.

tapes & records

"HARD TO GET" RECORDS -ALL SPEEDS, RECORD Exchange,

842 Seventh Avenue, New York, N.Y. 10019

SCOTCH RECORDING TAPE, LOWEST PRICES. TAPE CENTER,

Box 4305C, Washington, D.C. 20012.

OPERA TAPE BARGAINS! -$3.50 -(REELS & CASSETTES). BOX

1101, WOODHAVEN, NEW YORK 11421.

"LIVE OPERA PERFORMANCES ON REEL-TO-REEL TAPES. In-

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CALLAS. Catalog: MR. TAPE, Box 138, Murray Hill Station, N.Y.C.

10016."

THE GREATEST R&R ALBUM two years in compilation. Avail-

able only thru mail. All songs released in original master form. 19songs incl Bopalena, House of Blue lights, Strange Love etc. All

songs are collectors items and stylistic landmarks in Rock andRoll. Send $5.00 to Album POB 1301, Studio City, Calif. 91604

Rare out -of -print motion picture soundtrack and show albums.

Steiner, North, Waxman, Bernstein, Styne, etc. Only the best.

Send 25k for new catalog to ReCollections-P.O. Box 197, Roselle

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SCOTCH TAPES. CASSETTES -CARTRIDGES -REELS. Catalog

104. Tower, Lafayette Hill, Pa. 19444.

OPERA TAPES -GREAT PERFORMANCES OF PAST 35 years.

Free catalog. Ed Rosen, P.O. Box #97, Freeport, N.Y. 11520.

OLD RADIO PROGRAMS ON CASSETTES OR REELS. THOU-

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QUALITY. CATALOG 504. REMEMBER RADIO, INC., BOX 2513,

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GOLDEN AGE RADIO -Your best source for radio tapes. Box

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MEMOREX recording tape, audio & video, lowest prices. Write

for free information. BERGETZ SYSTEMS CO., Box 1181, Melrose

Park, III 60161.

MOST AMAZING RADIO SHOW ever produced. Featuring Ken

Nordine. On Cassettes. Free Brochure. "Incredible, But True!"

Sawyer, Michigan 49125.

BASF, MEMOREX, SCOTCH, TDK, reels, cassettes, 8 -tracks;

Lowest prices. S & S Audio. Box 2065, Champaign, III. 61820.

SHOW ALBUMS -Rare, out -of -print LPs. Large list 104. Broad-

way/Hollywood Recordings, Georgetown, CT 06829.

RARE OPERA, symphonic music on tape. Domestic, European,

historic performances. Free catalogue. Underhill, Bellport, N.Y.

11713.

HERMAN'S, "7TH VOYAGE OF SINBAD"-(mint)-best offer.Harold Schaefer RR 5 Box 472, Shelbyville, Indiana 46176.

"SOUNDTRACKS and SHOW, ALBUMS, rare, send to Show Mu-

sic Box 12 Wood River, Illinois 62095."

SCOTCH TAPE (USED) #150, 1 MIL POLYESTER, 3600 FOOT

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NORTH'S "STREETCAR," plus Steiner, mint Capitol -best of-

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Records -soundtracks, shows, cut-outs. Send wants -we'llquote. Lesco, 2205 Marylane, Broomall, Pa. 19008.

Have, two collectors recordings for sale background moviescores. First, "Quo Vadis" second, "Old Man And The Sea." Carl

H. Werder, 401 East 50th Street, New York, N.Y. 10022.

Sound tracks -Classics Bargains -25t for list Gerald Tambu-rine, 646 East 234th St., Bronx, N.Y. 10466.

SOUNDTRACKS -SHOWS. 84 STAMP FOR LIST. CHESTER F.

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10,000 SOUNDTRACKS -$1 up -Free catalogue-RTSM, 1111

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Investment soundtracks magnificent collection, all O.P. andMint; send $1.00 for list; $25.00 takes all; Lynn Hunt 8890 Coun-

try Club Place Spring Valley Calif. 92077.

WHY TRY THE REST? We give you the Best/Most Unique Serv-

ice in Classical Recordings Imported From Around The World!Sample Mailer -504. August Rojas Classical Imports, 936 South

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Soundtrack record albums from movies, Whalon, 2321 -G -Hill

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heim, California 92804.

RARE MAX STEINER FILM SCORE RECORDS AUTOGRAPHED

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"Rococo Records: Famous Voices of the Past. vocal, instru-mental, orchestra. Free numerical list; detailed catalogue $1.00.

Box 175 Station "11". Toronto. Ontario. Canada.

OCTOBER 1972 127

the tapedeck BY R.D. DARRELL

Peace Now-On One QuadraphonicFront. Even as the Big Quad War growsever more ominous in the disc world,harmony rather than confrontation char-acterizes the meeting of discrete andmatrix partisans in the domain of theendless -loop tape cartridge. Here discre-tion is the easy, noncontroversial norm:Not only RCA and Ampex (the latterrepresenting a considerable number oflabels) but also Columbia are now is-suing exactly the same type of quad-raphonic cartridges, with two sets of fourtracks each rather than four sets of two asin stereo cartridges. These Q -8s demandnew quadraphonic players and fourspeakers, but all older 8 -track cartridgescan be played on Q-8 systems (in stereoonly. of course, with rear speakersmerely doubling the front ones).

By courtesy of RCA, I've been usingthat company's YZD 440 system tosample a considerable variety of Q-8 re-leases-first via the unit's own four small-ish open -back speakers, especially to testthe claimed superiority of quadraphonyover stereo in "filling" one's listeningroom with sound and in achieving a bet-ter illusion of auditorium spaciousness.That claim certainly proves to be true forsimilar competitive systems, but wide -

range fanatics like myself want stillmore-which I get by an adaptationenabling me to feed the front outputs tomy regular big -speaker system while therear outputs continue to feed the YZD440 back speakers. Engineering puristswill not approve, but since I've alwaysbeen a heretic where strict channel sym-metry is concerned, the lack of it inquadraphony doesn't bother me at all.Here, as in stereo, the "effect" is to someextent independent of frequency and dy-namic -range playback characteristics.But it's only when quadraphony and truehigh fidelity are combined that the fullpotentials of the new medium can bemost dramatically exploited.

A Peripatetic Listener's Thank -Q. As ahabitually perambulating auditor, myQ-8 experiences have involved an in-crease in the exercise of my legs as wellas of my aural sensibilities. And evenwhen the novelty of tracking downsound -source locations wears off, peri-patetic listening is more intriguing thanever since with every step the expandedsonic patterns shift ever so subtly. Indeedit's just this kind of fascination, ratherthan the sheer specularity of circum-ambient sound, which will ensure (I'mconvinced) quadraphony's eventualtriumph.

The best Q-8 introduction I've found

so far is the Vanguard/Ampex "Sur-round Sound Sampler," L 71. $7.95. (In-cidentally. that-or $7.98 for Columbiareleases-is the standard price for allsingle -length Q-8 cartridges.) This tapeprovides the expected but still incom-parable thrills of the Berlioz RequiemTuba mirum with its four -corner bands,plus the novelty of eerie re-echoings in aBuffy Sainte -Marie pop selection. anduseful individual channel identifica-tions, etc. But more exhilarating sur-prises are forthcoming in the revelationsof quadraphony's subtler and more sub-stantial appeals: the heavenly aeriness ofa Handel Jephtha excerpt, for instance,and the beautifully dispersed choruses.alto soloist, and orchestra in the fifthmovement of Mahler's Third Sym-phony.

But of course sonic sensationalism hasconsiderable immediate appeal. and justas ping-pong gimmickry was primepropaganda in the early stereo era, so asort of ping-pong-pang-pung. all-around, tonal bits -and -pieces treatmenttends to be featured at first in quadra-phony. And sometimes it's appropriateas well as great fun. RCA's first Q-8 re-leases. back in 1970, got the format off toa very poor start because most of themwere simply "mixed-up" from non -four -channel masters. But one notable excep-tion was the Q version of the 1964 origi-nal Broadway cast Fiddler on the Roof(RCA 0Q8 1005). which has been veryingeniously adapted for sound -sourcediversification. And, obviously, any syn-thetically produced original, utilizingmultiple channels from the beginning, isinherently well suited for Q adaptation:e.g.. Walter Carlos' deservedly famous"Switched -On Bach" divertissements,more irresistibly amusing than ever inColumbia MAQ 31018. Similarly, thegamelan-like tintinnabulation of the1969 "World of Harry Partch" (Colum-bia MAQ 31227) gains notably in atmos-pheric effectiveness without comparableincrease in its original severe demandson one's patience. And we get a tantaliz-ing taste of prospective chamber -musicdelights in the several "classical" selec-tions (Bach flute sonata movements andthe like) which alternate with light jazzpieces in a more recent program by PaulHorn's eight -man Concert Ensemble(Ovation /Ampex L 7293).

Expanded Musical Universes. Wherenovelty is not the sole aim and wherestandard musical materials are involved,this medium, like any other, can be usedboth with or without apt insight. Bern-

stein's Verdi Requiem and Boulez'Stravinsky Petrushka (Columbia QMA30060, two cartridges, $15.98, and MAQ31076, $7.98, respectively) both makeuse of the rear channels mainly for audi-torium ambience, yet the results are al-most unbelievably different: relatively

ineffective in the 1970 Verdi. electrify-ingly realistic in the more recent Stra-vinsky. In last February's Ormandy/Philadelphia "Hallelujah" program ofHandelian excerpts mostly transcribedfor double orchestra, the pieces I likedbest before sound even better in quadra-phony (RCA RQ8 1198); but in one ofthem, the Handel organ concerto move-ment, the improvement is of an entirelydifferent order of magnitude-so great asto amount to almost a difference in kindrather than degree.

But generally quadraphony enhanceswhatever may be present in the firstplace. The driving jazz of Buddy Rich's"Different Drummer" (RCA PQ8 1819)achieves even greater momentum; theromantic sentiment of "ChacksfieldPlays Bacharach" (London/Ampex L77158) assumes richer warmth; while thenoisy blatancy of E. Power Biggs's "Mu-sic for Organ. Brass, and Percussion"(Columbia MAQ 31193) becomes un-conscionably pretentious. Then, nostereo program by the Mormon Taber-nacle Choir has ever approached theApotheosis of Schmaltz of its Q-8"Climb Ev'ry Mountain" (ColumbiaMAQ 30647), and no symphonic infla-tions of pop -hit tunes have ever achievedthe ultralushness of those in the Q-8 edi-tion of the Ormandy/Philadelphia"Love Story" program (RCA RQ81179). Yet here the "Elvira Madigan"Mozart piano concerto movement andTristan and Isolde Love -Death demon-strate how much we now have to reviseupwards our previous notions of sonicbuoyancy and panoramic expansiveness.

New Dimensions-Creative as Well asExperiential. Originally somewhatskeptical about quadraphony's pro-foundly substantial (rather than super-ficial) advantages. I've become con-vinced of their genuine validity by myown sustained and varied home experi-ence via Q-8 tapes. But perhaps evenmore significantly. I've been shocked-by one work in particular-into the rec-ognition of Q -sound's incalculable po-tential for musical creation. Whateverone may have thought about the Bern-stein Mass in stereo, in its Q-8 edition(Columbia QMA 31008. three car-tridges. $15.98) the work emerges in anastonishingly new light, far stronger inits dramatic ingenuity. This tape alonestartlingly hints at what the composers oftomorrow may be able to accomplish inan as yet barely explored medium.

In any case, quadraphony is well on itsway, making its strongest first appeal(just as stereo did) to youngsters and rel-atively inexperienced listeners, whileoldsters and "connoisseurs," more set intheir ways, tend to resist still anotherchange. But as the ancient adage warnsus: "If it's inevitable, best lie back andenjoy it!"


en= *RI

11:1I j:111 I

AN -80 Dolby noise reduction unit

TEAC 3300: the strong, silent typeIf you've been shopping the field fora semi -pro deck with studio -size reels,you've probably had to cut your way througha lot of noise about silence. And you'veprobably wondered why you haven't heardTEAC blowing its horn on the subject.The answer is simple-we didn't feel wehad to. Long before the dawning of Dolby`TEAC perfected the kind of electronicsthat lets you use the most advancedlow-noise/high-output tapes on decks likethe 3300 with startling results. We effectivelyreduced tape noise and hiss below audiblelevels. And let Dolby take it from there.But we wanted to keep the 3300 a trulyversatile semi -pro deck for the audiophile.So instead of building Dolby in, weoutboarded it, as you can see-in theAN -80 Dolby Noise -Reduction Unit. Now youcould get better signal-to-noise than wasdreamed of in your ratio for $149.50. Notonly on your 3300 but on any other existing

'Dolby is a trademark of Dolby Laboratories, Inc

deck. At the same time, we addressedourselves to making the 3300 transport(already world-renowned for its superlativequality and unmatched reliability) a near -perfect mechanism. By manufacturing allcritical components in-house-and to specsand tolerances we wouldn't dare impose onanyone else. By qua ity control tantamountto paranoia-for example, we adjust, check,and readjust our heads as many as 17 timesduring manufacture. Over and above this,we provide audiophile conveniencesoverlooked on other decks. Like a bias- levelswitch. And the famous Edi-Q control forone -hand editing and cueing. Two full-sizeVU meters. All this for only $499.50. Nowwould you really expect a machine as strongas all this to be anything but silent? And ifall you need is a 7" -reel deck with manyof the 3300's fine features, checkout our1230 at $359.50.

TE AC, TEAC Corporation of America.7733 Telegraph Road. Montebello, California 90640TEAC Corporation. 1-8-1 Nishi-shinluku, Shiniuku-ku, Tokyo. JapanTEAC EUROPE NM, Kabelweg 45-4', Amsterdam -W 2. HollandIn Canada: White Electronic Development Corp., Ltd . Toronto


The New KENWOOD Receiversare More Professional than Ever!Three elegant new models give you a choice of powerand sophistication-all with advancednew circuitry, tough newmaterials, and top professionalfeatures that make thechoice difficult indeed!

I0- i---o

KR -5200...140 -Watt (IHF)FM ,AM Stereo Receiver

KR -6200...240 -Watt (IHF)FM AM Stereo Receiver

KR -7200...260 -Watt (IHF)FM AM Stereo Receiver

Basic to all three new receivers is KENWOOD's advancedengineering which gives you direct coupling for exceptionally flat response throughoutthe audio spectrum; exclusive dual protection circuit; new NPN and PNP silicon low -noise transistors forquiet performance; KENWOOD's newly -developed DSD circuitry in the MPX stage for improved stereo separation;and a host of convenience features, such as the 2 -system tape facility, provision for three sets of stereospeakers, and a new linear FM dial scale. That's for starters! Check the specs, check the performance, andchoose the new KENWOOD receiver with the professional features right for you!

TUNER SECTION AMPLIFIER SECTIONKR -7200 KR -6200 KR -5200 KR -7200 KR -6200 KR -5200

FM Sensitivity 1.6 AV 1.7 AV 1.8 AV Continuous PowerS/N Ratio 68 dB 66 dB 65 dB Both ChannelsCapture Ratio 1.5 dB 1.5 dB 2.0 dB Driven @ 8 ohmsSelectivity 75 dB 65 dB 60 dB from 20-20k Hz 55 W, Ch 45 W/Ch 30 W/ChStereo Sep. @ 1k Hz 40 dB 40 cB 40 dB THD & IM (@ ratedFront End 3 FET, 4 Gang 2 FET, 4 Gang 2 FET, 4 Gang output) 0.5% 0.5% 0.5%IF Stage IC/3 Mech. IC/3 Mech. IC/3 Mech. Freq. Resp. ( + 2 dB) 20.40k Hz 20-40k Hz 20-40k Hz

Fltr. Fltr. Fltr. Power Bandwidth 10.30k Hz 13-30k Hz 17-30k HzAM Sensitivity 15 AV 15 AV 15 AV Controls Triple Tone Triple Tone Phono, 2 Aux

'Mike Mix' Phono, 2 Aux2 phono. 2 Aux

For complete specifications, visit yoornearest KENWOOD Dealer, or write...CIRCLE 36 ON READER -SERVICE CARD

AL:At o tvivigor-i15777 So. Broadway, Gardena, Calif. 90248 72.02 Fifty-first Ave., Woodside. N.Y. 11377In Canada: Magnasonic Canada, Ltd.. Toronto, Ontario, Montreal. Quebec; Vancouver B.C.

hugh october 1972 75 - world radio history

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