LABORATORY TESTS OF THE SUPER -POWER AMPLIFIERS THE … · 2020-02-21 · Oji Palace Aoyama, 6-25, Minami Aoyama 6-Chome, Minato-ku. Tokyo. Japan Telephone: 407.1930/6821 Circulation

Stereo ReviewAPRIL 1972 60 CENTS

LABORATORY TESTS OF THE SUPER -POWER AMPLIFIERSTHE MUSIC OF CLAUDE DEBUSSY: A LISTENER'S GUIDEMETROPOLITAN OPERA: THE CHANGING OF THE GUARD

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18

1-71PPRIMItom. .First test reports on the Zero 100by the industry's leading reviewersBrief excerpts reprinted below. Let us send you the full reports.

HIGHFIDELITY Sept. 1971

Altogether, this new arm strikes us as anexcellent piece of engineering; it prob-ably is the best arm yet offered as anintegral part of an automatic player. Operation is simple, quiet, and reliable. All told, we feel that Garrard has comeup with a real winner in the Zero 100.Even without the tangent -tracking featureof the arm, this would be an excellentmachine at a competitive price. With thenovel (and effective) arm, the Zero 100becomes a very desirable "superchanger"with, of course, manual options.

The GRAMOPHONEAugust, 1971

Reproduction quality was excellent withno detectable wow, flutter or rumbleunder stringent listening conditions. Endof side distortion, which is always a pos-sibility with pivoted arms, was virtuallyabsent, due no doubt to the tangentialtracking arm.

Fall, 1971

One could go on cataloguing the virtuesof the Zero 100 indefinitely.

For 8 -page test reports booklet and a 12 -pagebrochure on the Zero 100 and the entire Garrardseries mail to British Industries Company,Dept.13-32, Westbury, N.Y. 11590.

Name

Address

City

State_ Zip

711111F-

A genuine step upward in automatic turntables

AUDIO July, 1971

The Zero -100 performed just about as weexpected after reading the specifications.Wow measured .08 per cent-that is inthe band from 0.5 to 6 Hz. Flutter, in theband from 6 to 250 Hz, measured .03 percent, both of which are excellent. Thus,the Garrard Zero 100 is certainly thefinest in a long line of automatic turn-tables which have been around for over50 years. We think you will like it.

Popular Electronics August, 1971

Our lab measurements essentially con-firmed the claims made by Garrard forthe Zero 100. We used a special pro-tractor with an angular resolution of about0.5°, and the observed tracking error wasalways less than this detectable amount.The tracking force calibration was accu-rate, within 0.1 gram over its full range. The Garrard Zero 100 operated smoothlyand without any mechanical "bugs."

EMI 11

A1.1 //1=011

The only automatic turntable with Zero Tracking Error

Stereo Review July, 1971

Indeed, everything worked smoothly,quietly, and just as it was meant to. Ifthere were any "bugs" in the Zero 100,we didn't find them. Garrard's Zero100, in basic performance, easily rankswith the finest automatic turntables onthe market. Its novel arm-which reallyworks as claimed-and its other uniquedesign features suggest that a great dealof development time, plus sheer imagina-tion, went into its creation. In our view,the results were well worth the effort.

Sept. 16, 1971

This unit has every imaginable gadgetand gewgaw one might possibly desire,and it works. And considering how muchit does, and how well it does it, at 190bucks it doesn't even seem expensive.The changer has so much in it that ananalysis of its innards is almost a casestudy in record player design.

$18950Mfg by Plessey Ltd. Dist by British Industries Co.less base and cartridge

CIRCLE NO. 103 ON READER SERVICE CARD

FORMERLY HI FI/STEREO REVIEW

Stereo ReviewAPRIL 1972 VOLUME 28 NUMBER 4

THE MUSICTHE BASIC REPERTOIRERavel's La Valse MARTIN BOOKSPAN 45

LISTENING TO DEBUSSYMusic was not everything for him, but everything was music . . . . . . .JAMES GOODFRIEND 46

CHANGING THE GUARD AT THE METNine critics offer the Metropolitan Opera's new manager some advice . . STEPHEN E. RUBIN 61

BARRY MORELLThe Metropolitan tenor talks about performing and recording FLORENCE STEVENSON 67

HANDEL'S JUDAS MACCABAEUS: TWO NEW RECORDINGSRival versions of the martial oratorio from RCA and Vanguard BERNARD JACOBSON 82

HOORAY FOR ON THE TOWN!Columbia reissues its 1961 disc of the Bernstein-Comden-Green musical . . . .PAUL KRESH 98

THE EQUIPMENTNEW PRODUCTSA roundup of the latest high-fidelity equipment 12

AUDIO QUESTIONS AND ANSWERSAdvice on readers' technical problems LARRY KLEIN 16

AUDIO BASICSRecord Static RALPH HODGES 24

TECHNICAL TALK"Super -Power" Amplifiers: Hirsch -Houck laboratory reports on the Akai G X -365D stereotape deck, the Dynaco A -I0 speaker system, the Magnesonics 200B Erasette, and the Execu-

tive Devices FW-I0 Cassette Winder JULIAN D. HIRSCH 27

HIRSCH-HOUCK LABS TESTS THE SUPER -POWER AMPLIFIERSFive audio behemoths are pushed to their limits JULIAN D. HIRSCH 55

TAPE HORIZONSHead Alignment CRAIG STARK 110

THE REVIEWSBEST RECORDINGS OF THE MONTH 69

CLASSICAL 75

ENTERTAINMENT 89

STEREO TAPE 105

THE REGULARSEDITORIALLY SPEAKING WILLIAM ANDERSON 4

LETTERS TO THE EDITOR 6

ADVERTISERS' INDEX 110

COVER: DESIGN BY BORYS PATCHOWSKY; PHOTO BY BRUCE PENDLETON

Copyright © 1972 by Ziff -Davis Publishing Company. All rights reserved. Stereo Review, April 1972, Volume 28, Number 4. Published monthly at1 Park Avenue, New York, N.Y. 10016, by Ziff -Davis Publishing Company-also the publishers of Boating, Car and Driver, Cycle, Flying, ModernBride, Popular Electronics Including Electronics World, Popular Photography, and Skiing. One year subscription rate for U.S., U.S. Possessions andCanada, $7.00; all other countries, $8.00. Second class postage paid at New York, N.Y. and at additional mailing offices. Authorized as second classmail by the Post Office Department, Ottawa, Canada, and for payment of postage in cash. SUBSCRIPTIONSERVICE Forms 3579 and all subscriptioncorrespondence should be addressed to Stereo Review, Circulation Department, P.O. Box 1099, Flushing, N.Y. 11352. Please allow at least six weeksfor change of address. Include your old address, as well as new-enclosing if possible an address label from a recent issue.

Stereo ReviewPUBLISHER

EDGAR W. HOPPER

EDITORWILLIAM ANDERSON

MANAGING EDITORWILLIAM LIVINGSTONE

EDITORIAL COORDINATORROBERT S. CLARK

TECHNICAL EDITORLARRY KLEIN

MUSIC EDITORJAMES GOODFRIEND

ART DIRECTORBORYS PATCHOWSKY

ASSOCIATE TECHNICAL EDITORRALPH HODGES

ASSISTANT MUSIC EDITORVIVIENNE WINTERRY GOODMAN

PRODUCTION EDITORPAULETTE WEISS

CONTRIBUTING EDITORSMARTIN BOOKSPAN

NOEL COPPAGEDAVID HALL

DON HECKMANJULIAN D. HIRSCH

BERNARD JACOBSONGEORGE JELLINEK

IGOR KIPNISPAUL KRESH

REX REEDPETER REILLY

ERIC SALZMANCRAIG STARK

I.ESTER TRIMBI FJOEL VANCE

ROBERT WINDFLER

LONDON EDITORHENRY PLEASANTS

ADVERTISING DIRECTORROBERT UR

ADVERTISING MANAGERJAMES J. SULLIVAN

ADVERTISING SERVICE MANAGERMADELEINE LITTMAN

GROUP VICE PRESIDENTELECTRONICS & PHOTOGRAPHIC

FURMAN HEBB

ASSOCIATE PUBLISHERSTANLEY NEUFELD

Editorial and Executive OfficesZiff -Davis Publishing CompanyOne Park Avenue, New York, New York 10016212 679-7200Andrew Kuhn. Advertising SalesMidwestern Office: The Pattis Group4761 West Touhy Ave., lanmInwood, III. 60646312-679-1100Arnold S. HoffmanWestern Office9025 Wilshire BoulevardBeverly Hills. California 911211213 273-80510 272-1161Western Advertising Manager. Bud DeanJapan: James YogiOji Palace Aoyama, 6-25, Minami Aoyama6-Chome, Minato-ku. Tokyo. JapanTelephone: 407.1930/6821Circulation OfficeP.O. Box 1099, Flushing, N.Y. 11352EDITORIAL CONTRIBUTIONS must be accompanied by return post.age and will be handled with reasonable care; however. publisher as-sumes no responsibility for return or safety of art work, photographyor manuscripts.

Member Audit Bureau of Circulations

:K(

ZIFF-DAVIS PUBLISHING COMPANYWilliam Ziff, PresidentW. Bradford Briggs, Executive Vice PresidentHershel B. Sarbin, Senior Vice President and SecretaryStanley R. Greenfield. Senior Vice PresidentPhilip Sine, Financial Vice President and TreasurerPhillip T. Heffernan, Vice President, MarketingFrank Pomerantz, Vice President, Creative ServicesArthur W. Butzow, Vice President. ProductionEdward D. Muhlfeld, Vice President, Aviation DivisionIrwin Robinson, Vice President, Travel DivisionGeorge Morrissey, Vice PresidentSydney H. Rogers. Vice PresidentLawrence Sporn. Circulation Director

EDITOSPEA3y WILLIA Vl A\DE

RIALLY

GRSO\

WHAT TO LISTEN TO, AND WHAT FOROMEWHERE between hiding one's light under a bushel and bounding onto a soap-')C box for a round of rowdy bugle blowing there is a reasonable middle ground. It

ought there to be possible to make a simple news announcement without contributingto the eruption of superlatives that assaults the public's eyes and ears every time anewspaper or magazine is opened, a radio or TV set switched on. The more we aresubjected to the debased verbal currency of biggest, best, newest, fastest, cleanest, and(lately) dirtiest, the less attention we pay, the harder it is for any message to getthrough. All of which is to say, in my usual direct fashion, that I would like to an-nounce (middle -ground, soft-pedal, low-key, conversational in tone, and modestlyafter the fact) the inauguration of a new series of articles in STEREO REVIEW.

Some readers have doubtless already tumbled to the intentions encoded in MusicEditor James Goodfriend's articles on Bach in December, Schubert in February, andDebussy in this issue, but let me spell them out in clear. STEREO REVIEW is a "service"magazine, and the service we render our readers is guidance in the selection of record-ings and the equipment to play them on. The one area of the recordings catalog whereguidance is sometimes a help and often a necessity is classical music-as if all thosecomposers and all those works weren't enough, there is the additional complicationof performance duplication. Standard example: the February issue of the Schwanncatalog lists thirty (my count) different versions of Beethoven's Fifth Symphony.Further, being pedagogues all, we are not above propagandizing, while we are "serv-ing," for some of our musical points of view, both general ("any music is worth atleast one listen") and particular ("the great composers are not called 'great' fornothing"). The motto for Mr. Goodfriend's series can be simply stated as "What tolisten to and what to listen for in the music of the great composers," and the result,as you see, is a neat combination of guidance and propaganda. This pleases us mightily(though not, I hope, inordinately), and we hope it pleases you too.

It has long been something of a weight on my conscience that, in publishing STEREOREVIEW month after month, we rely so consistently and so heavily on the iconograph-ical riches of ages past, that there is relatively little going back into the kitty, so tospeak. Much of this is unavoidable: an antique subject requires antique illustration.But there is, nonetheless, the certainty that these storehouses of art will in time beexhausted, as well as the possibility that we will repeat ourselves well before that time-there simply are no more undiscovered portraits of Beethoven. To accompany theMusic Editor's series, then, we are commissioning portraits of each composer, in histurn, from a number of outstanding contemporary graphic artists. Since the com-posers cannot sit for these, the artists will of course be relying on iconographical ma-terials for their likenesses. From that point on, however, the contribution is unique:the approach to the subject, the spirit, and the technical means as well spring fromeach artist's reaction to the music of his subject. Counting the Debussy in this issue,three portraits have so far been published. The first, of J. S. Bach (December issue),is by the Ukrainian artist Jacques Hnizdovsky, an internationally renowned specialistin the woodcut. Al Blaustein, who teaches at Pratt Institute in New York, used etchingand aquatint techniques in his portrait of Schubert (February). The Debussy portraiton page 47 of this issue is by Antonio Frasconi, a native of Uruguay whose work inthe United States since 1945 has been influential in the contemporary revival of thewoodcut. Debussy himself might well have appreciated a pair of fortuitous subtletiesin Mr. Frasconi's portrait: the medium is the woodcut, of which Debussy, from hisclose acquaintance with Japanese prints, was a connoisseur, and the color is Debussy'sfavorite violet. But then Mr. Frasconi tells us he was listening to Debussy as he worked.

4STEREO REVIEW

All cartridges are different.Empire cartridges are

more different than others!Take a technical look

for yourself.

How it works.If you know how moving

magnetic cartridges are made, youcan see right away how differentan Empire variable reluctancecartridge is. With others, a magnetis attached directly to the stylus,so that all the extra weight rests onyour record. With Empire'sconstruction (unique of its type),the stylus floats free of its threemagnets. So naturally, it imposesmuch less weight on the recordsurface.

Less record wear.Empire's light -weight tracking

ability means less wear on thestylus, and less wear on yourrecords. Laboratory measurements

APRIL 1972

_C\

insulator

pole

show that an Empire cartridgecan give as much as 50 times thenumber of plays you'd get from anordinary cartridge without anymeasurable record wear! HI -FlSOUND MAGAZINE summed it upvery well by calling the Empirecartridge "a real hi-fi masterpiece...A remarkable cartridge unlikelyto wear out discs any more rapidlythan a feather held lightly againstthe spinning groove."

Superb performance.The light -weight Empire

cartridge picks up the sound fromthe record groove with amazingaccuracy. Distortion is minimal.(None at all could be measured atnormal sound levels with Empire's

1000ZE/X and 999VE/X.) AUDIOMAGAZINE said of the Empirecartridge "outstanding squarewaves... tops in separation." HIGHFIDELITY noted "... the sound issuperb. The performance datais among the very best." WhileSTEREO REVIEW, who tested 13different cartridges, rated theEmpire tops of all in light -weighttracking.X Designates newest improved version.

World Famous Long Playing Cartridges

ire.)For further details write:

Empire Scientific Corp.,Garden City, N.Y. 11530. Mid. USA

CIRCLE NO. 21 ON READER SERVICE CARD 5

F

LETTERS TO THE EDITORThe Infidelity of FM Three cheers for Larry Klein's "The Infi-delity of FM" (February). As chief engineerof a classical FM station, I am painfully awareof the difficulty in getting out a clean signal-and also disgusted with the present state ofthe art in FM broadcasting as heard frommost stations.

A great many FM stations are now auto-mated, and also simply play back tapes rentedfrom duplicating services. The quality ofthese tapes is usually acceptable, but the qual-ity of the playback equipment may be margin-al. Tape heads, guides, capstans, and pinch -rollers are not cleaned frequently enough(many automated machines run twenty-fourhours a day), and high -frequency roll -off, tapesqueak, wow and flutter, and so forth are fre-quent results. Some stations run their tapesonly at 33/4 ips, resulting in loss of the entiretop octave (many professional machines giveup at 7,500 Hz at 33/4 ips). However, the realsore point is the record player. Unfortunately.many stations are run at such a pace in thecontrol room that operators are quite recklessin handling their tone arms. The frustratedchief engineer is forced to install a cartridgethat can stand getting dropped-and ends upusing something slightly better than a high -

quality thumbtack. And that "thumbtack" istracking on a turntable that has higher rumblethan almost any half -way decent home hi-fiturntable. To get rid of the rumble, the broad-caster may use a hefty bass cut-off at 50 Hz orhigher.

If the audio signal gets out of the studioalive it will probably be messed up at thetransmitter by an impressive array of limiters.compressors, and clippers that insure maxi-mum modulation under virtually any circum-stances. If you were to survey FM engineersaround the country, you would probably findthat they are not happy with the FM limitersthey currently have-and in my opinion, thereis no commercially available device on themarket today that will prevent FM overmodu-lation without undesirable and audible sideeffects.

I have visited a large number of FM sta-tions that are without any kind of full -rangemonitoring speakers backed by a clean poweramplifier. No wonder they don't sound verygood -those at the station don't even knowwhat they really sound like. If only more peo-ple would complain about FM sound quality.

maybe someday it would be worthwhile own-ing a high -quality FM receiver.

CARSTEN THOMSENChief Engineer. WAUS-FM

Berrien Springs, Mich.

As a member of that small group of broad-casters for whom audio quality is a matter offact rather than a matter of money, I com-mend Larry Klein for a comprehensive out-line of some of the problems faced by today'sFM broadcaster. There is, however, an ironictwist to the topic of FM audio quality whichMr. Klein did not mention.

When WA DB-Stereo first began broadcast-ing encoded quadrasonic sound, we did sowith the knowledge that several other stationshad had little success in their efforts. Throughour experiments with quad, including "live"quad remotes, we learned that the properphase and balance of the stereo channels onthe station's part was most critical. Since allof our material is prerecorded on tape, weadjust the balance of our Scully tape decksevery time a tape is changed to assure theproper stereo reception. However, we foundthis simple practice to be even more criticalwhen encoded quad information was broad-cast. If the left -right balance or phase is notperfect at the station, then the listener losesrear -channel separation and information.

I think that Mr. Klein will agree that asmore FM broadcasters jump on the quadbandwagon, those who place the mathematicsof the market place before the sonic quality oftheir on -the -air product will have to take along hard look at their engineering priorities.There's just a chance that the growth of quad-rasonic sound with its stringent technical re-quirements might give us a general improve-ment in FM quality.

FRANK D. MURPHYProgram Director, W A D B- F M

South Belmar, N.J.

'Tis a consummation devoutly to be wished.

Fragmentation of Rock Bravos to Joel Vance for his "Fragmenta-tion of Rock." He summed up all the thoughtson rock that have been accumulating in theminds of those of us who love this music. Itjust isn't what it used to be during its "goldenage"- 1965-1970, in my mind-when themusic was just so. well, meaty. The groups

and songs that came along knocked us off ourfeet. The music, in short, excited us, as it nev-er will again.

Rock is going nowhere because there isnowhere to go-all possible directions andsources of new energy have been explored, asMr. Vance says. Nondescript new groups andperformers continue to arrive on the scene,accompanied by fanfare that tells us they'rerevolutionary. Not that they're bad - it's justtoo much of the same.

There's no going back, and I would notwant to. I don't feel lost or cheated; there's alot more to music than rock, of course. I donot lament the fact that rock will fade away ina few short years and something else - I haveno idea what-will develop into the new"youth music" for the next generation.

What more can I say? Again, Mr. Vance,thank you. You said it all, and beautifully.

ARLENE G. SARKISIANCliffside Park, N.J.

Mr. Vance replies: "Dear Miss Sarkisian:When may I take you to tea?"

Surely five pages of advertising wouldhave been more enlightening than "The Frag-mentation of Rock" by Joel Vance in yourFebruary issue.

THOMAS A. FADNER IIMadison, Wis.

After reading the article concerning rock'sdestiny ("The Fragmentation of Rock," Feb-ruary), I was left with my own answer to thequestion "Where is rock going?" It is: rock isnot going, it is growing. As Joel Vance said.many groups fed off the Beatles, such as theDave Clark Five and the Monkees. However,there were those that grew from the Beatles,such as the Rolling Stones. From thesegroups in turn more groups grew. So what wehave now are branches in all directions whichare producing more branches. I believe rockwill continue to grow because it will take avery big axe to chop this tree down.

JEFFREY HENNEVUTHFalmouth, Mass.

Schubert James Goodfriend is to be commended forhis succinct article "The Music of Schubert"(February). May this series continue, for hisability to distill the essence of a composer'sstyle is unique. I have never read as conciselyjust holy Schubert's harmonic shifts from themajor to the minor account for the emotionaleffect of his musical style.

There are only three other composers(usually not mentioned in the same company)who use this magical technique of harmonicchiaroscuro-the sudden shift between sonicsunlight and clouds-to a similar degree:Mozart, Berlioz, and Mahler.

E. DAVID DEVOEFort Wayne, Ind.

Carpenters Just what we needed: an appreciation ofthe Carpenters by the erudite Henry Plea-sants (February)! Unfortunately, Mr. Plea-sants failed to tell us what is worthwhile abouttheir music. Sure they have a "nice sound."but it is also a bloodless, mechanical sound,engineered for easy playback on AM radio.And like Satchmo's (as he mentions), theirrecords sell in the millions. But when Mr.Pleasants reaches for a Louis Armstrong al -

(Continued on page 8)

6 STEREO REVIEW

Dick Sugar's been playinghis Miracord 10H's 18 hours

aweek for 7years.

We built our new 660H for people like himDick "Ricardo" Sugar broad-

casts Latin music over NewYork's WHBI-FM, six days aweek, three hours a day, fromhis own private studio. For thepast seven years -6500 hours ofbroadcasting-his studio turn-tables have been Miracord 10H's.

We built the new ELAC/ Mira -cord 660H for people like DickSugar; people who want or needthe highest quality in a turntable,and who want that quality toendure. So the new 660H haseverything Dick Sugar boughthis old 10H's for-plus all the im-provements we've made sincewe built the 10H.

A broadcaster like Dick wouldn't settle for anythingbut the long-term speed accuracy of the 660H's hyster-esis synchronous motor. Or for an arm that couldn'ttrack down to a fraction of a gram with the finest car-tridges, or an arm without an ultra -simple overhangadjustment to keep distortion nearly imperceptible.

Dick Sugar might not need the convenience of our


pushbutton -controlled automa-tion (the world's most flexible)-he gets more practice playingrecords manually each year thanmost people get in their lifetimes.But he'd appreciate the 660H'scueing lift; with it, he could floatthe arm right off a record withouttaking his eyes off his clock andVU meter.

What impresses him mostabout Miracord though, is relia-bility: "In the seven years I'vehad mine, I've had to replacestyli, idler wheels and a fewminor parts. But I've never hadto send them to the shop. And

my next turntables will certainly be Miracords-justlike the ones before these were."

The ELAC/Miracord 660H. $139.50, less base and car-tridge. Another quality product from Benjamin. ELACDivision/Benjamin Electronic Sound Corp., Farming-dale, N.Y. 11735/a division ofInstrument Systems Corp.Also available in Canada.

BEP1)ANIIPd1._Ax nos I RAC COCI co

Prices sublec to change without notice.

bum on his shelf, which does he grab: the HotFive classics or the more popular "Hello,Dolly!"?

STANLEY DIAMONDChicago, III.

Mr. Pleasants replies: "Sure, I'll reach forWest End Blues, but I'm not putting downthose who would reach for Hello, Dolly! Ineither case one acknowledges a great prodoing an artist's job of giving his listeners apleasurable experience in his own way buton their terms. That's what's worthwhile!Chacun a son gout, / say-even if somewould prefer to spell it 'goo!'"

Record Lending Libraries In the "Letters to the Editor" column inthe February issue of STEREO REVIEW, I no-ticed a letter from G. Ward Evans, the head ofthe record section of the Akron Public Li-brary, along with the Editor's reply. The Car-negie Library of Pittsburgh (the public library)also has a rather good record collection fromwhich I borrow constantly. But Pittsburghhas a problem. Somewhere in the city is a lit-tle old lady, a music lover, who gets hold of allof the library's new records, takes them home,and plays them on a very old mono machinethat has a tone -arm pressure of about three-quarters of a pound.

In reply to the editor's comment, some ofMr. Evans' music -loving "customers" insiston being on the privileged "mint -condition"list because, for the privilege of listening tomint -condition records, they take the respon-sibility of returning them in the same condi-tion. They don't have "more delicate ears";they have more delicate tone -arms, and cringeat the thought of Pittsburgh's little old lady.

FRANK WARNINSKYPittsburgh, Pa.

Critical Shift? Correct me if I am wrong, but isn't there ashift taking place in criticism in general(movies, music, etc.) back toward using aes-thetic standards exclusively for the judgmentof artistic works?

In recent years criteria such as "social val-ue," "relevance," and popularity became im-portant in judging works of art, to the neglectof considerations of their intrinsic artisticworth. Lately, though, critics seem to haveput the latter back on top and are attackingamateurism, gratuitous obscenity, the preten-tiousness of empty poses, and all the rest in nouncertain terms. And they are boosting thepositive values of solid craftsmanship, soundcontent, excellence of performance, etc.STEREO REVIEW'S Rex Reed, in particular,has pulled out all the stops and is a leader inthis movement. If this trend does indeed exist,I applaud it. If it does not, it is about time thatit did.

TOM FONTEKenosha, Wis.

The Editor comments: "I would like to believethat reader Fonte is right, and I hope he isgathering supporting evidence. But we willalways have with us those who believe thatthe arts are means, not ends in themselves.The popular arts in particular have beenmade to bear a fearful weight of propagandaand to suffer demeaning political manipula-tion during this century, and criticism, unfor-tunately, has often cooperated. To me (and toOscar Wilde). all art is quite useless, and it isthat which gives it its glorious importance. On

the subject of 'amateurism,' I assume thatMr. Fonte is referring to amateurism thatpresents itself as professionalism. Some senti-mental criticism has indeed, during the recentfolk and rock eras, tried to sell us a good dealof this, thus merely muddying the stream itought to be clarifying. But of the other kind ofamateurism-playing or singing for one'sown delight- we can never have enough."

Short Short Bobby Short's album of Cole Portersongs is everything Rex Reed's rave review("Best of the Month," February) says it is,but couldn't you at least have found a photoof him at the piano?

JERRY SWEENEYNew York, N.Y.

With difficulty, yes. Below, at the piano, isBobby Short at the age of ten.

Fork in the Old Country Road Thank you so much for the wonderful arti-cle in your January issue on country musicand the one on country music's number oneentertainer, Loretta Lynn. Robert Windelerdid a great job covering the life of this greatsinger.

RON MILLERArlington, Va.

Pride of the Angels I read with great interest Robert Winde-ler's article on Charley Pride in the January is-sue. Windeler mentions that Pride played probaseball for the Los Angeles Angels. I lookedfor his playing record in the Baseball Ency-clopedia, but he is not listed. This started mewondering whether Charley Pride is the sing-er's original name, and if it is, why is he notlisted in the Encyclopedia? Could you pleaseset the record straight?

DAVID GLAGOVSKYHaverhill. Mass.

Charley began the regular season with theAngels, during the first three weeks of whichhis pitching arm got sorer and sorer. He final-ly had to withdraw from the team.

Fans and CriticsI am writing to register my objection to

the comments concerning Renata Tebaldi inGeorge Jellinek's review of London Re-cords' new Ballo in maschera (January).

Certainly no fan claims that her currentvocal estate matches that of her peak years.Tebaldi does, however, still sing well, andnow offers stronger dramatic conviction inher interpretations, as evidenced in the con-spiracy scene of the new recording. RemindMr. Jellinek that Tebaldi did not make therecording for her critics, but rather for herfans, who welcome it. The new Ballo cer-tainly does not displace my Nilsson or Priceversions: it does shed a new light on thismasterpiece of Verdi.

NORMAN PASCARELLAAtlanta, Ga.

Mr. Jellinek replies: "Besides being a critic,I am and have always been a fan of RenataTebaldi. As a fan / regret that she has madethis recording. As a critic it is my duty tos a y so."

Tale of Darkness Re Stephen Rubin's article on Alberto(,inastera's opera Beatrix Cenci (January):your readers might be interested in a fine nov-el about the Cenci tale written by FredericProkosch, and entitled A Tale for Midnight.Its intriguing introductory sentence is: "Ourstory begins and ends in darkness."

RALPH J. STURGESWethersfield, Conn.

Bernstein Mass For your entertainment, edification, andreflection I submit the following bit of dog-gerel on the subject of Leonard Bernstein'sMass ("Opening of the Kennedy Center,"December):

Sweet Lenny gives Man his "Mess,"and his audience a weepy buss.The critics coo, musicians boo.Peace is his subject-or so it seems -really, a compote of liberal themes.For me, soft Lenny, write no more:your coup is complete: a musical bore.You stuck on all styles with Mystic tape,pop, rock, Bach-a cultural rape.When next you start to work, I shall

groan -unless, that is. you write something your

own.PHILIP BRANTINGHAM

Chicago, Ill.

70, Girls, 70I would like to thank STEREO REVIEW and

Rex Reed for the review of 70, Girls, 70("Best of the Month," November) whichbrought to my attention an enormously ap-pealing musical -comedy score which I wouldnever have noticed had it not been for theobviously sincere enthusiasm in Mr. Reed'sforcefully written review. I think this disc isgoing to be an enduring treasure.

EDWARD W. KENNEDYMercer Island, Wash.

Miklos Rozsa Society Together with Mark Koldys in Detroit andken Doeckel in San Francisco, I have re-cently attained a long -held goal: the founda-tion of a Miklos Rozsa Society to focus atten-tion on the film and concert music of this dis-tinguished and unjustly neglected composer.We are putting out a small critical journal andplanning on a recording project as well. Thoseinterested should write to the address below.

J. F. FITZPATRICK2604 Davidson Ave.Bronx, N.Y. 10468

8STEREO REVIEW

larger and specially designedplug. A simple blue -black andchrome color scheme adds thequality finished touch. $59.95.

Stanton Dynaphase Forty, ahigh-performance economy ver-sion of the Dynaphase Sixty withwide range single speaker sys-tem is also available. $39.95.

ACCESSORIESStanton Model 5741 control

unit-The most convenient in -

Stanton quality isa very special quality...

in headphones too.The headphone is, after all, a

speaker system for the head.And the new Stanton Dyna-

phase Sixty is an advanced two-way speaker system designed forheads instead of shelves. Itsunique, extremely wide -rangetwo-way dynamic reproductionsystem is acoustically mountedwith a separate woofer andtweeter. A special crossover net-work precisely channels the highsand lows into each ear, creating atruly breathtaking feeling ofpresence.

In keeping with the highquality approach to the design ofthe Stanton Dynaphase Sixtyheadphone, the fully adjustableheadband and softly cushionedearpieces are stitched (not heat -sealed). Stanton evenimproves conveniencein amplifier connec-tion and discon-nection by pro-viding a

line control unit ever developedfor headphone listening. Workswith Stanton Dynaphase head-phone systems as well as withother headphones. Lets you con-trol listening at your location byproviding separate volume andtone controls and a stereo -monoswitch. Complete with 17 -footcoiled cord, it acts as a perfectextension accessory. $19.95.

Model 5742-Separate 25 -foot coiled extension cordworks with all headphones.

$7.95.For complete tech-nical data write

Stanton Mag-netics, Inc.,TerminalDrive, Plain-view, N.Y.11803

Manufacturers of the world famous Stanton Calibration Cartridges and the renowned Isaphase Electrostatic Headset Systems.

APRIL 1972 CIRCLE NO. 46 ON READER SERVICE CARD

The Dual 1219.

Single -play spindlerotates with platter toprevent enlargement ofcenter hole and tomaintain concentricity.

Pitch -control "tunes"records to liveinstruments, compensatesfor off -pitch records.

Twin -ring gyroscopicgimbal suspension centersand balances tonearmwithin both axes of movement.All four pivots have identicallow -friction, hardened steel -point bearings. Horizontalfriction less than 0.015 gram.

One-piece dynamicallybalanced platter weighsseven pounds, providesmaximum flywheel effect.

trop

Unique Mode Selectorprovides perfect verticaltracking angle in singleplay by lowering entiretonearm base. Tonearmis parallel to record.

Tracking forceapplied at pivot,maintaining perfectdynamic balance.No tracking problemeven if chassis isnot level.

Anti -skating separatelycalibrated for ellipticaland conical styli. (Eachtype skates differently.)

Tonearm is 83/4" frompivot to stylus, virtuallyeliminating horizontaltracking error whilemaintaining one-piecestability.

Feathertouch cue -controlis silicone -damped inboth directions forgentle descent andascent.

10 STEREO REVIEW

Still the favorite of the puristwho insists upon a

full-size professional turntable.Ever since its introduction two years

ago, the 1219 has been widely acclaimedand accepted as the "no -compromise"automatic turntable.

Today, it is still the favorite of themore serious music lovers, those puristswho are never quite satisfied unless everycomponent in their system is "state-of-the-art"

From years of listening, these recordlovers know that on a Dual, any Dual,records are preserved indefinitely andcontinue to sound as good as new no matterhow often played. Yet over the years, theyhave purchased more "high -end" Dualsthan any other model. Readers of thismagazine, for example, have purchasedmore 1219's than any other turntable at anyprice. That is quite a tribute for a turntablethat sells for $185.00.

The reasons for the 1219's continuedpopularity vary from purist to purist. Tomany, it's the tonearm, centered andbalanced within the two concentric rings ofa gyroscopic gimbal. With horizontalbearing friction less than fifteen thousandthsof a gram. When a cartridge actuallyarrives that can track at a quarter of a gram,this tonearm will do it full justice.

To others, the 1219's platter is important.It's a full-size 12 inches indiameter, cast in one piecenon-magnetic zinc alloy,

and individually dynamically balanced. Todrive this massive seven pound platter,there is a powerful continuous -pole motorthat brings it up to full speed in less thanhalf a revolution. Then the motor'ssynchronous element takes over to holdspccd at absolute constancy.

We find that most people interested ina turntable of the 1219's caliber use itprimarily in its single -play mode. So thetonearm was specifically engineered toperform precisely as a manual tonearm:parallel to the record instead of tiltingdown. This is accomplished by the ModeSelector which lowers the entire tonearmbase for the single -play mode. And raisesit for the multiple -play mode.

To the purist, all of the 1219's manyprecision features are important. But in theend he buys this Dual for the same reasona non -purist buys it. For its uncompromisedperformance and absolute reliability.

If you'd like to know what theindependent test labs say about the 1219,we'll send you complete reprints of theirreports. Plus a reprint of an article fromthis magazine that tells you what to look forin record playing equipment.

Better yet, just pay a visit to yourfranchised United Audio dealerand ask him fora demonstration.

United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553Exclusive U.S. Distribution Agency for Dual.

Dual

APRIL 1972 CIRCLE NO. 37 ON READER SERVICE CARD 11

NEW PRODUCTS THE LATEST INHIGH-FIDELITYEQUIPMENT

Toyo Model 335Eight -Track Tape Deck

TOYO'S extensive line of eight -tracktape -cartridge equipment now includesthe Model 335, a stereo record -playdeck with full pushbutton operation. Atotal of nine buttons perform such func-tions as track selection (with indicatorlights), record interlock, and selection ofplaying mode (continuous play; stop atthe end of each cartridge; stop at theend of each track; repeat track). Twobuttons are the equivalent of a pausecontrol, with a front -panel warning lightto show it has been activated; there isalso fast -forward. Among the specifica-tions of the Model 335 are a frequencyresponse of 100 to 10,000 Hz, 0.3 percent wow and flutter, and a signal-to-noise ratio of 50 dB. Recording levels,

which are displayed on two illuminatedmeters, are set automatically by internalcircuits. The deck will record directlyfrom high-level sources, a magnetic orceramic phono cartridge, or micro-phones (a pair of dynamic microphonesis supplied). A stereo headphone jack islocated on the front panel. Overalldimensions, including wood end pan-els, are 121/4 x 5 x 111/5 inches. Price:$99.95.

Other Toyo eight -track products aretwo- and four -channel stereo players forautomobile use, and a four -channel re-ceiver and integrated amplifier for homeuse, each with a built-in eight -trackquadrasonic player.

Circle 116 on reader service card

Harman-Kardon Model 630AM/Stereo FM Receiver

HARMAN-KARDON'S Model 630AM/stereo FM receiver is a moderatelypriced ($259.95) unit with the distinctionof having completely separate powersupplies for the two stereo channels.Another unusual feature is a set of rear -panel jacks (activated by a front -panelpushbutton) intended to accept a DolbyB -Type noise -reduction device, antici-pating the future Dolbyization of FMbroadcasts. Seven similar pushbuttonsprovide independent control of two pairsof stereo speakers, activate the high -cutfilter, FM interstation-noise muting,mono or stereo mode, and loudnesscompensation (affecting low frequenciesonly), and operate the tape monitoringfunction. Control knobs are used forvolume, balance, bass and treble(separate concentrically mounted con-trols for each channel), and input selec-tion (phono, FM, stereo FM, AM, auxil-iary). An FM channel -center tuning

meter reads signal strength for AM.There is a front -panel stereo headphonejack.

Power output of the Model 630, bothchannels driven into 8 -ohm loads, is 30watts continuous per channel over thefull 20- to 20,000 -Hz audio band. At thisrated output, harmonic and intermodula-tion distortion are 0.5 and 0.12 per cent,respectively. Signal-to-noise ratios are50 dB for high-level inputs and 33 dB forthe phono inputs. Specifications for theFM section: IHF sensitivity, 3 micro-volts; capture ratio, 2 dB; selectivity, 30dB; AM rejection, 50 dB; and imagerejection, 40 dB. Stereo separation is 33dB at 1,000 Hz, and 30 and 20 dB at 100and 10,000 Hz, respectively. The dimen-sions of the Model 630 are 12 incheswide, 133/4 inches deep, and 43/4 incheshigh. A walnut finish wood cabinet isoptional at $34.95.


Trans -Static I Speaker System ELECTROSTATIC SOUND SYSTEMS'Trans -Static I speaker system is athree-way design utilizing three elec-trostatic tweeter elements over therange of 1,350 Hz to beyond audibility.The elements are approximately 3 x 6inches each, and radiate both in theforward direction and backward to areflecting panel within the open -sidedenclosure. The front -mounted mid-range is a 5 -inch plastic -cone driverback -loaded by an acoustically dampedtube that radiates from the rear. Thewoofer, also front -mounted, has a flatoval diaphragm with an effective area ofabout 54 square inches. Its rear radia-tions are conducted by a dampedacoustical line to a port located at thebottom of the enclosure, which is openon four sides. The crossover point be-

tween woofer and mid -range is 300 Hz;the system's bass resonance is claimedto be 15 Hz.

Rated frequency response of theTrans -Static I is 25 to 20,000 Hz ±1.5dB. A minimum amplifier power of 30watts continuous per channel is recom-mended, with system power -handlingcapability approximately 80 watts. Dis-tortion is rated at less than 2 per cent ata 95 -dB level for any frequency or com-bination of frequencies between 80 and20,000 Hz, and less than 3 per cent forthe same level at 35 Hz. Mid- and high -frequency level controls are providedfor contouring of the response. Thenominal impedance is 8 ohms. The largeenclosure - 42 x 18 x 15 inches-is cov-ered with dark grille cloth on three


12 STEREO REVIEW

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dynaco 4-damp kit

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AMPLIFIER

Sr"EAKE4,

"-ILLNM

Value-the SCA-80Q is the only 4-D amplifier in kit form and for thesame cost as a similar two channel amplifier. From a built-in de -matrixcircuit at the output of the amplifier, connect four speakers (such as thevery popular DYNACO A -25s). Uncover hidden concert hall ambience inmany conventional two channel discs, tapes and FM broadcasts andrecreate the original sonics with new 4-D recordings. Or use twospeakers now for stereo and add others later. 40 watts RMS per chan-nel, simple assembly, careful engineering, low distortion and superbversatility go together to give traditional DYNACO excellence.

A special 4-D DYNACO/Vanguard LP is available now. See yourDYNACO dealer or send $2.95 to us.

$169.95 kit; $249.95 assembled

dyntaco 114 C_ 3060 Jefferson Street, Philadelphia, Pa. 19121

'RorFOUR,


NEW PRODUCTS THE LATEST INHIGH-FIDELITYEQUIPMENT

sides, with oiled walnut or optionalrosewood top and bottom panels. Thespeakers are sold in mirror -imagestereo pairs, with the mid- and high -fre-quency drivers positioned toward the

center of the stereo image. Price perpair: $1135 ($1195 in rosewood). Ver-sions for biamplification systems (withelectronic crossovers) also available.


Pioneer QM -800 Four -ChannelPower Amplifier

PIONEER'S new QM -800 power am-plifier provides four channels of amplifi-cation, each rated at 25 watts continu-ous when all are simultaneously driveninto 8 -ohm loads. Harmonic and inter -modulation distortion are less than 0.5per cent, and the signal-to-noise ratio is90 dB. Additional specifications includea power bandwidth of 10 to 50,000 Hzand a frequency response that is uni-form within ±1 dB from 5 to 80,000 Hz.Electronic limiters and circuit breakersprotect both the amplifier and speaker

systems from overdrive conditions, andprevent power surges when the unit isfirst turned on. The QM -800 has levelmeters for all four channels, the sensi-tivity of which is adjustable by meansof a front -panel rotary switch with threepositions. The amplifier sensitivity isalso adjustable-to 0.5, 1, or 2 volts-by means of a similar switch. TheQM -800 has dimensions of approx-imately 17 x 53/4 x 131/4 inches, withwood end pieces. Price: $299.95.


Koss KO -747 Stereo Headphones Koss has a new stereo headset withan integral mono/stereo switch that, inthe mono position, drives both earcupseven when the source is a mono signalfrom a mono (two -conductor) phonejack. Designated the Model KO -747, theheadset is a dynamic design, with eachearpiece housing a driver with a 1 -inchvoice coil and a Mylar diaphragm. Fre-quency response is rated at 30 to 20,000Hz. The nominal impedance is 300 ohmsper channel, making the phones suitablefor driving with a low -impedance source(4 to 16 ohms) or the 600 -ohm source

customary on studio equipment. Contin-uous power -handling capability is 5 voltsper channel. The earpieces are designedfor acoustical isolation, each being fittedwith a fluid -filled, washable vinyl cush-ion. The headband, which connects tothe earpieces through universal pivots, isadjustable and foam padded. The at-tached cable stretches 10 feet when ex-tended, and terminates in the standardthree -conductor stereo phone jack. Thefinish of the phones is two-tone brown;weight is 21 ounces. Price: $45.


Fairfax Speaker System FAIRFAX'S top -of -line speaker systemis a four-way twelve -driver design calledthe "Wall of Sound." The tall, shallowenclosure (52 x 30 x 6'/2 inches) is par-titioned into various acoustical paths andchambers, terminating in ports for thewoofers. Six 8 -inch woofers handle thefrequencies up to 1,500 Hz, where two5 -inch mid -range drivers take over toextend response to 5,500 Hz. The uppermid -range (to 9,000 Hz) is handled bytwo 31/2 -inch cone drivers. The frequen-

cies above that go to a pair of 1 -inchdome tweeters. Frequency response isgiven as 20 to 20,000 Hz. The systemhas a nominal impedance of 61/2 ohms,with a power -handling capability of 100watts and at least 20 watts of amplifierpower per channel recommended as aminimum. The enclosure panels are 1

inch thick and finished in oiled walnutveneer. Shipping weight is 125 pounds.Price: $399.95.


Ampex Tape Catalog

AMPEX continues its efforts to makestereo prerecorded tapes available tocustomers not adequately served by re-tail outlets with a 233 -page catalog list-ing more than 6,000 selections that canbe ordered through the Ampex Tape -by -Mail Service. The Ampex service hasbeen expanded to include cassettes andeight -track cartridges as well as open -

reel tapes; all are offered for at least $1off list price, with a further discount of10 per cent or more extended to repeatcustomers. No obligations are incurredwith purchase. The catalog is dividedinto fourteen sections with selectionslisted alphabetically under composer,artist, and title, with special -interesttapes grouped under individual catego-ries. Playing speeds (where applicable)and Dolbyized tapes are indicated in the

listings. Among the more than 125 labelsrepresented: London and subsidiaries,Atlantic, Warner, Reprise, DGG, Van-guard, Capitol, Angel, Nonesuch, andMercury. The catalogs are being mailedat no charge to present users of theAmpex tape service. Others can obtain acopy by sending fifty cents to: Pat Rus-sell, Dept. 2606SR, Ampex Shoppers'Service, P.O. Box 178, Elk Grove Vil-lage, 111. 60007.

14 STEREO REVIEW

THE COBALT CASSETTEEXPLOSIOLEXPLAINED.

This is the year cassettes made itbig. The year they changed from teeny-bopper tape to a full-fledged recording/play-back medium.

And the latest step in this revolu-tion is something called cobalt energizing, orcobalt doping.

It creates, in one stroke, the cas-sette of the future.

Mallory's Professional Duratape,the newest development in cobalt energizing,gives you a 1980 -type cassette right now.

In 1972.Professional Duratape's cobalt en-

ergizing concentrates magnetic particles inthe tape to an almost incredible density, al-lowing a greater signal-to-noise ratio, andproducing a fully -extended frequency range:35 to 18,000 Hertz, plus or minus 2.5 decibels.

Different tape decks give differentresponse curves. But our cobalt -energizedcassette, played on optimum equipment,would give you one that looks like this:

!It

.100z .52 0

' 5

10

",'-114r4 :117.9111 !I

20 100 WOO ri 000 20000

FREQUENCY IN CYCLES PER SECOND

Before, you had to use chromiumdioxide tape and a deck with a special chro-mium dioxide switch to get maximum fre-quency range. Now cobalt energizing does itwithout any special switching or circuitry.

Professional Duratape is a cassetteso advanced, it's capable of future recordingand playback in discrete 4 -channel stereo-two front speaker channels and tworear speaker channels.

It's a cassette so complete in itscapabilities, it can replace your other play-back media: reel-to-reel tape, cartridges, rec-ords, the works.

It even permits editing, a great ad-vantage to professional audio people as wellas advanced amateur enthusiasts.

1:

All of which is why we named itProfessional Duratape.

If you've ever spent any amounton cassettes or cassette equipment, you oweit to yourself to experience ProfessionalDuratape.

Just once.And that, we believe, is all you'll need.

MALLORY

THE NEW COBALT -ENERGIZED PROFESSIONAL DURATAPE.Iteg.tt k of I'. ft. Mallory k :o. Inc.


PHILIPS GA -202the high-

performanceelectronicturntable

GA -202

...with RAVEreviews

GA -308

Heralded by new equipment reportersas a smooth -acting control system withexcellent performance ... a precision -built machine that does its job flaw-lessly ...We couldn't add a single superlativeto this but to say - this vernier -controlled three -speed (33-45-78 rpm)single -play "floating" suspension turn-table with an integral viscous -dampedtonearm and cueing device, is sup-plied with base, hinged dust cover, 45rpm adapter and cables.

See the GA -202 as well as the newtwo -speed GA -308 at your dealer's.Also see three new Philips CalibratedCartridges or write us for informationtoday!

Department 913NORTH AMERICAN PHILIPS CORPORATION100 East 42nd Street, New York, N.Y. 10017

AUDIOQUESTIO\S

cncA\SVVERS3y LA <LEN Technical Editor

Dolbyized Open -Reel Tapes?QPerhaps prerecorded cassettes need Dolby noise reduction more

than open -reel tapes, but certainly itwould seem to make sense to provideDolbyized prerecorded open -reel tapesfor those who want the ultimate in qual-ity. For the first time, an audiophilewould be able to get fidelity from pro-gram material which is consistently bet-ter than that available on the averagedisc recording.

ARNOLD VANEVERPalo Alto, Calif.

AI couldn't agree with you more.. However, until recently, Ampex

(the largest manufacturer of prerecordedtapes) held the opinion that open -reeldid not really need Dolby noise reduc-tion. My opinion was that if they held totheir opinion the open -reel prerecordedtape market would continue to slidedownhill to a noisy death. Apparently,Ampex has now seen the light (or heardthe noise) and has stated that it will bereleasing Dolby open -reel prerecordedtapes in the near future.

Four -Ohm PowerQSince most of the new receivers I. have read about have a higher

power output at 4 ohms than at 8 ohms,I wonder if it is possible to connect an 8 -ohm resistor in parallel with an 8 -ohmspeaker to provide a 4 -ohm load to theamplifier and thus take advantage of thehigher output.

EMIL MARZANOClifton, N.J.

AYes, but half the new total power. will do nothing but heat up the

added 8 -ohm resistor. The net resultwould be less power reaching yourspeaker.

Prerecorded Chromium DioxideQWhy is it that there is little, if any, prerecorded material available

on chromium -dioxide tape? Don't the

old duplication methods presently usedwork for Crolyn oxide tapes?

SANFORD MITCHELLLos Angeles, Calif.

AThere seem to be two major fac-. tors involved: (1) cost-both of

the tape and of conversion of existingduplicating equipment to achieve thefull potential of Cria, tape, and (2) asyet only a few people seem to careabout getting the full fidelity potentialfrom the cassette format. Among thosewho do care is Henry Kloss of Ad-vent-and we will be hearing moreabout developments there in the upcom-ing months.

Apropos of Cr02 duplication, a re-cent communication from DuPont, thedevelopers of Crolyn, revealed an unu-sual property of the tape. It seems thatCrO, tape has a Curie temperature of130 degrees Centigrade (266 degreesFahrenheit), which means that abovethat point any magnetic pattern that ison the tape is erased. This is interesting,but in itself has little practical signifi-cance, since the temperature (wellabove the boiling point of water) is un-likely to be encountered under anynormal circumstances. Certainly, if onewants to bulk -erase Crolyn, it's easierto do so with a high-powered bulk eras-er than in an oven.

However, DuPont disclosed furtherthermal properties that do have signifi-cance in tape duplication. If, after thetape has been raised to 130 degrees C,it is then cooled while in a low -intensitymagnetic field, the tape becomes mag-netized to saturation (full -signal) level.By low intensity, DuPont means 10oersteds. Some of the ramifications ofthis become clear when we realize thatthe magnetic flux densities of the signalon recorded tapes may reach hundredsof oersteds. In other words, there isactually a magnetic signal gain, in thatthe field on the tape is stronger aftercooling than the applied field! If the


CIRCLE NO. 36 ON READER SERVICE CARD 16 STEREO REVIEW

comottponentsalways get

good reviews!

Why?

It could be their performance.The professional reviewers' findings may be bestsummarized by a respected test engineer who said,"In the nearly twenty years I've been evaluating audiocomponents, Scott units have consistently met, and inmany cases, substantially exceeded, their publishedspecs." No one should be surprised at this. HermonScott and his colleagues planned it that way from thevery beginning. Scott components are intentionally ratedconservatively to provide a safety margin, so that, evenwith normal tolerances in piece parts and productiontechniques, every Scott product shipped will meet orexceed its published performance claims.

It could be their advanced design features.When the present Scott line of audio components wasfirst shown to dealers and the press, a reviewer from anon -audio -buff magazine commented, "My readers andI are more interested in what the equipment does than inhow it does it. These Scott components seem to me tohave all the controls and convenience features the seriouslistener needs." That, too, should be no surprise, forH. H. Scott is traditionally the first to use advanced designconcepts in circuitry, function and appearance, but onlywhere such advances contribute demonstrably to userconvenience and satisfaction.

It could be their value for the price.Reviewers have the edge on audiophiles, and even mostdealers, because reviewers get the opportunity to criticallyevaluate virtually every product on the market, and compareit with everything else in its price class. After they'vemade a spec -for -spec and feature -for -feature comparisonof everything available, they know which productsrepresent the best value to the buyer. When a reviewersays of a Scott product, "This receiver offers an unexcelledvalue for the price,' the audiophile can purchase the unitwith the certain knowledge that he is getting hismoney's worth.

Professional audio equipment reviewers like H. H. Scottcomponents for their performance, advanced designfeatures and value for the price. But aren't these thevery qualities you like to stress when you sell an audiocomponent or system? You'll find these qualities inevery Scott tuner, amplifier, receiver and speakersystem. Call your Scott rep today for further information.

eg SCOTT®where innovation is a tradition

H. H. Scott, Inc.. 111 Powderrnill Road, Maynard, Mass. 01754


Introducing theBSR McDonald 010Transcription SeriesAutomatic Turntable.

From its Sequential Cam System that antiquatesthe conventional noisy cam gear and swinging

plate to its Synchronous Power Unit, the BSRMcDonald 810 is designed to match or

exceed the performance of anyautomatic turntable currently

available Some otherhighlights include a Variable

Pitch ControlA 12"dynamically balanced

turntable platter.A viscous -

dampedcue andpause

control withexclusive

friction CueClutch to keep

the tone arm cuedover the exact

g rooveAn automatictone arm lock to

eliminate accidentaldamage to the stylus or

records A ConcentricGimbal Arm Mount and

featherweight push-buttonoperation featuring the widest

selection of operating modes*Your BSR McDonald dealer will be

happy to audition the 810 for youThe price for this unbelievable performer?$149.50From BSRTheworld's largest manufacturerof automatic turntablesBSR (USA) Ltd.Blauvelt. N.Y. 10913


The Kleen Machine.

AIM

Records and dust.If you enjoy one, must you suffer the

other?Not with the new Bib Groov-Kleen.Groov-Kleen is the most effective meth-

od yet devised for removing the dust anddirt that accumulate on record surfaces.

Simple to use and install, Groov-Kleenreduces record and stylus wear and im-proves reproduction without the use ofany groove fouling liquids.

Handsomely crafted in chrome andaluminum with black accents, Groov-Kleen has a built-in arm rest and an ad-justable counterweight to reduce dragand minimize speed variations.

Available directly or from your nearestdealer. Only $7.50.

B RMcDONALD

"low -intensity field" is provided by amaster tape in contact with the Crolyn,a signal transfer takes place.

The transfer, in terms of the wave-length (frequency) of the signal, is notperfectly linear: there is a 2 to 3 dB lossat very low frequencies, 6 to 10 dB gainat mid frequencies, and perhaps zerogain at the highest audio frequenciesrecorded at slow speeds. This departurefrom linearity is not severe, since it isactually less than that which occurs inthe normal electromagnetic -recordingprocess.

A basic problem in duplicating prere-corded tapes is the speed needed tomake the process profitable. Conven-tional prerecorded audio tape is runthrough slave duplicators at about thirtytimes normal playing speed. If the high-est audio frequency recorded on thetape is 15,000 Hz, this then requiresperhaps a 500,000 Hz (0.5 MHz) re-sponse from the tape heads and associ-ated electronics. Video tape with its 4.5MHz response requirement is evenmore difficult to duplicate at greaterthan playing speed because the frequen-cy response demanded of the heads andelectronics becomes excessive. Thermalduplication, however, not only elimi-nates the electronics but has other ad-vantages, as we saw above. The onlyspecial requirement of the video-tapemaster would seem to be the need for"pre -equalization" to compensate forthe thermal duplication response. Intheir prototype machine DuPont is ableto achieve a duplication speed of atleast ten times the playing speed, which,to the best of my information, is tentimes faster than anyone has been ableto duplicate video until now.

How about thermal duplication of au-dio formats-open-reel, cassette, andeight -track? Several factors indicate thatthe thermal process may not be the long -

sought solution for audio noise, drop-outs, and frequency -response loss. Au-dio tapes-all formats -are usually du-plicated by having a master (in the formof a continuous loop) feeding a dozen orso slave machines, each of which is dub-bing all tracks of the program simultane-ously and continuously. As the fourtracks end, a tone is put on the tapewhich later is used to separate each "al-bum" as it is wound on the open reel,the cassette, or the eight -track hub.

It's questionable whether the advan-tages resulting from thermal duplicationof audio tapes would outweigh the needfor complete replacement of existingduplication equipment.

Because the number of questions wereceive each month is greater thanIre can reply to individually, onlythose questions selected for this col-umn can be answered. Sorry!

Revox Corporation 155 Michael Drive, Syosset. N.Y. 11791

CIRCLE NO. 40 ON READER SERVICE CARD STEREO REVIEW

When Radio Shack Says "Everything"You Get The Works -Tape, FM -AM,Phono AND a Big Price Cut!

Realistic puts together "total stereo" at over 12% off! Each piece is engineered formagnificent listening, each is designed for modern good looks. We include the oiled walnutcases and bases- usually "extra cost" options with our competitors. And even blankcassettes, mikes, and FM antenna to get you started. An investment that will bring youyears of happy returns. System #34-2013, exclusive at every one of our 1340 storesacross the country. Convenient credit terms available.

SEPARATE ITEMSTOTAL S628.60You Get "Everything"

For Only

550°°SAVE $78.60 OFF

OUR ALREADY LOW PRICE

Optimus-1 10" 3 -WaySpeaker Systems

60 -Minute Cassettes

LAB -24A Automatic Turntable,Elliptical -Stylus Cartridge

NOVA -20 Stereo Headphones

Available at All Radio Shack and Allied Radio StoresWe're in the Yellow Pages If there's not a storenear you, order by mail Add applicable sales taxes

and S10 for shipping

STA-65C 82 -WattStereo Receiver

SCT-5 Stereo CassetteRecord/Play Deck

-Highball -2" DynamicCardioid Mikes

radio 'hackAND ALLIED RADIO STORES

MA TANDY CORPORATION COMPANY

2725 W. 7th Street, Fort Worth, Texas 76107

APRIL 1972 CIRCLE NO 3 ON READER SERVICE CARD 21

The 4 -channel Sansui MQ2000is not a second-classcomponent system.

It's a first-class compact.

Sansui has never made anything but components until now. So our engineers just couldn't break the old habit when we askedthem to come up with a four -channel compact. They took the ingredients of a state-of-the-art component system and packedthem into a single housing, then crowned them with an acclaimed, first -line automatic turntable and magnetic cartridge.

The MQ2000 complete four -channel music center. It's an AM/FM receiver. A decoder for all compatibly matrixedfour -channel recordings and broadcasts. A four -channel synthesizer for your entire collection of conventionalstereo records, as well as for regular stereo broadcasts. It can handleany discrete four -channel source, taped or otherwise, and can takeany adapter for any future four -channel medium that mightcome along.

Total IHF music power: 74 watts. FM sensitivity: 5microvolts IHF. Normal -level response: 30 to 30,000Hz ±2 db, with harmonic or IM distortion below1% at rated output.

The automatic turntable is Perpetuum Ebner'sModel 2032 with calibrated stylus -force adjustment,variable -speed control, damped cuing, anti -skating anda host of other features. The cartridge is Shure'sM75-6, specially recommended for four -channeldiscs.

The speakers are Sansui's exciting new AS100two-way acoustic -suspension designs. Notscaled -down performers made just to goalong with a package, but full-fledged per-formers in their own right-regular membersof Sansui's new AS speaker line. Two ofthem come as part of the package, becausemost people already have a stereo pair, but youcan match up another pair of Sansui's regular line,if you wish, for a perfectly balanced system. Wait till youhear this at your franchised Sansui dealer!

C COPYRIGHT 1972 BY SANSUI

ansui_,WA? SANSUI ELECTRONICS CORP.

6711P7A Woodside, New York 11377 Gardena, California 90274ELECTRONIC DISTRIBUTORS (Canada), Vancouver 9, B.C.SANSUI ELECTRIC CO., LTD., Tokyo, Japan Sansui Audio Europe S. A., Antwerp, Belgium

22 STEREO REVIEW

It sounds like reel-to-reel.It looks like cassette. It is.

It is the new Sansui SC700.

Close your eyes and your ears tell you you're listening to a reel-to-reel deck of the highest caliber.Open your eyes and you know that cassette recording has finally made the grade.

The performance -packed, feature -packed SC700 Stereo Cassette Deck incorporates Dolbynoise reduction, adjustable bias for either chromium dioxide or ferric oxide tapes, three -microphone mixing and specs that will make your eyes-as long as they're open-pop even wider.

Undistorted response is 40 to 16,000 Hz with chromium dioxde tape and close tothat with standard ferric oxide tape. Record/playback signal-to-noise ratio isbetter than 56 to 58 db with Dolby in-and commendably better than 50 db evenwith Dolby out! Wow and flutter are below 0.12% weighted RMS.

A DC servo motor (solid-state controlled) assures rock -steady speed.The tape -selector adjusts both bias and equalization for ferric -oxide orchromium -dioxide formulations. The large, slant -panel VU metesare softly illuminated. Contourless heads keep response smooth,and a head gap one micron narrow brings high -frequencyoutput right up to reel-to-reel standards.

With so much in its favor, Sansui engineersdecided it deserved all the features ofa first -rank open -reel deck, and more:Pause/edit control. 3 -digit tape counter.Separate record/playback level controls(independent but friction -coupled). Auto-matic end -of -tape shut-off with full dis-engagement and capstan retraction .

and much, much more.

The SC700 is practically a self-containedrecording studio. Which makes it quite abargain at $299.95.

@ COPYRIGHT 1972 BY SANSUI

SANSUI ELECTRONICS CORP.Woodside, New York 11377 Gardena, California 90274ELECTRONIC DISTRIBUTORS (Canada). Vancouver 9, B.C.SANSUI ELECTRIC CO., LTD., Tokyo, Japan Sansui Audio Europe S. A., Antwerp, Belgium

APRIL 1972 CIRCLE NO. 41 ON READER SERVICE CARD13

Bringing upthe rear.

TheABC 404A.

.i.0lWi.O

co0

I=1

O

Po0

GC

If you've hesitated aboutmaking the switch to fourchannel because of thecomplications posed byrear speaker placement,relax.

We've got the answer.It's our ADC 404A.

The choice of leadingtesting organizations fortwo channel systems,this unobtrusive, highquality, low cost speakeris also the perfect solu-tion to the biggest hangup in four channel soundreproduction.

--...., The ultra -compactADC 404A(1178" x 734"x 81/4") pro-vides the clean,uncolored,well balancedsound nor-mally associ-

ated with far larger andmore costly systems.

Best of all, its smallsize and light weightenormously simplifyplacement problems.Just place a pair on aback wall and almostbefore you can say fourchannel, you're hearingit.

And once you've heardthe 404A, we think you'llagree that with ADCbringing up the rear,you're way ahead.

Manufacturers suggested retail price $45.

CD Pickett District Road,New Milford, Conn. 06776

AUDIO3ASICS

By RALPH HODGES

RECORD STATICTATIC ELECTRICITY ranks with simple carelessness as the element most

S responsible for shortened record life. It also troubles the tape user, to alesser degree, but for similar reasons. All matter is ultimately made up ofsubatomic particles gathered into units-atoms and molecules-that arenormally electrostatically neutral (that is, plus and minus particles are pres-ent in equal numbers). However, it's often not too difficult to cause a gain orloss of one or more of the particles, leaving the atom or molecule with a plusor minus static (or stationary) charge, depending on which type of particleremains in the majority. Since electrically conductive materials (metals, etc.)permit a free flow of charges, an electrostatic imbalance of one atom is dis-tributed throughout the whole object. Nonconductors (record vinyl, untreat-ed tape backing, and many others) will develop a potent static charge at theprecise point where there is a gain or loss of the charged particle(s). Now,static charges want nothing so much as to discharge (neutralize) themselves.They'll attract anything present in the immediate environment that mightcorrect the imbalance. Dust is always available, and is usually the first thingto make a visible arrival. Once there, the dust speck locks with the recordsurface in a tug of war over the disputed charges that is surprisingly difficultto break up. And this dust is ultimately destructive to records when the play-ing process grinds it into the walls of the grooves.

Unfortunately, the very act of playing a record, or wiping it to removedust, creates more static charges. Everyone who has ever tried even rudi-mentary record cleaning has noticed, along with a faintly audible crackle, thetendency of dust motes to skip back to the spot from which they were re-moved. Record -cleaning fluids are supposed to be a specific against static,and many of them are probably admirable in this capacity, but my reserva-tions about fluids, expressed last month, still stand. This leaves two lines ofdefense. The first is the conductive turntable mat. It is standard equipmenton most of today's good turntables, and can often be purchased for oldermodels. The mat can't discharge static, but it can bring enough plus chargesin close proximity to the record surface's minus charges to neutralize therecord's attractiveness to dust temporarily-as long as the record is on themat. Once removed, with the familiar crackle, the record again becomes adust magnet, and should be jacketed immediately. Your second option is theuse of some radioactive device (not usually much more radioactive than aluminous watch dial), such as the Staticmaster brush or ionizing "jewels."These ionize the air, making it conductive, and thereby provide an escapepath for the charges. The dust held in captivity is now free to be removedmechanically. Once released, the dust is easily wiped away.

Some record companies specially "dope" the vinyl from which they moldtheir discs with substances intended to make the disc more conductive.While this is somewhat effective in reducing static, it is also an adulteration,and, unless done with moderation, may increase surface noise.


The best part of Sony's SQ four -channel systemisn't made by Sony.

alfota.... olOssa. *rap...nor, ererva.s.ft MOW Is* 4 -wk

.11.0 An., MAN, lb. AM* Aorty Wan* 11101... .6. an. 400V 01. Tb140.0, I...mom ...ma...RAMA.04.401MAINIONICFC ormat ot 10,...-4MV.F1A ,,,,,

It's made by people like Columbia and Van-guard: the SQ stereo/quadraphonic record.

That's as it should be. Because without musicthat means something to you, four -channel wouldbe meaningless - no matter how much technicalingenuity our engineers invested in it.

But now you can get four -channel SQ recordsthat surround you with the music of composers likeBach, Mahler, Tchaikovsky and Verdi, and withperformers like Baez, Bernstein, Blood, Sweat andTears, Miles Davis, Dylan, Santana, Streisand...

Which means you now need some way to hearthose records in four -channel.

And that's where Sony comes in. Add twospeakers, an integrated amplifier and our SQD-1000decoder to your stereo system (or two speakers andour SQA-200 with its own amp built-in), and you canhear true four -channel sound from all the new SQrecords. Even the stereo tapes and records youalready have will be enhanced to sound like four -channel. And you can add a four -channel tape player.

Besides compatibility with your stereo systemand recordings, SQ has many other technical advan-tages - that's one of the reasons major record com-panies are adopting it. With SQ, the record producercan seat his musicians anywhere in a circle aroundyou without unbalancing the musical effect. Andyou can listen without losing any of the left -to -right separation your stereo system gives you. Andfront -to -back separation is greatly increased by thelogic circuits in the Sony SQ decoder.

A wide variety of SQ records are now available.And your Sony dealer has the SQ equipment thatyou need to play them. Drop infor a demonstration, and sur-round yourself with musicthat you want to hear, the wayyou've always wanted to hearit. Sony Corporation ofAmerica, 47-47 Van DamStreet, Long Island City.N.Y.. 11101. *A trade mark

APRIL 1972SONY' * four -channel record system

CIRCLE NO.44 ON READER SERVICE PAGE 25

"The performance of the LST is trulyprodigious."

The idea behind our Labora-tory Standard Transducer wasto offer engineers and scien-tists a quantitative standardwhere before there was none.Since its introduction to theprofessional, however, a num-ber of these speakers havefound their way into homestereo systems.

This fact is not so remarkable,though, since the AR-LST issimply a logical extension ofthe philosophy long employedat AR in designing loudspeak-ers for the home: The bestloudspeaker is the most ac-curate one.

Linear responseHigh Fidelity's recent reviewof the AR-LST (January 1972)reflected their appreciation ofthis approach: "The perform-ance of the LST is truly prodi-gious. Its response was foundto be among the most linear

L.'

Total radiated energy of theAR-LST above 500 Hz; selectorswitch in the "flat" position.

yet measured for a loud-speaker. From 50 Hz to 15,000

26

High Fidelity Magazine

Hz, the LST was measured asflat within plus or minus 3 dB!"

FlexibilityThe AR-LST offers a choice ofsix different energy outputcharacteristics - the flat oneshown here, plus five others -all accurately known and avail-able at the turn of a switch.High Fidelity reported that"different program material(depending on variations inhigh -frequency emphasis andover-all tonal balance) didseem to call for different set-tings of this switch", and thatthe various settings were "veryuseful for satisfying individuallistener preference and/orsuiting the playback to differ-ent types of rooms."

Overall performanceHigh Fidelity summed up itsreaction to the AR-LST'suniqpe characteristics thisway: "The LST's sonic accu-racy becomes manifest notonly in terms of the naturaltonal balance it provides for allmanner of musical material,but also in the way it revealssubtle differences in the up-per midrange and high -endresponse of different record-ings - differences that oftenare obscured by otherwise fineloudspeakers but which are ofimportance to the critical lis-tener. With good recordingsand an appropriately powerfulamplifier driving them, a pairof LST's are a joy to hearwhether the material is rock orchamber music, grand operaor a baroque ensemble, Sina-tra or a Mahler symphony."

Please send detailed information on the AR-LST, aswell as a list of Demonstrating Dealers, to

Name

Address

Acoustic Research, Inc. SR -4

24 Thorndike St., Cambridge, Massachusetts 02141


TECH \IRL TAL3OULIA\ D H

<

"SUPER -POWER" AMPLIFIERS: Althoughmost people seem to be quite content with moder-ately powered amplifiers, there has been a gradualupward trend in amplifier power ratings in the lastfew years. I'm referring here to legitimate ratings,not figments of advertising imaginations. Todaythere are a number of receivers and componentamplifiers capable of delivering 50 to 60 watts (ormore) per channel to 8 -ohm speakers. These areusually considered as "high -power" amplifiers,since 20 to 30 watts per channel is a more usual rat-ing, even in rather good audio systems. Much hasbeen written, pro and con, on the need for, or eventhe advisability of, extremely high amplifier power.After all, ordinary listening volume seldom requiresmore than a watt or two, even with the least efficientspeakers. What is to be gained by using a "super-power" amplifier?

"Super -power" is my own term for the class ofamplifiers capable of delivering 100 watts or moreper channel to 8 -ohm loads with both channels op-erating simultaneously over a frequency range of 20to 20,000 Hz with very lowdistortion. What constitutes"very low distortion" is dis-cussed in the feature article inthis issue where I go into thespecifics of super -power ampli-fier performance.

As I see it, the use of superpower can be justified on sev-eral grounds, all of which are interrelated:

1. Music and speech waveforms are complex,with brief output peaks far exceeding the averagevalues. The average power is related to the appar-ent volume of the sound (all else being equal), butthe ratio of peak to average power in the programreally determines what is needed in respect to theamplifier's power rating. This ratio is rather indeter-minate, but measurements I have made suggest thatit may be 10 dB or so for speech and perhaps 6 to 7dB for rock music. Both figures were based on re-production of music where some peak limiting has

already been applied during the recording process.It is certain that the ratio for live sound sources isconsiderably higher.

A 10 -dB peak -to -average ratio means that theamplifier, running at a 1 -watt average output, mayhave to deliver 10 -watt peaks occasionally. Ob-viously, the speaker must be able to handle thehighest peaks.

2. The logarithmic response of human hearingrequires a doubling of power for each 3 -dB increaseof volume. This is a relatively small volume change,which might not even be noticed if it occurred aftera pause in the program. Aincreases could easily require a ten -fold increase inamplifier power.

3. The size and acoustical treatment of the listen-ing room, difficult to define except in general terms,can have a great influence on power requirements.A large living room can easily require ten times asmuch power as a small den to achieve a comparablelistening level.

4. Loudspeaker

TESTED THIS MONTH

Akai GX-365D Stereo Tape DeckDynaco A-10 Speaker SystemMagnesonics 200B Erasette

E. D. FW-10 Cassette Winder

efficiency-a rough measure ofhow much electrical power isneeded for a given acousticoutput-spans a range of per-haps ten to one (not includinglarge horn and theater -typesystems which are more effi-cient than the usual homespeaker systems).

5. Individual listening tasteand volume preference, impossible to specify rigor-ously, may well be the major factor in determiningamplifier power needs. My own tests, in a room ofabout 2,000 cubic feet, indicate that only about 0.1watt per channel provides a comfortable back-ground music level that does not interfere withnormal conversation (with moderately low -efficien-cy acoustic -suspension speakers). At 1 watt thevolume is, by my standards, quite loud, with con-versation possible but requiring shouting. Yet, withcertain types of program material, where the utmostin realism is desired, the average power rises to 10,

APRIL 1972 27

20, and even 50 watts. Even in this case, we knowthat we are well below "natural" volume levels.

Taking all factors into consideration, it is easy tosee why some people never feel the need for morethan 10 watts of amplifier power, while others stillfeel limited with several hundred watts at their dis-posal. It is for the latter group of dyed-in-the-woolaudiophiles that several manufacturers producesuper -power amplifiers. These are all basic poweramplifiers, rated with great conservatism, and meet-ing the requirements previously set down for thiscategory of amplifier. Many of them are large,heavy, and hot (a cooling fan is advisable for any ofthem that are to be run at high levels much of thetime). All of them are expensive, although curiouslyenough, considered on a "dollars per watt" basis,they are more economical than most lower -poweramplifiers.

To discover what differences might exist amongthese amplifiers, both measurable and subjective,and to decide whether they offered any clear-cutadvantage over more mundane amplifiers, we havetested a group of super -power amplifiers. All of themanufacturers we contacted supplied us with asample for testing-with two exceptions: SAE, be-cause they simply had no amplifiers to spare; andMcIntosh, because it is their company policy not tosubmit products for testing. A few other amplifiersof this caliber are doubtless available, but usuallyfrom smaller companies that do not have nationaldistribution at this time.

The details of the tests, and of the results, appearelsewhere in this issue. Even if you have no desireto add one of these units to your system, you mightnevertheless find our test data a useful guide to thepresent state of the art in audio amplification.

EQUIP MENT TEST REPORTSBy Hirsch -Houck Laboratories

Akai GX-365D Stereo Tape Deckmechanism to handle tapes of/2-mil, 1 -mil, and 11/2 -milthicknesses.

The tape passes over a tension arm that shuts off themotors when the tape breaks or runs out. A specialswitch can be set to turn the machine off totally when theautomatic shutoff trips. The PAUSE control is a small but-ton which acts instantly when pushed (and does not re-cord a noise on the tape when released). Twisting the but-ton clockwise locks it in position.

The GX-365D is designed for world-wide application,in that is has a six -position voltage selector in the rear tomake possible its use with line -voltage sources from 100to 240 volts. A screwdriver -adjusted control on the panelsets the drive system for either 50- or 60 -Hz power lines.

0 The electronic portion of the GX-365D is located belowthe transport. Two illuminated meters indicate recordingand playback levels. Three pushbuttons below the metersselect stereo recording or quarter -track mono on tracks 1-4 and 2-3; two more buttons route the SOURCE or TAPEsignals to the line outputs. By engaging both these but-tons and the appropriate track selector button, sound -on -sound recordings can be made in mono. A pushbuttonmarked "SRT" increases the recording bias to suit thenewer low -noise, high -output tapes. With the SRT buttondisengaged, the GX-365D is adjusted for low -noise tapessuch as 3M Type 203.

A stereo headphone jack (for 8 -ohm phones) with itsown volume control is located below the monitoringpushbuttons. At the right side of the control panel are twopairs of recording -level controls. The line and micro-phone adjustments are concentric for each channel, andthe two sources can be mixed. The MIC inputs, whichhave a 10,000 -ohm impedance, are located below thecontrols. Between them is the RECORD button, with a redindicator light above it. The button can be pushed at anytime, with the tape set for normal speed, to engage the


k0

THE Akai GX-356D stereo tape deck is a three -motor,four -speed machine with three long -life glass -ferriteheads and a number of unusual operating features - in-cluding reverse playback. The basic operating speeds(17/8, 33/4, and 71/2 ips) are selected by individual pushbut-tons that simultaneously change the equalization. Opera-tion at 15 ips is also possible when a special capstan bush-ing and rubber pinch wheel are installed (they are normal-ly stored inside the hinged head cover). The 71/2-ipsequalization is used for the higher speed.

The transport is solenoid controlled through five light -touch pushbuttons. An optional remote -control accesso-ry can be plugged into a socket in the rear of the unit. TheGX-365D shifts its single playback head to achieve bi-directional playback. There are play and fast -speed push-buttons for each direction of travel flanking a large STOPbutton. Illuminated arrows next to the reels indicate thedirection of tape movement. The reel braking is electro-magnetic, and there is a switch to adjust the transport

28 STEREO REVIEW

Our new SX-727.So much forso little.

If you trink that value is an abstraction,you'l ciange your mind when yousee air hear -he new P oneer SX-727AM -F11 stereo receiver Comparisonproves it has greater pcwer,performance, precisior, features andversat lity than any sim lar pricedreceiver.

Lcoking behind its power ratiig -195 wa-ts IHF 40 40 watts RMS at8 ohns, both channels criven - youfind E. c-irect-coupled amplifier anddual ewer supplies. Tie result I=_cons elent pcwer throughout the20-203-00 Hz oandwidti for imp-cvedtransient, damping anc frequecirespoises, w th low, 100/ distort on.

You're it complete command ofthe FM dial, even in coigested areas.New and advanced FET/IC cirou tryhas ELbstantially improved sensi-ivityand se ectivity. Reception is cr,s:al

The otiers are SX-626 andSX-525, designed fo- both moreluxurious and more modest budgets.Hear tiem all at your Pioneerdea er today.

U.S. Pioneer Electronics Corp.,178 Commerce Roac,Car stadt, New Jerszy 07072West: 13300 S. Estre la Ave.,Los Angeles, Calif. 92248Car ada: S. H. Parke- Co., Ontario

OD PIONEER®when you wilt something better

clear and free o* interference.There's a wide range of coinec-

:ionsior turr tables, tape dec<s,neradphon, rr icrophones, and even

You can connect th-eespeakers, w lid- are protected againstdamage by an exclusive, new PioneersalegJard sistem. Addit one featuresinclude: loudness contour, h gh & lowfilters, =MI and audio muting, click -stop tdie cxnt-ols, ultra wide FMtuning dial Jua tuning metes, modelichts. End ai of ed walnut caoinet.

Sensitlw pr ced at $349.95, theS-727. is cne of Pioneer'snew I re of 'our 'margin ofex:revalue' receivers.

IIIImmill111111111111111The head cover on the Akai G X-365 D is hinged, permitting easyaccess for inspection and maintenance. A special capstan sleeveand pinch roller for 15-ips operation are stored on its underside.

recording mode. To prevent accidental tape erasure, aconcentric ring can be turned 90 degrees to lock out therecording function.

Two unique operating features of the Akai GX-365Dare the "Reverse-O-Matic" and the "Compute-O-Matic"systems. The former is an automatic -reversing playbackfunction, operating with the four -digit index counter andtwo concentric calibrated knobs. By setting these appro-priately for the beginning and end of any desired tapesegment (up to 2,400 feet long) and pushing a button, therecorder can be made to play the selected portion, re-verse, play the other pair of tracks until it reaches thestarting point, and repeat the process indefinitely. Auto-matic reversing can also be actuated by a strip of con-ducting foil that has been applied to the tape at the de-sired point.

The "Compute-O-Matic" system is an unconventionalautomatic -recording -level adjustment. It is actually a gaincontrol driven by a servo -motor, operating on both chan-nels, with its action set by the highest signal level on ei-ther channel. The shaft of the motor -driven control, withan index arrow, is visible on the panel. When the Com-pute-O-Matic button is pressed in the absence of a signal,the control turns to maximum with an audible whirringsound. When a signal is applied, the control setting re-duces until a maximum level of 0 VU is obtained. Ifhigher peaks should occur during the recording, the gainis reduced imperceptibly to accommodate them. Inas-much as the process may take a second or two, it does notfollow program peaks, but instead serves to establish asafe maximum average level. However, the gain does notadvance during low-level passages, and therefore the av-erage program level may tend to drop slightly as a record-ing is made, depending on the duration and frequency ofoccurrence of loud passages.

The Akai GX-365D is supplied in a handsome walnutcabinet with a removable hinged cover (it is not portable,however), and can be installed vertically or horizontally.The take-up reel supplied, incidentally, is a novel metaltype with large side slots and a special hub for easy tapeloading. The unit weighs 56 pounds. Price: $559.95.

(22

5I I

........,e___...ili'1

0 ..............BIPVIWZr...1..............4.1PB,....

71/2 IPS5

m\AKARECORD -PLAYBACK

05-3650RESPONSE -1

0

oc

0 +5

0

50 100 200 500 11tHi 2kHz

I 1

NAB PLAYBACK RESPONSE

FREQUENCY Hz

5kHz 10kHz 20kHz

7 /2 IPS1 I I I 1

Laboratory Measurements. We used the recommended3M Type 203 tape for our measurements. Akai statesthat it is similar to the Akai AT -7S tape which is used forthe recorder's alignment but is not sold in this country.The record -playback frequency response at 71/2 ips wasimpressive: within ±1.5 dB or better from 20 to 20,000Hz, it was down only 3 to 4 dB at 25,000 Hz. In par-ticular, the frequency response was maintained withvirtually no fluctuations resulting from head fringingeffects down to the lowest frequencies of our test instru-ments. The response was essentially identical in bothdirections, and on both channels.

At 33/4 ips, the frequency response was even smooth-er: ±1.5 dB from 20 to 21,500 Hz. The lowest speed,17/8 ips, provided better response than most open -reelrecorders we have tested at that speed, though it was wellshort of the range achieved at higher speeds. It was ±2 dBfrom 20 to 11,500 Hz, with a slight peak centered at9,300 Hz. Our response measurements at all speeds con-firmed Akai's specifications.

Since the 71/2-ips equalization is also used at 15 ips, onewould expect an exaggerated high -frequency response atthe higher speed, and this proved to be the case. The out-put rose from about 4,000 Hz to a maximum (between20,000 and 25,000 -Hz) of about +16 dB. Clearly thisspeed is suitable only for playback of quarter -track- 15-ipstapes on 7 -inch reels-not a very common item thesedays.

The NAB playback response, over the range providedby the Ampex test tapes, was ±1 dB from 50 to 15,000Hz at 71/2 ips and ±0.75 dB from 50 to 7,500 Hz at 33/4ips. We made numerous measurements with other tapes,including 3M Type 111, BASF LP-35LH, Maxell UD-35-7, and TDK SD 150-H7, with both normal and SRTbias. It was immediately evident that "standard" tapesare not suitable for this machine, at least as it is normallybiased. The 3M Type 111 response fell off smoothlyabove 1,000 Hz, and at 20,000 Hz was more than 5 dBbelow the mid -range level. The low -noise tapes gave ex-cellent results with either bias setting, with flatter re-sponse above 15,000 Hz using the SRT bias. In fact, withthis bias, the typical response of any of the low -noisetapes was -±1.5 dB from 20 to 25,000 Hz.

The GX-365D required a line input of 45 millivolts fora 0 -VU recording level, or a microphone input of 0.42millivolt. The corresponding output level was 0.85 volt at17/8 ips, 1 volt at 33/4 ips, and 1.15 volts at 71/2 ips. At 0VU, the record -playback distortion was between 1 and 2per cent, depending on tape speed. It increased gradually,reaching 3 per cent at +7 VU at 71/2 ips and at about +3VU at the other speeds. The unweighted signal-to-noiseratio, relative to the 3 per cent distortion level, was 55 dBat 71/2 ips and about 53 dB at the slower speeds. Theseare fine figures and confirm the manufacturer's ratings.

The operating tape speeds were exact, as determinedby a stroboscope wheel. Fast forward or rewind of 1,800feet of tape required 90 seconds. At 71/2 ips, wow wasunmeasurable (less than 0.01 per cent) and flutter was avery low 0.06 per cent. At 33/4 ips, wow and flutter were0.02 and 0.08 per cent, respectively, and at 1 7/ 8 ips theywere 0.01 and 0.16 per cent.

Comment. The GX-365D had a few idiosyncrasies.The meters were underdamped, swinging wildly, and thetransport -control solenoids operated with a resounding"clunk" that could be obtrusive in a quiet room. Tapereversal took 5 seconds, whether initiated manually orautomatically, and regardless of the speed. However, itnever failed to work, requiring only patience and faith onthe part of the user.

The "Reverse-O-Matic" system worked well, but was(Continued on page 32)

30 STEREO REVIEW

There's more behind the BOSE 901than just a reflecting wall.

ResearchThe 901 DIRECT/REFLECTING®

speaker system is the result of the mostintensive research program that hasbeen conducted into the physicalacoustics and psychoacoustics of loud-speaker design. The research that gavebirth to the 901 in 1968 began in 1956and continues today to explore thefrontiers of sound reproduction. Copiesof the Audio Engineering Society paper,'ON THE DESIGN, MEASUREMENTAND EVALUATION OF LOUDSPEAKERS'by Dr. A. G. Bose, are available fromthe Bose Corp. for fifty cents.

TechnologyAs might be expected, the product

that emerged from 12 years of researchis technologically quite different fromconventional speakers. Some of themajor differences are:1) The use of a multiplicity of acousti-cally coupled full -range speakers toprovide a clarity and definition of musi-cal instrument sounds that can not, toour knowledge, be obtained with theconventional technology of woofers,tweeters, and crossovers.2) The use of active equalization incombination with the multiplicity of fullrange speakers to provide an accuracyof musical timbre that can not, toour knowledge, be achieved withspeakers alone.3) The use of an optimum combinationof direct and reflected sound to providethe spatial fullness characteristic oflive music.4) The use of a totally different fre-quency response criterion-flat powerresponse instead of the conventionalflat frequency response-to producethe full balance of high frequencieswithout the shrillness associated withconventional Hi-Fi.

Quality ControlIt's a long way from a good theoreti-cal design to the production of speakersthat provide you with all the musicalbenefits inherent in the design. To thisend BOSE has designed a unique com-puter that tests speakers for parametersthat are directly related to the percep-tion of sound. There is only one suchcomputer in existence-designed by usand used or you. In January alone itrejected 9,504 speakers that will never

, be used again in any BOSE product. Itis the speakers that survive the computertests that provide your enjoyment andour reputation.

ReviewsThe BOSE 901 DIRECT/REFLECTING®

speaker is now the most highly reviewedspeaker regardless of size or price.Read the complete text of reviewerswho made these comments:*

Julian Hirsch STEREO REVIEW."... I must say that I have never hearda speaker system in my own home whichcould surpass, or even equal, the Bose901 for overall 'realism' of sound."

e/e HIGH FIDELITY. "It is our opinionthat this is the speaker system to own,regardless of price if one wants theultimate in listening pleasure."

Irving Kolodin SATURDAY REVIEW."After a time trial measured in monthsratt er than weeks, this one can defi-nitely proclaim Bose is best, big or small,high or low."

PerlormanceYou alone must be the judge of this.

Visit your BOSE dealer. Audition the 901with your favorite records. We makeonly one request. Before leaving, askhim to place the 901's directly on top ofthe largest and most expensive speakershe carries and then compare the sound.You will know why we make this requestwhen you have made the experiment.

*For reprints of the reviews circle ournumber on your readers service card.

You can hear the difference now.

NATICK, MA. 01760

BOSE 901 DIRECT/REFLECTING ®Speaker System, Stereo Pair,including Active Equalizer,$476. Slightly higher southand west. Pedestal optionalextra. Covered by patentrights issued and pending.


®

APRIL 1972 31

A NEW member has been added to the Dynaco speak-er family. The Model A-10, a very compact two-way sys-tem, closely matches the acoustic characteristics of thelarger Dynaco A-25 and A-50 speakers. The A-10 usesthe same soft -dome tweeter as the A-25, and its 6 -inchwoofer has the same magnet structure used on the 10 -inch woofers of the A-25 and A-50. The 6 -dB -per -octavecrossover is at 1,500 Hz. Unlike the larger systems, theA-10 has no tweeter -output level adjustment.

Since the A -10's efficiency and general response matchthose of the A-25 and A-50, it is a good choice for use inthe rear of a four -speaker quadrasonic array with the larg-er Dynaco models in front. When A -10's are used as astereo pair, amplifiers of at least 15 watts per channel arerecommended, and peaks of up to 50 watts can be han-dled safely.

The Dynaco A-10 is 81/2 inches wide, 15 inches high,and 77/8 inches deep; it weighs 111/4 pounds. The walnutcabinet and the grille cloth match the appearance of theother Dynaco speakers. Three recessed brackets in therear of the A-10 permit wall mounting, either horizontallyor vertically. The Dynaco A-10 is sold only in pairs, for$99.95 the pair.

Laboratory Measurements. Recalling the great similar-ity in response and sound character between the A-25and A-50 systems, we were not too surprised to find theA-10 almost identical to them. The averaged frequencyresponse was -2:4 dB from 50 to 15,000 Hz, with the maxi-mum low -frequency output at 80 Hz and a broad high -frequency maximum at 10,000 Hz. The overall responsewas smooth. The lowest frequencies were not reproducedas strongly, or with as low distortion, as with the largerDynaco speakers. Nevertheless, the bass performance of

a little imprecise in its point of actuation. By leaving per-haps 15 seconds of "dead time" at the beginning and endof the selected portion of the tape, it can be repeated adinfinitum. The "Compute-O-Matic" gain control-oncewe learned to ignore the occasional internal buzzingsound accompanying its operation-was very effective.We found it useful when recording FM broadcasts whenwe did not know what maximum level to expect. Com-bined with the considerable dynamic range of the recor-der, it takes care of those unknown recording situationsquite nicely.

The record -interlock button is so designed that it isn'teasy to tell when the disc is in the locked position. If thecontrol is not set correctly, a careless touch of the buttonwill unfortunately erase a tape during playback; cautionis the word here.

The braking was always smooth and gentle, though notparticularly fast. The controls do not have logic inter-locks, so one must be careful to bring the tape to a full

stop before going from a fast speed to normal speed, inorder to avoid tape spillage.

The electrical performance of the GX-365D needs lit-tle comment. It is virtually flawless, in respect to frequen-cy response, distortion, and noise. The signal-to-noiseratio, although not equal to that of the very best machineswe have tested, nevertheless was very good and seemedaudibly better than the test equipment indicated. At anyrate, we never found any evidence of audible hiss contrib-uted by the recorder. When recording and playing backFM interstation tuner hiss, there was practically nochange in sound character at either 33/4 or 71/2 ips. At17/8 ips, a slight brightness was added, rather than thedulling of highs so often encountered at this speed.

Overall, we liked the Akai GX-365D very much, withthe "pluses" far outweighing the few "minuses." It ishandsome, rugged, easy to operate, exceptionally versa-tile, and unsurpassed in electrical performance.

For more information, circle 105 on reader service card

Dynaco A-10 Speaker Systemthe tiny A-10 was most impressive, with the distortion (ata 1 -watt level) under 5 per cent down to 65 Hz and reach-ing about 10 per cent at 50 Hz. We would judge the usefullower limit of the A -10's response to be between 50 and60 Hz, which is not at all bad for a 6 -inch woofer.

The pedigree of the A-10 was further emphasized by itsperformance in the simulated "live -vs. -recorded" listen-ing test, and by its tone -burst response. We would give ita B+ rating in the former, since a loss of extreme highs(above 10,000 Hz) could be heard, and at times there wasa slight mid -range coloration whose exact cause we couldnot identify. The tone bursts, at all frequencies, were asclose to perfect as we have seen. Comparing our tone -burst photos with those we made on the A-25 and A-50,we found them as nearly alike as the proverbial "peas in apod," and completely free of ringing or any other distor-tion. The impedance of the Dynaco A-10 reached its min-imum of 5 ohms at 150 Hz, and had two peaks of 20 and30 ohms at 70 and 1,300 Hz. The average impedance wasbetween 8 and 10 ohms.

Comment. We used the Dynaco A -10's in the rear of afour -speaker "Dynaquad" setup, with A -25's in the front.The results were excellent, with a good front -to -rear bal-ance when the rear -speaker level control was at maxi-mum. We then placed them in the front of the room andcompared them with some of the best speakers at our dis-posal. With some types of program material the sound ofthe A -10's was frequently almost indistinguishable fromthat of speakers costing many times their price. Ofcourse, there were differences. The high -frequency out-put and dispersion of the A-10, while better than average,were no match for those of more elaborate systems usingmulti -unit dome -tweeter arrays. The subjective bass out -


Like the largerA-25 system,the Dynaco A-10enclosure has aheavily dampedport. The tweeter issimilar to those inthe larger models.

32 STEREO REVIEW

The Base Performanceof the BOSE 501

Did you know that the one inch base on the bottom of theBOSE 501 DIRECT/REFLECTINGespeaker is essential for theclarity of its sound? It is-but for a very different reasonthan you might expect.

The surfaces immediately adjacent to any loudspeakeraffect the balance of frequencies that it radiates into theroom. You have no doubt discovered this in changing theposition of your speakers at home. Variations in the locationof any speaker relative to adjacent wall or floor surfacescan cause gross variations of the frequency balance of thesound radiated into the room, in the manner shown in Figure 1.This is often more variation in sound than you get betweenspeakers of widely differing price ranges.

Fig. 1 Two frequency response curves, measured at afixed microphone location, of a good quality conventionalspeaker placed at 2 different locations in the same room.40 db

35

30

25

20

15

10

5

020 100 1000

FREQUENCY IN CYCLES PER SECOND10000 20000

As a consequence of this variation with position, the per-formance of every 'bookshelf' speaker is at best a compro-mise. Does it sound better on a free standing shelf, on thefloor, along the wall, in the corner, or, is it designed to soundreasonably well in all positions and therefore, not yieldoptimum performance in any? This is a fundamental acousticalproblem inherent in the concept of a 'shelf' speaker andindependent of designer or manufacturer.

And this is where the base of the 501 comes in. The baseitself has nothing to do with the radiation of sound but it wasdesigned so that you must place the 501 on the floor. Inaddition, you are instructed to place it along a wall. And wedon't allow you to place it in a corner!

Our knowledge of your placement of the 501 gives us adesign advantage that directly converts to a superior per-formance for you. The 501 is designed to optimally couple tothe adjacent floor and wall surfaces.

Admittedly, it is a rather autocratic approach for a designerto tell you how to place your speaker. However, we feelabout the 501 as we do about the now famous 901, with whichit shares many features. We would much prefer that you buya conventional speaker than to use ours improperly-evenif it still has an edge over the competition when so used.Your enjoyment and our reputation are involved with everyperformance.

NATICK, MA. 01760 E irgirML=You can hear the difference now.

APRIL 1972 CIRCLE

patents pending

NO. 14 ON READER SERVICE CARD 33

We believe theHeathkit AR -1500

to be the world's fineststereo receiver.

The expertsseem to agree.

"The AR -1500 is the most powerful and sensitive receiver we have ever measured ..."- JULIAN HIRSCH, Stereo Review.

"... a stereo receiver easily worth twice the cost (or perhaps even more) ..."- Audio Magazine.

"Great new solid-state stereo receiver kit matches the demands of the most golden of golden ears ..."- Radio Electronics.

34

The Heathkit AR -1500 AM/FM/FM-Stereo Receiver... 379.95* (kit, less cabinet)STEREO REVIEW

Over 350 Kits you can buildworld's largest selection!

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Mr. Hirsch goes on to say: "The FM tuner section of the AR -1500 was outstandingly sensitive. We measured the IHF sensi-tivity at 1.4 microvolts, and the limiting curve was the steepestwe have ever measured ...The FM frequency response wasliterally perfectly flat from 30 to 15,000 Hz ... Image rejec-tion was over 100 dB (our measurement limit)..."The AM tuner was a pleasant surprise... It sounded verymuch like the FM tuner, with distinct sibilants and a quietbackground, and was easily the best -sounding AM tuner wehave had the pleasure of using..."... all input levels can be matched and set for the most effec-tive use of the loudness compensation. This valuable featureis rarely found on high-fidelity receivers and amplifiers ..."The phono equalization was perfectly accurate (within ourmeasuring tolerances)... The magnetic phono-input sensitiv-ity was adjustable from 0.62 millivolt to about 4.5 millivolts,with a noise level of - 66 dB, which is very low ...Whenproperly set up, it would be impossible to overload the phonoinputs of the AR -1500 with any magnetic cartridge...."... it significantly bettered Heath's conservative specifica-tions. Into 8 -ohm loads, with both channels driven, the con-tinuous power at clipping level was 81.5 watts per channel.Into 4 ohms it was 133 watts per channel, and even with 16 -ohm loads the receiver delivered 46.5 watts per channel.Needless to say, the AR -1500 can drive any speaker we knowof, and with power to spare ..."At 1,000 Hz, harmonic distortion was well under 0.05 percent from 1 to 75 watts per channel ... The IM distortion wasunder 0.05 per cent at levels of a couple of watts or less, andgradually increased from 0.09 per cent at 10 watts to 0.16 percent at 75 watts ...The heavy power transformer is evidencethat there was no skimping in the power supply of the AR -1500, and its performance at the low -frequency extremesclearly sets it apart from most receiver's ..."Virtually all the circuit boards plug into sockets, which arehinged so that boards can be swung out for testing or servic-ing without shutting off the receiver. An 'extender' cablepermits any part of the receiver to be operated in the clear -even the entire power -transistor and heat -sink assembly! The245 -page manual has extensive tests charts that show all volt-age and resistance measurements in key circuits as they shouldappear on the receivers built-in test meter ..."With their well-known thoroughness, Heath has left little tothe builder's imagination, and has assumed no electronictraining or knowledge on his part. The separate packaging ofall parts for each circuit board subassembly is a major boon ..."In sound quality and ease of operation, and in overall suit-ability for its intended use, one could not expect more fromany high-fidelity component."

From the pages of Audio Magazine:"... the AR -1500 outperforms the near -perfect AR -15 in al-most every important specification ..."The FM front end features six tuned circuits and utilizesthree FETs, while the AM RF section has two dual -gateMOSFETs (for RF and mixer stages) and an FET oscillatorstage. The AM IF section features a 12 -pole LC filter and abroad band detector. The FM IF section is worthy of specialcomment. Three IC stages are used and there are two 5 -poleLC filters ...

HEATHKIT ELECTRONICS CENTERSARIZ.: Phoenix, 2727 W. Indian School Rd.; CALIF.: Anaheim, 330 E.Ball Rd.; El Cerrito, 6000 Potrero Ave.; Los Angeles, 2309 S. FlowerSt.; Redwood City, 2001 Middlefield Rd.; San Diego (La Mesa), 8363Center Dr.; Woodland Hills, 22504 Ventura Blvd.; COLO.: Denver,5940 W. 38th Ave.; FLA.: Miami (Hialeah), 4705 W. 16th Ave.; GA.:Atlanta, 5285 Roswell Rd.; ILL.: Chicago, 3462-66 W. Devon Ave.;Downers Grove, 224 Ogden Ave.; KANSAS: Kansas City (Mission),5960 Lamar Ave.; MD.: Rockville, 5542 Nicholson Lane; MASS.: Bos-ton (Wellesley), 165 Worcester St.; MICH.: Detroit, 18645 W. EightMile Rd. & 18149 E. Eight Mile Rd.; MINN.: Minneapolis (Hopkins),101 Shady Oak Rd.; MO.: St. Louis, 9296 Gravois Ave.; N.J.: FairLawn, 35-07 Broadway (Rte. 4); N.Y.: Buffalo (Amherst), 3476 Sheri-dan Dr.; New York, 35 W. 45th St.; Jericho, L.I., 15 Jericho Turnpike;Rochester, Long Ridge Plaza; OHIO: Cincinnati (Woodlawn), 10133Springfield Pike; Cleveland, 5444 Pearl Rd.; PA.: Philadelphia, 6318Roosevelt Blvd.; Pittsburgh, 3482 Wm. Penn Hwy.; TEXAS: Dallas,2715 Ross Ave.; Houston, 3705 Westheimer; WASH.: Seattle, 2221Third Ave.; WIS.: Milwaukee, 5215 Fond du Lac.

.. IHF FM sensitivity ... turned out to be 1.5 uV as opposedto the 1.8 uV claimed. Furthermore, it was identical at 90MHz and 106 MHz (the IHF spec requires a statement onlyfor IHF sensitivity at 98 MHz but we always measure thisimportant spec at three points on the dial). Notice that at justover 2 microvolts of input signal S/N has already reached 50dB. Ultimate S/N measured was 66 dB and consisted of smallhum components rather than any residual noise. THD inMono measured 0.25%, exactly twice as good as claimed!Stereo THD was identical, at 0.25%, which is quite a feat..."... the separation of the multiplex section of the AR -1500reaches about 45 dB at mid -band and is still 32 dB at 50 Hzand 25 dB at 10 kHz (Can your phono cartridge do as well?)"The real surprise came when we spent some time listeningto AM ... This new AM design is superb. We still have oneclassical music station that has some simultaneous broadcast-ing on its AM and FM outlets and that gave us a good oppor-tunity to A -B between the AM and FM performance of theAR -1500. There was some high -frequency roll -off to be sure,but BOTH signals were virtually noise -free and we were hardpressed to detect more THD from the AM than from the FMequivalent. Given AM circuits like this (and a bit of care onthe part of broadcasters), AM may not be as dead as FMadvocates would have us believe!..."Rated distortion [0.25%] is reached at a [continuous] poweroutput of 77.5 watts per channel with 8 ohm loads (bothchannels driven). At rated output (60 watts per channel)THD was a mere 0.1% and at lower power levels there wasnever a tendency for the THD to 'creep up' again, which in-dicates the virtually complete absence of any 'crossover dis-tortion' components. No so-called 'transistor sound' fromthis receiver, you can be sure. We tried to measure IM distor-tion but kept getting readings of 0.05% no matter what wedid. Since that happens to be the 'limit' of our test equipmentand since the rated IM stated by Heath is 'less than 0.1% atall power levels up to rated power output' there isn't muchmore we can say except that, again, the unit is better than thespecification - we just don't know how much better ..."As for the amplifiers and preamplifier sections, we justcouldn't hear them - and that's a commendation. All weheard was program material (plus some speaker coloration,regrettably) unencumbered by audible distortion, noise, humor any other of the multitude of afflictions which beset somehigh fidelity stereo installations. The controls are easy to useand quickly become familiar..."As always, construction instructions are lucid enough for theinexperienced kit -builder and there is enough technical andtheoretical information to satisfy even the most knowledge-able audio/ RF engineer."

And Radio Electronics had this to say:"As you know, the original, the AR -15, has been widely ac-claimed as one of the very best stereo receivers that has everbeen made. Therefore, it's hard to imagine that anyone hasgone ahead and built a better one. But spec for spec, the AR -1500 is ahead of the AR -15 ..."Kit AR -1500, less cabinet, 53 lbs. 379.95*ARA-1500-1, walnut cabinet, 8 lbs. 24.95

See and hear the new AR -1500 at your nearest Heathkit Elec-tronic Center ... order direct from the coupon below ... orsend for your free Heathkit catalog.

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The A-10 exhibited nearlyperfect tone -burst

response. The oscilloscopephotos show frequencies

of (left to right) 100,1,000, and 10,000 Hz.

put of the A-10 woofer was hard to believe, but switchingto the larger speakers while reproducing the pipe organ orbass drum always supplied another octave of the kind ofbass that can be felt. Without this comparison, it wouldhave been easy to convince someone that the A-10 wasreproducing the lowest bass octave. It is very good, espe-cially when compared with most speakers of its size orprice, but of course it cannot work miracles.

To summarize, the Dynaco A-10 does exactly what isclaimed for it. It is a nearly exact match, electrically andacoustically, for the larger A-25 and A-50 Dynaco speak-

ers. This, plus its size and cost, makes it ideal for the rearspeakers of a quadrasonic setup with the larger speakersin front. In addition, it sounds good enough to earn aplace in the front of many listening rooms. Although itcannot deliver the volume of sound of a larger speaker, itcan play loud enough for almost any reasonable purpose.Its wide dispersion and tonal balance are such that itsounds big, and a blindfolded listener would never sus-pect that he is listening to a speaker system of sub-compact size and price.


Magnesonics Model 200B Erasette

THE Model 200B Erasette, manufactured by Magne-sonics (Dept. SR, 11036 Nestle Ave., Northridge, Calif.91324) is a cassette bulk tape eraser. Using a regular reel -type bulk tape eraser with a cassette is effective, but italso amounts to preposterous overkill. The Erasette is asmall plastic box, about 4 inches wide, 31/2 inches deep,and 23/4 inches high; it weighs only one pound. Four AApenlight cells supply its operating power. To erase a cas-sette, a molded plastic handle (which plugs into two holeson the top of the Erasette for storage) is pushed into thereel hubs of the cassette to lock them. (If the handle is notused, the tape pack within the cassette may loosen upbecause of the vibrating action of the erasing field.) Thered button on the top of the "Erasette" is pressed, and thecassette is passed along a guide track on the top of thecase. As with any eraser, the cassette should be slowlyremoved from the vicinity of the 200B before the buttonis released.

If you are wondering how four small AA cells can pos-sibly supply enough energy to erase the tape, they don't.The Erasette contains a permanent magnet that is rotatedby a small d.c. motor when the button is pressed. At anygiven point along the cassette path, the magnetic fieldgoes through a complete cycle, from zero to maximum forboth polarities, each time the magnet rotates. In otherwords, we have the alternating magnetic field that is re-quired for erasure.

A major advantage of bulk erasure is its potential re-duction of tape noise. Aberrations in the waveform of theerase -current of any recorder leave a residual noise level(even though the previously recorded material may becompletely erased) somewhat higher than that of virgin

tape. A powerful bulk eraser can restore the tape noise toits original level.

This is one of the claims made for the Erasette, and itsaccompanying literature presents well documentedgraphic evidence that the 200B is comparable to a com-mercial a.c.-operated bulk eraser and far better than themachine erase of a low -price cassette machine. Its priceis $15.95.

Laboratory Measurements. We checked the Erasettefirst with a high -quality cassette deck and a low -noisecassette. After exposure to the recorder's erase field, thetape exhibited a 4.5 -dB increase in noise over its virginlevel. Two slow passes over the Erasette restored thenoise to its original level. Possibly a single pass wouldhave done as well, but we are in the habit of giving tape adouble exposure. Next, we used a chromium -dioxide tapewith the same recorder. The recorder increased the noiseby 5.5 dB; the Erasette reduced it by 4.7 dB, to very near-ly the original level. Several slow passes of the cassetteover the eraser were necessary to completely erase a re-corded signal from the CrO, tape, but we have had to gothrough the same process erasing CrO, tape with an a.c.-operated bulk eraser. Finally, we used a recorder andtape- which shall both be nameless, but which were bothof undistinguished quality. The residual noise in the re-corder's amplifiers substantially exceeded that of thetape, so that no difference could be measured betweenrecorder and Erasette erasure.

Comment. The Magnesonics Model 200B Erasette is avery effective means not only of erasing all of a cassettewithout passing it through a recorder at normal speed, butof reducing its noise level to that of an unused tape. Ob-viously, it won't help a poor recorder and/or tape, but it isa worthwhile adjunct to any good cassette recording sys-tem. Warning: unlike a.c.-operated erasers, the Erasettehas a field that is always "on"! Keep it away from tapes -both blank and recorded-and from watches, even whenit is not in use.



38 STEREO REVIEW

Copland's music challenges Altec's finest.Aaron Copland's music: western

prairies, big cities, Billy the Kid, Appa-lachian Spring, ballets, symphonies,chamber music, film scores. It's greatAmerican music. The kind that chal-lenges a stereo.

Right now, we invite you to heara particular piece at your Altecdealer-Aaron Copland's Fanfarefor the Common Man.

Listen to it on Altec's fineststereo system and you hearevery high and every low strongand clear. Because the big AltecBarcelona bi-amp speakers havean electronic crossover and twoseparate built-in power ampli-

Piers. One to separately handle the highs.Another to separately handle the lows.

Altec's finest system also includesthe new Altec 724A tuner pre -amp

with an exclusive 4 FETVaritronik tuner. So you hear

better stereo separation.And finally, there's the Altec Acousta-

Voicette stereo equalizer. It letsyou hear, for the first time, theoriginal acoustic environment

of the recording hall rather thanthe acoustics of your room.

Great American musicsounds better on a great

American stereo. Listen to itat your Altec dealer.

44t64441/41/4 4

4444445444444.41114444444*

..!:44444414441s4.1/4444444E144**1/444414444444*44444441/44444


1/444%1/4 1/4, 4

41.

4441,:.k""k""1/41/41/44

44441/41/41/44.

'4"41/41/41/411/4,444441/41/41/441/4

44441/41/41/41/41/44.,

k, k 4

4,44

Executive Devices FW-10 Cassette Fast -Winder

THE Executive Devices FW-10 Cassette Fast -Winderis a neat answer to the agonizingly slow "fast" speeds ofmost cassette recorders. The FW-10 weighs 12 ouncesand is only a little larger than a cassette -4 x x 2inches. It has two rotating shafts and two guide pins thatengage the hubs and locating holes of a cassette just as inany cassette machine. Pushing a red button on the back ofthe FW-10 winds the cassette at a high speed in the direc-tion shown by an arrow on the unit.

The manufacturer says that a good C-60 cassette canbe fully wound in 12 to 15 seconds when fresh batteriesare used (it uses two "C" size flashlight batteries). We

timed several C-60 cassettes at exactly 15 seconds,which is three to ten times faster than is possible on a cas-sette recorder. Although the manufacturer suggests slow-ing down near the end of the wind to lessen the shock onthe tape leader and its fastening to the hub, we found thatthe tape always slowed down sufficiently so that the finalstop was no worse than would occur with any player orrecorder.

We noted also their suggestion that the FW-10 can beused to check cassettes for smooth mechanical operationbefore use, or even at the point of purchase. This maywell be the most useful function of the FW-10. A cheapcassette, or one with high or erratic internal friction, willwind slowly and haltingly (or perhaps not at all) in theFW-10. If it does, you can be sure that it is likely to be-have in a similar manner in your machine. On the otherhand, a high -quality cassette runs through with an unmis-takable "zing," and can subsequently be used with confi-dence. The FW-10 also appears to wind (as claimed) asmoother, flatter tape pack than many machines, mini-mizing the chances of malfunction during subsequent use.

The Executive Devices FW-10 sells for only $7.95(less batteries). For those who would use it extensively,an a.c. adapter is available for $5.95. This is the sort ofgadget that makes an ideal Christmas present for a cas-sette enthusiast, but there is no need to wait for nextChristmas. The address of Executive Devices is: 740South Locan, Fresno, Calif. 93727.


openingWhen we first introduced our LH tape, we opened a few

1 doors that had never been opened before. Like a neat,little plastic box for storing or mailing all your favorite

cassettes, 3" reels and Super -8 or 8mm films.. Just think. The world's quietest, most sen-

sitive tape together with the world's finesttape package. BASF LH. Not bad for

openers. See your dealer today orwrite BASF Systems, Inc., Bedford,

Massachusetts 01730.

BASF AUDIO/VIDEO PRODUCTS

4() CIRCLE NO. 10 ON READER SERVICE CARD STEREO REVIEW

loose window canallow dust to enter

light plastic casingcan warp, causemachine damage

fixed plasticguide posts cancause tape wear

sonically sealedwindow locksout dust

precision -moldedheavy-duty styrenecase keeps its shape

free -running nylonrollers are virtuallyfriction -less

A COMPOSITE OF LEADING

CASSETTE BRANDS

Problems

welded sealcan cause

shell distortion

waxed paperslip sheets might

cause tape to windunevenly

tape attached to hubin one place only,

can pull out

sealed with` precision screws forperfect closure

A MAXELL CASSETTE

Solutions

Most cassette manufacturers tellyou how great their tape is. Whatthey forget to mention is that the tapeis only as good as the "shell" it comesin. Even the best tape can get mangled in apoorly constructed shell. That's why Maxell pro-tects its own superior tape with a uniquely su-perior shell.

Compare the two cassettes above. On the top,a composite of leading cassette brands. On thebottom, a Maxell cassette. You don't have to be a

Maxell Corporation of America, 501 Fifth Avenue, New York, N.Y. 10017

teflon slip sheetskeep tape -pack

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tape anchored athub in two places,

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N technical wizard to see the problemsand Maxell's solutions.

As for the tape itself: in the September,1971, issue of Stereo Review, both the MaxellLow Noise and the Maxell Ultra -Dynamic tapecassettes were shown under laboratory condi-tions to be unsurpassed in their overall qualityand consistency.

Like most cassettes, Maxell comes with a life-time guarantee. Unlike most cassettes, you neverhave to return Maxell. maxell,


The answer to all your tape needs.41

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Listen to what you've been missingin cassette sound.

You'll hear sound youmay never have heardbefore. Brilliant highs andrich lows. Both beautifullybalanced in one greatcassette.

You need both highs andlows because all musiccontains both. High fre-quencies provide "life" andpresence. Low frequenciesadd fullness and depth.And unless your cassettecan deliver them in properbalance, the sound that

comes out simply can't beas great as the soundyou put in.

"Scotch" sound expertsknow this. So we'vedeveloped a tape cassettesignificantly superior,across both frequencies,to any other cassettewe've ever made. And anywe've listened to. We callit High Energy.

High Energy will performsuperbly on any cassetterecorder, no matter howmuch you paid for it. Or howlittle. Without specialswitches or adjustments

of any kind. You'll getthe great sound you've beenmissing-with "Scotch"Brand High Energy Cassettes.

Bonus offer: Purchasefive "Scotch" High EnergyCassettes, remove thecoupons (there's one ineach cassette box) andsend them to 3M. We'llsend you one freeC-90 High Energy Cassette.Offer ends midnight UMJune 30,1972.

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The benefits of two speakers in

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If you don't think two are better thanone, bring your favorite record to yourdealer and listen toour stereophones.We think you'll agreethat ours soundsbetter than theirs.

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THE BASIC REPERTOIRE: Item One Hundred and Forty-four By Martin Bookspan

LA. "V".4a1..1..ISMIN a letter written in 1906 to the music critic of

the Mercure de France, Maurice Ravel confid-ed: "It is not subtle-what I am undertaking at

the moment. It is a Grand Valse, a sort of homageto the memory of the Great Strauss, not Richard,the other-Johann. You know my intense sympathyfor this admirable rhythm, and that I hold la joie devivre as expressed by the dance in far higher esteemthan Franckist puritanism." Over the next half -dozen years or so, Ravel turned out such works asthe opera L'Heure espagnole, the ballets MotherGoose and Daphnis and Chloe, the Rapsodie es-pagnole for orchestra, and the solo piano piecesGaspard de la nuit and Valses nobles et senti-mentales. The "Grand Valse" went no furtherduring this period.

During the years of World War 1, Ravel was ableto produce only one score, the meticulously craftedLe Tombeau de Couperin, composed originally forsolo piano but orchestrated by the composer almostimmediately. Perhaps it was this backward glanceat a bygone era and bygone manners that put Ravelinto the mood to turn again to his "homage to thememory of the Great Strauss." The impresarioSerge Diaghilev, at the suggestion of the painterMisia Sert, expressed interest in the project as asubject for his Ballets Russes, and Ravel workedsteadily at the score during 1919 and 1920.

Whatever may have been the composer's ideaabout the piece when he first conceived it shortlyafter the turn of the century, it had now becomestrongly influenced by the War. La Valse, a Chor-eographic Poem, as Ravel titled it, is a musicalmirror of the disintegration of nineteenth-centuryEuropean civilization and culture. The score carriesthis descriptive analysis:

At first the scene is dimmed by a kind of swirling mist,through which one discerns, vaguely and intermittently,the waltzing couples. Little by little the vapors disperse,the illumination grows brighter, revealing an immenseballroom filled with dancers; the blaze of the chandelierscomes to full splendor. An Imperial Court about 1855.

To this outline the distinguished Italian composer,conductor, and pianist Alfredo Casella contributeda further scenario. Casella maintained that La Valsewas in the form of a triptych. Its opening move-ment, The Birth of the Waltz, starts "with dull ru-mors . . . and from this chaos the developmentgradually takes form." Casella labels the middle

section simply "The Waltz" and the concluding one"The Apotheosis of the Waltz."

When the score was finished, Ravel submitted itto Diaghilev, along with his own scenario for itsproduction. When the impresario rejected the score,with the excuse that staging expenses would be pro-hibitive, Ravel was furious. The two of them metfive years later in Monte Carlo, and when Ravelrefused to shake Diaghilev's hand, he was promptlychallenged to a duel. Friends intervened and theduel never took place, but Ravel and Diaghilevnever saw one another again.

THE extremes of interpretive approach to LaValse are epitomized in the performances conduct-ed by Ernest Ansermet (London CS 6367) andLeonard Bernstein (Columbia MS 6011). The for-mer adopts a no-nonsense, almost deadpan attitudetoward it, allowing the music to make its pointswithout any noticeable involvement on the part ofthe conductor. Bernstein, on the other hand, con-ducts a highly personal account of the score, withmuch reliance on phrasing and tempo elasticity anda much wider dynamic range. Bernstein's way willcertainly not be to every listener's liking-it borderson fussy overinterpretation - but I find it totallyabsorbing. The recorded sound, a product of veryearly stereo engineering, is still highly acceptable; itis clear, detailed, and well-balanced.

Of the remaining recordings of the orchestral ver-sion of La Valse, none equals Charles Munch's per-formance in the frenzy and hysteria of the closingsection. Unfortunately, the first two sections (to useCasella's breakdown) suffer from a curious lack ofatmosphere. The Munch recording exists in threedifferent couplings, of which the budget -price ver-sion (RCA Victrola VICS 1323) is by far the best -sounding. Perhaps the safest recommendation of allis Pierre Monteux's recording (Philips 835258), amiddle-of-the-road approach that has more per-sonality than Ansermet's but is less manipulatedthan Bernstein's. There is also a splendid perform-ance of Ravel's fiendishly difficult piano version byRuth Laredo (Connoisseur Society CS 2005).

The sometimes quixotic but always absorbingBernstein account (Columbia MQ 522) has beenavailable to reel-to-reel collectors until just re-cently, when it disappeared from the Harrison TapeCatalog. It is worth searching for.

APRIL 1972 45

LISTENING TO

DEBUSSY... a composer for whom music was not everything,but for whom everything may well have been music

By JAMES GOODFRIEND

APPROACHING the music of Achille-ClaudeDebussy through the music of the past, onediscovers immediately that the vocabulary

that has sufficed for Beethoven, Bach, or Schubertsimply will no longer do. For, besides talking aboutsuch things as parallel fifths and sevenths, pentaton-ic and whole -tone scales, timbre as a major compo-sitional element, and the separation of metricrhythm from harmonic rhythm-all of which are, ifsomewhat abstruse -sounding, at least musical sub-jects - one also finds it necessary to discuss proso-dy, poetry, painting, symbolism, theater (the theateritself and the theater of the mind), Japanese prints,art nouveau, and a host of other subjects, the totali-ty of which makes one wonder if, in fact, one is stilltalking about music at all. One is. But, with Debus-sy, music has changed.

Debussy was a modern man and a complex man,a collector of sensual experiences, an iconoclastwhen it came to art, a connoisseur, an aesthetictheorist eager for new discoveries. He lived not insome simpler, distant time, but in the complex mod-ern world, a cosmopolitan sophisticate in the mostcosmopolitan and sophisticated of cities, Paris. Hewas neither Olympianly distant from the social mi-lieu nor shy of it; he had many friends and acquaint-ances, some of them of no little significance them-selves in the world of the arts. His preferred compa-ny was that of writers; his preferred pastime waslooking at pictures. Musical composition was hiscareer and the field in which his genius played, but itwas not his entire life. "To see the sun rise," heonce wrote, "is more profitable than to hear thePastoral Symphony." That is not the remark of aman to whom music is everything, although it mightbe said to be the remark of one to whom everythingis music.

Debussy's style has had a label put on it - Im-pressionism - which has been applied to the musicof some others as well. Debussy himself loathed theword, and many musicians today have come to feel

that it is a totally misleading one when applied tomusic at all. Misleading it is, for its generally ac-cepted meaning and artistic reference has as little todo with its musical reference as the literal meaningof the word "baroque" has to do with most of whatwe now refer to as Baroque music.

It is interesting that both words were probablyfirst applied to music as pejoratives. Debussy, atleast, had a very clear idea of what the term meantin art: the capture of the quality of a single mo-ment's vision of a scene, the appearance of whichwould change, of course, the next instant. But hevehemently denied that this was what he was tryingto do in music. He was after, he said in reference tohis orchestral Images, an "effect of reality," an es-sence which, though it might be subtle and difficultto discover, was a real and permanent part of thescene or the idea. It is almost like a musical PlatonicIdea (not this tree, but the idea of this tree whichgives the tree its reality), a nice conceit whichwould hold that there is a musical component to thereality of, if not all things in this world, at least cer-tain things. Debussy was not a metaphysicist, butsuch an aesthetic perception of the world is stronglyimplied in his music, in the titles he gave to his mu-sic, and in his writings.

Impressionism (to get back to it) was a strongmovement in the pictorial arts, one associated par-ticularly with the works of Monet, Renoir, Sisley,Pissarro, and Degas. Debussy's music is oftenequated with the paintings of these men. But De-bussy himself had very definite tastes in art, and theImpressionists did not appear to be among them. Ina questionnaire he once filled out for a sophisticateddrawing -room party in 1889 (reproduced in full byEdward Lockspeiser in his magnificent biographyof the composer) he named as his favorite paintersBotticelli and Gustave Moreau (his favorite com-posers at the time were Palestrina, Bach, and Wag-ner), neither of them exactly Impressionists. In-stead they call to mind another artistic movement of

46Facing page: woodcut portrait by Antonio Frasconill.

the time, that of Pre-Raphaelitism, and one of thepoetic products of that movement, Rossetti's TheBlessed Damozel, had been set the year before byDebussy as La Damoiselle glue. To the names ofBotticelli and Moreau, we can add those of JosephMallord William Turner ("the greatest creator ofmysterious effects," wrote Debussy), James AbbottMcNeil Whistler, whose nocturnes (rather thanChopin's) were the impetus for Debussy's, and theJapanese woodblock artists Hiroshige and Hoku-sai. (Hokusai's "Great Wave," varied slightly,adorned the cover of the first edition of Debussy'sLa Mer.) But even apart from these artists, if onereally wants to tie Debussy to an artistic movement(and it hardly seems absolutely necessary to do so),then perhaps the most logical would be art nouveau- for reasons which will become apparent later.

BUT if Impressionism in music does not meanwhat Debussy believed it meant in art, what mean-ing does it have in musical history? Simply this:it is the name generally applied to music that par-takes of certain strong and noticeable character-istics, mainly harmonic and timbral, most of themfirst heard in the music of Debussy. It is a referenceto a composer's use of chords built on the higherpartials of the harmonic series, chords of the ninth,eleventh, and thirteenth; to the melodic and har-monic use of scales other than major and minor;to the parallel motion of voices for color effect;to a frequent indefiniteness of tonality; to softened,hazy formal outlines rather than clear-cut ones; topastel -like colorings in which timbre becomes amajor element of music in and of itself; to the sacri-fice of a developmental and tonal organization toa sense of flow; to an avoidance of both Classicalformality and Romantic expression.

In these terms, then, much (but not all) of themusic of Debussy is Impressionistic, and the labelcan also be made to fit certain works of Ravel, De-lius, Arnold Bax, Louis Aubert, Vaughan Williams,Charles Griffes, Ernest Bloch, Bartok, and others,precisely those works that, when we hear themwithout knowing or remembering their composi-tional source, we say sound "impressionistic." Im-pressionism in music, then, refers not to aesthetics,but to techniques and sounds. Debussy's aestheticwas something else.

"Mon plaisir" is not enough to explain it. Thequest for the exotic in time and space is a large partof it. But to complicate matters, we occasionallyfind in Debussy an unmistakable musical reference(like Wagner's Tristan motif in The Golliwogg'sCakewalk) that bespeaks an aim quite different fromthat of the abstractions of Relies dans l'eau or the

Etudes. Even more occasionally one finds a senti-mental component whose presence is unexplainableon more objective grounds. Central to the aesthet-ics governing most of Debussy's music, however, isthe concept of the arabesque. An arabesque is de-fined as an ornament consisting of interlacing pat-terns of flowers and leaves, or fruit, sometimessquarely geometric, sometimes flowing. As a con-cept for artistic creation it implies an objective andornamental art rather than an expression of feeling,a concept of movement which is yet not a progres-sion from one place to another; it implies not theconstruction of an edifice, but the designing of a pat-tern, an interlacing of elements rather than a fusion;it posits the strength of the web as against that ofthe rock. It is "the divine arabesque" that Debussyfound in the music of Renaissance and Baroquecomposers (hence Palestrina and Bach, among hisfavorites, if not Wagner), and on this basis he con-structed his own music. The arabesque was, ofcourse, a key element in art nouveau; it is also Ori-ental in origin-the exotic again.

Those things that were musically important toDebussy are reflected, not unexpectedly, in hiscompositions; those things that were extra -musi-cally important to him are reflected in the titles hegave them. We must deal with him on both levels.Recent attempts to view Debussy as a purely musi-cal figure present only a part of the man and makehim a lesser artistic figure than he really was. Mak-ing believe that a Seurat painting has no subjectdoes not destroy its formal qualities, but it doesmake it a lesser thing than it really is. Removing thetitle from a Debussy Image similarly cannot harmthe work as pure music, but it makes it a lesser ex-perience than the composer intended it to be.

Fanciful titles, in themselves, are relativelycommon in music, but the kind of titles Debussychose and the significance they have are quite dif-ferent from anything that had come before. They ofcourse do not signify paintings in translation. De-bussy was far too sophisticated an artist to hold anysuch idea. Nor are they the titles of stories told (or,more accurately, underlined) in music - as, forexample, one might say of Strauss' Till Eulenspieg-el that it is a story "told" in music. Debussy's titlesdo not stand for "feelings evoked by . . .," as Bee-thoven's Pastoral Symphony, apart from some ele-mentary realism (bird calls and thunderstorms), is astatement of feelings and not of scene. And they arenot, like many of the titles of the eighteenth -centuryclavecinists, mere fantastic names, ornamental andhaving little or nothing to do with the music itself.

Debussy's titles, rather, are symbolic, particular-ly if we remember that it is in the very nature of a

48 STEREO REVIEW

The first edition of Debussy's La Mer bore on its cover a design obviously derived from Hokusai's famous woodcut "TheGreat Wave." At the right, Debussy at Pourville (near Dieppe) in 1905, where he was later to compose the Etudes.

symbol not to mean just one thing, but to glory inthe ambiguity that allows it to have connotations indifferent directions. A symbol is there not to be"translated," but to say something that cannot besaid more explicitly. The title "Reels dans /'eau"may convey to us the notion that the music is aquasi -Platonic musical idea or essence of the scene,or that it is a musical expression of the sound of thewords of the title, or that, in line with the concept ofa theater of the mind, that this is music for such ascene-or all of these. To anyone who has read thewritings of Marcel Proust, who was Debussy'salmost exact contemporary, none of these will seemto demand too great a suspension of disbelief.

APART from its extra -musical associations, De-bussy's music has as its goal sound. This is not thetruism it seems to be, for it excludes certain things.The intent is not a musical architecture, for exam-ple, nor the expression of feelings, nor story -telling,nor tune-smithing, but primarily-and for its ownsake - sound, beautiful sound. The approach is anequivalent of that of Debussy's friend, the poetMallarme, who maintained that poems were madenot of ideas but of words.

Debussy's musical materials have already beenmentioned in passing, but it is worthwhile to go intothe matter further. In his search for a new musicalvocabulary, he drew on many sources. Some hefound through research into older musics; some hecame upon more accidentally, as he did the Ja-vanese gamelan and Chinese music he heard at theInternational Expositions of 1889 and 1900 inParis; some he developed from direct experience atthe keyboard - even, perhaps, from deliberatelyexperimenting with everything disallowed by text-books of traditional harmony and counterpoint.

Debussy was not a composer who dependedupon melody. The magical opening pages of his

Nuages, the first of the Nocturnes for orchestra,show in score a pattern -like chordal figuration forthe clarinets and bassoons, held notes in the hornsand strings, a pianissimo roll on the timpani, andbrief, stepwise, descending passages for the oboeand English horn. There is nothing that could becalled a melody, and also nothing that one could calla motif for development. For this is not the presen-tation of material whose significance will come withlater development, nor is it mere introductory mate-rial; this is, already, the essence of the piece, andthe transformations it will undergo later are no moresignificant than these opening pages themselves.

Some aspects of Debussy's harmonic usage havealready been mentioned: parallel fifths and sev-enths, ancient modes, pentatonic and whole -tonescales. If we add to these the use of discords with-out preparation or resolution, and the wholesaleuse of every sort of ostinato, what it all adds up tois the complete breakdown of traditional harmony,not only in the smaller sense of previously forbid-den progressions and discords, but in the largersense of the function and purpose of harmony. Har-mony had previously been a motor force, a gener-ator of movement, through logical and palpableprogressions, from a starting point through a varietyof keys or tonal areas to an ultimate destination.Each small progression was a step in a larger pro-gression which in turn was a major element of thetonal architecture of the form. Debussy did awaywith this. Harmony is now a palette of colors. Thereare still large areas of "tonality," and there is stilla movement from one area to another, but the areasare defined not by key but by harmonic coloration.

One of the results of this is that the elements ofmusic become free and independent in a new way.Harmony is free of the bar line, and harmonicmovement and rhythm are no longer tied to themetrical rhythm. Hence rhythms are also free to act

APRIL 1972 49

as the composer wishes. Melodic elements no long-er need work hand in glove with harmonic move-ment, but are free to find new phrase lengths and tobe varied in terms of specific pitches while retainingan overall shape. And timbre or tone color becomesa primary element of music in and of itself.

Rather than resulting in chaos, the freeing of theelements of music allowed Debussy to recombinethem in new ways. Tonal and atonal sections can beplayed off against one another. Melodic shapesbecome susceptible to continuous variation in analmost Oriental way. Rhythms of color change be-come an actual occurrence. Patterns of color are setup and intertwined with melodic patterns, harmonicpatterns, rhythmic patterns, all continuously inter-lacing and changing their relationships with oneanother while still making audibly clear that thoserelationships do in fact exist. A piece can be contin-uously varied from beginning to end while denyingany thought that it is presenting an argument orconstructing an edifice. Rhetoric is absent, its neck,as the poet once requested, effectively wrung.

M0 ST of the older studies of Debussy make littlecomment on the forms of his music, as though itwere tacitly assumed that his music had no formand it was better to pass over the whole subject insilence. But that is not the case. The contemporaryFrench composer Jean Barraque has given us ananalysis of the Prelude a l'apres-midi d'un faunethat shows that the work is composed in a rathercomplex form employing elements of both sonataand song form, as follows: exposition; development(which also introduces a second theme); middle sec-tion (one might call it "trio" as in scherzo and trio);second development; recapitulation; coda. Themain theme is presented ten times, harmonized dif-ferently each time, and with certain subtle andsometimes striking melodic changes in each presen-tation. The tonal areas defined by the harmonies arenot those one would expect in Classical sonata orsong form, but there is a very definite sense of dif-ferent areas and of movement to and away fromthem. One may disagree with the analysis, and onemay, perhaps with the utmost justification, say thatDebussy did not intend his music to be listened to inthat way. But two points are made: (1) the musichas a carefully worked -out formal design; and (2)the design supports the music and gives us, uncon-sciously, the feeling of balance, order, and com-pleteness necessary to a successful work of art. Thefact that it does so using exotic materials in an un-conventional way is an indication of its uniqueness,its historical importance, and its greatness.

In some of Debussy's earlier works (not the earli-

est) such non -Classical means are used to organizethe smaller sections, while in the larger sections ofthe music the composer reverts to a more tradition-al use of statement, contrast, and restatement orreturn. En bateau, from the Petite Suite, for exam-ple, is in straightforward A -B -A form, as is Clair delune and many other works. L'Apres-midi, as wehave seen, is a more complex construction, but stilltied to the same idea. Debussy also uses elementsof Franckian cyclic form in several of his works: LaMer, for example, brings back themes of its firstmovement in the finale, and the String Quartet usesmetamorphoses of the same theme for all of itsmovements. In his later works, however, Debussybegan to work out a totally new kind of musicalform, a sort of open-ended music in which each sec-tion generates the next section, and the music pro-ceeds from its start to its finish in a relativelystraight line, never really turning back upon itself,and substituting momentary allusions for recapitu-lation. Much of the current interest in the balletscore Jeux, a work that was once dismissed as theproduct of a dried-up composer and is now rankedby some as Debussy's masterpiece, derives from itsformal construction.

The body of Debussy's work is not terribly large,at least in terms of composers like Haydn, Liszt, orSchubert, but it contains a kaleidoscopic varietyof music. Almost invariably, the first work of De-bussy's to which we are exposed is Clair de lune,the third of four movements of the Suite berga-masque. It is one of the most popular short pieces inthe world, and if it has been the object of sniffingdismissal by some musical commentators, that ismore likely due to its overpopularity than to any-thing intrinsic in the music. For it is hardly a badpiece, merely an early one, conventional in formand harmony, perhaps, but demonstrating, at least,the peculiar musical magic that was Debussy's.

The early works of Debussy show definitesources of derivation; the names of Borodin, Gou-nod, Grieg, Massenet, and Moussorgsky have allbeen offered at various times as strong influences.Debussy himself is said to have quipped: "there is alittle bit of Massenet in all of us," an admission notintended to be a great compliment to Massenet.Now, this is a strange bunch of composers to offeras a starting point for a young genius. Who, after all,has ever really thought of Borodin or Gounod as aseminal figure in music? But this was the musicDebussy heard fairly early in his career, though it isdoubtful he learned much from the works ofany ofthese men except Moussorgsky. What their musicdid, rather, was to furnish him with raw material forhis own compositional and aesthetic experiments.

50STEREO REVIEW

Debussy's early works really sound less as if theyhave been influenced by these composers than thatthey have borrowed something from them - har-monic usage, or melodic style. In this, we can see acharacteristic problem of Debussy as a moderncomposer: the search for materials.

This would have been virtually incomprehensibleto Schubert, Beethoven, Mozart, or even Berlioz.Not since the days of Handel had composers, ex-cept on special occasions, looked outside them-selves and their immediate traditions for the ma-terials with which to fashion a composition (andHandel did it out of temporal and commercial con-siderations). But one can see it beginning with thenationalist movements in the nineteenth century(limited to folk song and dances), and then see itcome into its own with Debussy, and continue tothe present day with Stravinsky, Bartok, Milhaud,Copland, Berio, and Bernstein. Debussy's imma-ture works are immature, then, not because theysound like Massenet or Gounod, but because theyare too conventional or unsuccessful in construc-tion, because the musical material has not beencompletely subjugated to the personality of itscreator.

Debussy's earliest successes (like those of Schu-bert, among others) were songs. Beau Soir, writtenwhen the composer was about fifteen, is a songmany a lesser French milodie-maker would beoverjoyed to have written in his prime. The earlysettings of Paul Verlaine's poetry, Mandoline es-pecially, show the sort of musical success-and theperfect capturing of an exotic mood-that Debussywas not to achieve in other media for a few years.

As a whole, Debussy's songs constitute one ofthose departments of music avidly cultivated by arelatively small group of connoisseurs, and usually

ignored by the larger musical public. This is a pity,for the French melodie embodies an art and a tradi-tion second only to the German lied, and Debussyis unarguably the greatest master of the form. (InFrench the word "melodie" is used for an art song;a chanson is a popular or folk song, and when theword is used by composers of serious music it ismeant to have a folk or popular reference.) It isdifficult to pin down the essence of Debussy's melo-dies, but at their best they share certain characteris-tics: the poetry set is usually of a high order, and thevocal line tends to follow the language rhythms to agreat degree and with great subtlety. The vocal linemoves effortlessly back and forth from a recitative -like musical declamation to sometimes ecstaticsong; the piano writing is often of a richness thatcould allow it to stand alone as instrumental music,but it never vies with the voice or overpowers it;mood, meaning, and the sounds and rhythms of thelanguage are blended and conveyed together, whilerepeatable tunes, vocalism for its own sake, andexternally imposed forms are generally avoided.

Perhaps the height of Debussy's song writing isto be found in the Trois Chansons de Bilitis (1897),settings of poems of Pierre Louys. Lout's pub-lished the poems originally as translations by him-self from the works of an ancient and unknownGreek poetess, but the ruse did not fool anyone.These were no Greek idylls, but the works of anelegantly decadent modern Frenchman in search ofthe exotic. It is no wonder Debussy took to them.There emerges from the songs the same pagan sto-ryland we hear in L'Apres-midi d'un faune (and thesame flute, though here the piano sounds the sen-sual and melancholy notes), the same combinationof the archaic (in the musical materials) and themodern (in the use of them), the exotic brought

As a young man, Debussy (lower right in the picture at the left) was a member of the private trio of Mme. vonMeek, Tchaikovsky's patroness. Center, with the white hat, he strolls with a group that includes his first wife andthe amposer Paul Dukas (right). Right, he sits with his daughter Chou Chou, who inspired the Children's Corner Suite.

home with all its perfumes intact, its effulgence, ifanything, increased. The cycle is one of the greatestin all of art song.

Also among Debussy's finest songs are the twosets of Fetes galantes on poems of Verlaine, theTrois ballades de Francois Villon, the Proses ly-riques on his own texts (which have been much crit-icized for their somewhat murky symbolism), andthe Ariettes oubliees, again on texts of Verlaine.The last of these contains one song in particular,Green, that perfectly epitomizes the incredible feel-ing for the subtle rhythms and accentuations of theFrench language that Debussy possessed. Com-pared with Gabriel Faure's setting of the same text(and remembering that Faure was, after Debussy,probably the greatest master of French song), De-bussy's Green is a revelation of the art that cancome from the instinctive and complete understand-ing of another work of art, in this case Verlaine'spoem.

Pelleas et Melisande is the great watershed inDebussy's career. It does not (as has sometimesbeen suggested) mark his maturity as a composer(all except two of the song cycles previously men-tioned were completed before Pelleas), but it markshis acceptance by the musical world as a major fig-ure. The work's reception at its premiere was ascandal, but it was too big, too important, to ignore;critics and audiences had to take sides. Eventually,a sufficient understanding of what Debussy was allabout converted most of the unconverted and thecomposer was no longer seen as a brash upstart fitonly to be dismissed. He was then forty years old.

The point of Pelleas is that it is a lyric drama, astory that unfolds in music, text, action, and scene.It is symbolist, almost surrealist in a sense, in thatthough the characters are hardly sufficiently clothedin flesh to be people, the element of time is inexora-

bly that of subjective human time, incapable of be-ing stopped for an operatic soliloquy of feelings, aballetic episode, or any other distraction. In noway is Maeterlinck's preoccupation with fate mademore meaningful than by the temporal characteris-tics of the music.

Instrumentally, Pelleas contains some of Debus-sy's most exquisite orchestral writing. Vocally, it isagain the kind of writing that moves back and forthbetween musical declamation and pure song, thekind of writing that demands that, however mysteri-ous the thoughts and actions of the characters, theybe presented with the greatest clarity of dictionand pitch. Pelleas has long been unlucky in thequality of its performances.

Apart from Pelleas and the songs, Debussy's vo-cal work comprises the Trois chansons de Charlesd'Orleans, his only work for unaccompanied cho-rus; several early cantatas, including L'Enfantprodigue (which contains at least one gorgeousaria, the Air de Lia); La Damoiselle Blue, men-tioned earlier, a lovely work that effectively tonesdown the rather garish colors of its Pre-Raphaeliteorigins; the Ode a la France, a late work com-pleted from his sketches by another hand and ap-parently never performed today; and the incidentalmusic to the mystery play Le Martyre de Saint-Sebastien. This last work has inspired frequentconflicting opinions, revolving mostly around thetext by the Italian poet Gabriele d'Annunzio andhow much (or how little) the music is tied to it. Forit was the flamboyant text of the work, mixingChristian and pagan elements, that aroused consid-erable ire even before the first performance of thepiece, and it is the text that seems so dated and bor-ing today. "Symphonic fragments" have been ex-tracted from the work (though not by Debussy) andperformed alone, and various shortenings of the

Debussy was horn well in time for the camera, and the photographic record of his life and times was extra-ordinarily well kept, as demonstrated by these portraits of him at about twenty-four, thirty-eight, and forty-seven.

Debussy as sketchedby Rudolf Herrmann,

a caricature whichappeared in Der

Merker of May 1911.

text (usually designed to include only those partsthat are actually sung) have been tried, all withsomewhat questionable effectiveness. The onlything that is unquestionable is that there is magnifi-cent music in the Martyre, if only a proper presenta-tion can be found for it.

Debussy's important works for orchestra are thePrelude a rapres-midi d'un faune, the three Noc-turnes, La Mer, the Images pour orchestre, andJeux. His less important works are the early Prin-temps, a Fantaisie for Piano and Orchestra, Rapso-dies for Saxophone and Orchestra and Clarinet andOrchestra (both originally with piano), and theDanse sacree et danse profane for harp and strings.There are also two somewhat unknown - or, better,unjudged - quantities, the ballets Khamma and LaBoite a joujoux, both orchestrated by other hands.The very first of these has already been discussedto a certain extent. It only remains to be said ofL'Apres-midi that in it may yet be seen to be thetrue birth of modern music. It was first performed in1894 and, to the amazement of many of us in 1972,it-this golden, estival music that rarely risesabove a sensual whisper-garnered for itself a set ofreviews entirely comparable to those accordedStravinsky's violent Le Sacre du printemps sometwenty years later.

The Nocturnes, La Mer, and the Images arethree quite dissimilar works, two of which, oddlyenough, seem mislabeled. The most "image -like"are surely the Nocturnes (1893-1899, subtitledNuages, Fetes, and Sirenes), of which Debussyhimself wrote:

The title Nocturnes is to be interpreted here in a gener-al and, more particularly, in a decorative sense. Thereforeit is not meant to designate the usual form of the noc-turne, but rather all the various impressions and the spe-cial effects of light that the word suggests.

He goes on to comment individually on the move-

ments, but what is obvious is that these are noc-turnes in the Whistlerian sense, illustrative of theplay of light and shadow on the clouds, the festivalthrong, and the sea, respectively.

The Images (1906-1909, Gigues, Iberia, Rondesde printemps), on the other hand, seem far moreclosely related to the piano pieces called Estampesthan to those called Images. For both the Estampesand the orchestral Images concern themselves withnational characteristics - England, Spain, andFrance, in that order, in the orchestral work - em-ploying folk song and folk -like elements, all frag-mented and harmonized in new and unexpectedways. Once looked upon as a work of flagging inspi-ration, the Images today, particularly since the per-formances of Pierre Boulez, are recognized as themasterpieces they are.

La Mer (1903-1905), better known than either ofthe other works, is Debussy's most symphonic,perhaps least pastel -like work. The themes are farmore clean-cut, the rhythms sharper, the counter-point more complex. It is a difficult work to performwell, for there is much going on at the same timeand the complexities of its counter -rhythms andmelodies are like the currents of the sea that in-spired it.

BEFORE piano music, a fewwords must be said about his attitude toward thepiano. There exist several descriptions of his ownplaying, the most significant comment being by thecritic Louis Laloy:

. . . The sounds seem to be produced without any impactof hammers or vibration of strings; they rise up into atransparent atmosphere where they unite without merg-ing, and then dissolve in iridescent mists. M. Debussyputs the keyboard under a spell, the secret of which isunknown to any of our virtuosi.

Debussy himself spoke of his concept of the piano

Debussy as sketchedby the great Swiss -French artistTheophile AlexandreSteinlen.

APRIL 1972 53

- he considered it an instrument without hammers.Most of Debussy's early piano works are simply

rather charming salon pieces, the Valse romantiquebeing perhaps the best of them (and not to be de-spised). But several of them are something morethan that, and these are the ones that were later in-corporated into various suites and sets that bear alater date. The dates for most of the early pianoworks were dictated by Debussy to the critic JeanAubry at the time Aubry was putting together thefirst catalog of the composer's works, and theytherefore cannot be considered as any more thanhalf -remembered approximations.

The first important group of pieces, at any rate, isthe Suite bergamasque (1890, revised later andpublished in 1905), which owes something to theCommedia dell'Arte (from the title) and a great dealto the seventeenth and eighteenth centuries, whichit evokes with an effectiveness bordering on themagical. Similar in inspiration, if quite different instyle, is Pour le piano (1894-1901), whose musicalmaterials, but not its ambiance, are drawn frommedieval organum, East Indian music, and thewhole -tone scale. It is interesting that all the move-ments of both these suites, with the single exceptionof Clair de lune, are given the titles of recognizedforms of seventeenth- and eighteenth -century cla-vier music (Prelude, Menuet, Passepied, Sara-bande, and Toccata). The Prelude of Pour le piano,incidentally, is marked martellato (hammered), arare instance of Debussy's specifically calling forplaying with a percussive effect.

The later piano music includes the three Es-tampes of 1903 ("prints" - the style of Japaneseprints is what Debussy had in mind), with its evo-cations of the East Indies, Spain, and a Frenchgarden; L'Isle joyeuse (1904), one of Debussy'sbiggest piano works; the two sets of Images (1905-1907), perhaps Debussy's greatest piano music; thetwo books of Preludes (1910-1913); and the Chil-dren's Corner (1906-1908). The last of these is awork sui generis in Debussy's piano music. To be-gin with, its titles are all in English. But, beyondthat, the work is in places intentionally humorousand sentimental, and, of course, it has that famousparody of Tristan, followed by the musical equiva-lent of a titter.

The last of Debussy's solo piano works (oneshould also mention the early Petite suite for pianofour hands, known also in the fine and sensitiveorchestration of Henri Biisser) is the set of twelveEtudes (1915). Here Debussy, as in other lateworks, abandons all symbolic or representationaltitles for those of simple musical purpose. Perhapsbecause of the absence of fanciful titles, the Etudes

are among the least known of Debussy's pianoworks. Or perhaps it is because of the new direc-tion - more severe, almost neo-Classical, but tem-pered here and there with humor-that the musictakes. The Etudes are music to hear and appreciateonce one has heard a lot of Debussy; magnificentmusic, yes, but not the easy nut to crack that someof the earlier works are.

The chamber music is mentioned last because allthe important works, with a single exception, werecomposed toward the end of Debussy's life. Thatexception is the String Quartet in G Minor, Op. 10(1893), the only considerable work of Debussy's tocarry a key signature in its title, the only one to bearan opus number. It is a startling work, partly be-cause of the sheer sound of the exotic musical mate-rials in the medium of the string quartet, and part-ly because Debussy had found a new way towrite a quartet. It follows neither the Classical con-cept of a serious work in four-part counterpoint, northe lighter string of tunes with accompaniment thatpassed for a string quartet among some of the Ro-mantics. The four instruments are used economi-cally but fully, and taking the place of Classicalcounterpoint is a set of patterns, ostinatos, and re-peated figurations through which the melodiestwine in the most inventive arabesques.

The remaining chamber works, the Sonatas forCello and Piano, Violin and Piano, and Flute, Vio-la, and Harp (1915-1917) are three of an intendedseries of six, the remainder cut off by Debussy'sdeath (from cancer) on March 25, 1918. Like theEtudes, they abandon all extra -musical reference(though some commentators will still insist on find-ing it), and, also like the Etudes, they present a mu-sic that is demonstrably "out of" what came before,but is no longer the same thing. They are elegantworks, but we don't really know them yet; theyhave not yet found their final position among theoeuvre of Debussy.

IT is curious that with Debussy, as with RichardStrauss, critics have been quick to signal an end toinspiration, to call the list of significant works com-plete while the composer is still alive and produc-ing. Luckily for us all, those pronouncements havelater been overturned, though not without effort.The last works of Debussy still haunt us, however,and even he himself was not sure of them. But Jeux,at least, has been championed, and perhaps in nottoo many more years we will come to understandmore fully the qualities of the Etudes and the lastsonatas - perhaps even the strangenesses of Kham-ma and La Boite a joujoux as well, the final legaciesof a great musical genius and a most unusual man.

54 STEREO REVIEW

Hirsch -Houck Labs tests...

THE SUPER-POWER AMPLIFIERS

TESTING a stereo power amplifier is usually avery simple process: connect a couple ofheavy-duty resistive loads to the speaker

terminals, drive both inputs with a low -distortiontest signal, then measure both the voltage across theloads and its distortion content. A power amplifierhas no tone controls, equalizers, or specializedoperating characteristics to complicate the process.

Things aren't quite that simple when you aredealing with a "super -power" amplifier, however,one whose continuous output may be from 120 toover 400 watts per channel, with harmonic and in-termodulation distortion levels between 0.005 and0.05 per cent at most power outputs and frequen-cies. For example, load resistors that can easilyabsorb 50 to 100 watts can be explosively de-stroyed (literally!) in a matter of seconds by somesuper -power amplifiers. Even the amplifiers them-selves, despite their conservative design, becomevery hot during periods of full -power testing, andmay require forced -air cooling.

As for listening tests, one requires speaker sys-tems capable of absorbing these power outputswithout damage or distortion, a strong constitution,and neighbors who are either distant or deaf. Thepractice of attenuating the amplifier output so thatonly a fraction of the power reaches the speakerpermits the amplifier to be driven fully without un-due stress on speakers or listeners. However, wefeel that it completely misses the most importantreason for using a super -power amplifier- its abilityto provide higher acoustic levels than would other-wise be possible. Barring the unlikely situation inwhich an amplifier clearly sounds better-orworse-than its competitors, the best way we knowof to judge the merits of these audio behemoths is topush them to their limits, and that is what we did.

Laboratory MeasurementsSince our audio measuring equipment -a Radford

Low -Distortion Oscillator and Analyzer and a CrownI MA Intermodulation Analyzer-has residual distortionlevels of about 0.002 per cent, we anticipated no prob-lems in measuring the distortion of any of these amplifi-ers-and none arose. Our load resistors are precision (1per cent) 50 -watt metal -finned units mounted on alumi-

num heat sinks and immersed in a gallon of transformeroil. Their previous exposure to several hundred watts ofaudio power without damage gave us some hope that theycould survive the present test. This belief proved some-what over -optimistic!

We measured the power output of each amplifier at itsclipping point with 4-, 8-, and I6 -ohm loads, driving bothchannels at 1,000 Hz with a 120 -volt line supply. Theeffect of reduced a.c. line voltages (110 and 100 volts)on maximum output was checked. We used a tone -burstgenerator to apply a single cycle of 1,000 -Hz signal to seehow much power could be developed on very short-termtransients. The tone -burst output power measurementwas made with a calibrated oscilloscope-less accuratethan our voltmeter, but adequate for the purpose. Thepower measured in this manner is similar to, but not nec-essarily the same as, the so-called "music -power" or"dynamic -power" output.

The frequency response was checked also, althoughthis is virtually meaningless for amplifiers of this cali-ber-their performance extends far beyond audible limitson both the high and low ends. The square -wave risetime-another way of expressing the amplifier's high -fre-quency response-was also checked. To test stabilitywith capacitive loads (such as are presented by electro-static speaker systems), we shunted the 8 -ohm load resis-tor with a 3-microfarad capacitor and observed the effecton a Square -wave signal. Amplifier input sensitivity andoutput noise level were measured relative to a 10 -wattoutput level (to permit easy comparison between amplifi-ers of widely differing power ratings). Since some usersmight be concerned about the power consumption of asuper -power amplifier, we measured the current drawnfrom the 120 -volt a.c. line, both at idle (no input signal)and with both channels driven to rated power.

Although all the amplifiers had extremely low distor-tion by ordinary standards, we considered the possibilityof minute amounts of higher -order harmonic distortionaccounting for audible differences between amplifiers (ifsuch differences should prove to exist). We thereforemade dual -trace oscilloscope photos of the output wave-form and the residual -distortion output from the Radfordanalyzer, so that the nature of the distortion and its phaserelationship to the signal could be judged. This was done,at a I -watt output, at 10,000 Hz and lower frequencies.

As a rule, we do not attempt to measure damping factor(DF). It is difficult to measure when the value exceeds 30or 40 (as it does on all good amplifiers), and we have nev-er been convinced that it has anything to do with how anamplifier sounds. However, the manufacturers of most ofthese super -power amplifiers stress their huge dampingfactors (from about 200 to 1,000), so we tried to at leastconfirm these claims. The usual method of measuring DFis to observe the change in output voltage when the loadresistance is changed from infinity to 8 ohms. This is im-

APRIL 1972 55

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practical without a differential voltmeter capable of mea-suring very small changes in a large voltage. Crown rec-ommends an alternative method, which we used. By pass-ing a known audio -frequency current through the speakeroutput terminals of one channel, and measuring the volt-age appearing across them, it is easy to measure the inter-nal impedance of the amplifier, and from this the DF canbe derived. One manufacturer (Phase Linear) says thatthis method cannot be used with their amplifier, and ourresults confirm that statement. But with most of the am-plifiers the damping factor figure we derived was plausi-ble, if not necessarily completely accurate.

Listening -Test SetupWe used the new AR-LST speakers for our listening

tests. They are among the few capable of absorbing thefull power of any of these amplifiers without too muchdifficulty, and are fused to prevent damage. Their moder-ately low efficiency, similar to that of the well-known AR -3a, also makes them logical companions for a very highpowered amplifier. The amplifiers were compared inpairs, with a variety of program material, switching in-stantaneously from one amplifier to the other for subjec-tive evaluation.

A wide -range audio voltmeter and oscilloscope moni-tored the drive voltage to the speaker, which had a nomi-nal 8 -ohm impedance under the test conditions. Thescope displayed an -X-Y" plot, with the input to the am-plifier on the horizontal axis and the output on the verticalaxis. This provides a diagonal line, on which clipping ofpeaks appears as an easily seen horizontal bend, even if itoccurs rarely or briefly. The calibrated scope gave us anindication of peak power, while the meter showed theapproximate average power output of the amplifier.

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2 5 10 20 50 100 200 500 1000CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL

C/M 911: This is the only amplifier of the groupwith a capacitor -coupled speaker output. This eliminatesthe possibility of a d.c. offset voltage appearing across thespeaker voice coil. It is also the only one supplied with acabinet (a perforated metal cage), although optional cabi-nets are available for some of the others. In addition tointernal electronic protective circuits (which are a part ofall the amplifiers), the 911 has a relay that reduces itsoperating voltages to a safe value in the event of an out-put short-circuit or overload, thus preventing damage tothe output transistors. The inputs are phono jacks, withadjacent input -level adjustments. Speaker outputs areheavy-duty five -way binding posts on 3/4 -inch centers.The C/M 911 weighs 40 pounds and measures 143/4 x81/2 x 113/4 inches. Price: $540.

Sony TA -3200F: This unit has more control flexibil-ity than the other amplifiers. In addition to input -level

0

0

0

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SONY TA -3200F'kHz TOTAL HARMON C DISTORTION

--- 60/7000.214:01M DISTORTION

1

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0021

i2 5 10 20 60 100 200 6001000

CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL

56STEREO REVIEW

Ail(1) C/M 911 distortion products

(3) Sony TA -3200F distortion products

(2) Marantz 250 distortion products

(4) Crown DC -300 distortion products

(5) Phase Linear 700 distortion products (6) Square -wave response, Crown DC -300

(7) DC -300 input and output waveforms (8) DC -300 rise time

DISTORTION(ETC.)

Oscilloscope photos 1 through 5 showthat these super amplifiers fall into twogeneral classes in respect to the harmonicdistribution of their distortion products.Distortion in the C/M 911 (1) and Mar-antz 250 (2) amplifiers is made up mostlyof the second and third harmonics, which(theoretically) are the least offensive froma listening standpoint. The Sony (3),Crown (4), and Phase Linear (5) amplifi-ers have a small "spike" at the crossoverpoint where the waveform polarity revers-es. Although this indicates the presence ofhigher -order harmonics, considered bymany to be offensive even in minuteamounts, it must be remembered that weare talking of total distortion content be-tween 0.01 and 0.02 per cent, only a smallpart of which represents the higher -orderharmonics.

All the amplifiers had rise times of a fewmicroseconds, corresponding to a typicalfrequency response extending to 50,000 or100,000 Hz or higher. A dual -trace photo-graph (6) taken with the Crown DC -300shows a typical square -wave response.The lower waveform is the input signal,the upper the output of the amplifier. (Theslight overshoot on the input waveform iscontributed by the oscilloscope.) Theamplifier rounds the waveform slightlyand eliminates the overshoot on the lead-ing edge of the 2,200 -Hz square waveused for this photo.

When a 3-microfarad capacitor wasshunted across the 8 -ohm resistive load tosimulate an electrostatic speaker, the onlyeffect was a moderate overshoot and acouple of cycles of ringing. The input andoutput waveforms of the DC -300 (7) areshown under this condition. The ringing isat approximately 35,000 Hz. The otheramplifiers had similar square -wave re-sponse, with the ringing occurring at fre-quencies from 40,000 to 70,000 Hz.

The rise -time scope photo of the CrownDC -300 (8) covers half a cycle of a10,000 -Hz square wave, and each horizon-tal division corresponds to 1 microsecond.The rise time (to 90 per cent of the finallevel) can be seen to be about 2.5 microsec-onds. The other amplifiers had rise timesfrom 0.6 (the Sony TA -3200F at maxi-mum gain) to 6 microseconds for the C/M911. The rise times of the Sony and PhaseLinear amplifiers varied considerably withchanges in their input -level control set-tings. Their maximum rise times of 6 mi-croseconds occurred at a -6 -dB controlsetting. Since this corresponds to a fre-quency response extending to 100,000 Hzor more, it hardly represents a limitationin audio service.

APRIL 1972 57

z

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...MARAN T2 250

04.#

05 REFERENCE POWER 525W

HALF POWER -I-3081----.- LOW POWER 1-10031 OF

2

4% II."

kHFREQUENCY IN HZ (CYCLES PER SECOND)

controls, it has switched outputs for two pairs of speakersand two pairs of inputs with a front -panel selector switch.When used with a tuner having built-in preamplifiers, orwith a separate tuner and preamp, the TA -3200F wouldretain many of the control features found on integratedamplifiers. A POWER LIMITER switch reduces the maxi-mum power to one half and one quarter of the rated value,for use with speakers unable to handle the full power out-put safely. The inputs are phono jacks, and spring -loadedbinding posts carry the speaker outputs. A switch in therear (NORMAL/TEST) reduces frequencies below 30 Hzin the NORMAL position to prevent overload of a speakerby subsonic signals such as turntable rumble. There aretwo a.c. outlets, one of which is switched, and a line fuse.The Sony TA -3200F weighs 37 pounds and measures153/4 x 6 x 123/4 inches. Price: $349.50.

Marantz 250: There are no level adjustments onthis amplifier. Two illuminated level meters on the frontpanel monitor the audio output voltages. Each has aswitch to change its sensitivity by 20 dB or to shut it off.A "0 -dB" meter reading corresponds to either 0.75 wattor 75 watts into 8 ohms. The Marantz 250 has phono-jackinputs and a barrier -type strip with screw connectors forthe speaker outputs. There is a single unswitched a.c. out-let and an a.c. line fuse. Although it is physically thesmallest of the amplifiers in the group, much of its surface

20

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20 50 100 200 500 1kHZ 210-1. 511-14 10 HZ 20kHrFREQUENCY IN HZ (CYCLES PER SECOND)

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2 5 10 20 50 100 200 5001000CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL

is finned to radiate heat, and it therefore runs comfortablycool. An optional walnut cabinet is available. TheMarantz 250 weighs 28 pounds and measures 151/2 x53/4 x 93/4 inches. Price: $495.

Crown DC -300: The Crown is somewhat morepowerful than the preceding models, although the differ-ence is most apparent with 4 -ohm loads. It is designed for19 -inch relay -rack mounting. A very large, heavy powertransformer in the rear center of the chassis is flanked byoversized electrolytic filter capacitors and the large out-put -transistor heat sinks. The inputs are through standardphone (rather than phono) jacks, and heavy-duty bindingposts on 3/4 -inch centers suitable for a GR plug carry thespeaker outputs. Each speaker output is paralleled by aphone jack. On the front panel, two large knobs controlthe input -signal sensitivity. A removable section of thepanel covers the d.c. fuses, line fuse, and d.c. balanceadjustments. Since the DC -300 is often used in labora-tory applications where widely varying loads are encoun-tered, its protective circuits limit the output to safe val-ues. For driving reactive loads such as loudspeakers, theprotective circuit operation can be modified by movingthe switches recessed in the sides of the chassis from NOR-MAL to HYSTERESIS. This permits more current to be de -

0.2

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CROWN DC -300NH TOTAL HARMONIC DISTORTION

---- 60/700014z 14:11IM DISTORTION

0042 5 10 20 50 100 200 500 1000

CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL

58STEREO REVIEW

0.1

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FREQUENCY IN I -Ix (CYCLES PER SECOND/

livered to such loads under conditions that would not en-danger the output transistors. The Crown DC -300 weighs40 pounds and measures 19 x 7 x 93/4 inches. Price: $685.

Phase Linear 700: The Phase Linear 700 is thelargest -and by a considerable margin the most power-ful - amplifier in the tested group. Its manufacturerclaims that it is the most powerful audio amplifier made,and this appears to be accurate if one is referring to homemusic system applications. It is a rack -mount unit whosehuge power transformer heavily unbalances its weighttoward the left of the amplifier. The output -transistor heatsinks extend about 4 inches behind the chassis. Thespeaker outputs are heavy-duty binding posts on 3/4 -inchcenters that will accept a GR plug. There are two pairs ofphono-jack inputs with a small toggle switch to select ei-ther pair. The NORMAL inputs have blocking capacitors,with their gain controlled by a pair of front -panel knobs.With the direct -coupled (Dc) inputs the controls are by-passed, and the amplifier is direct -coupled from input tooutput. There are four d.c. fuses and an a.c. line fuse onthe rear of the unit. The dominant front -panel features ofthe Phase Linear 700 are the two large meters that read

PHASE LINEAR 700

6MHz TOTAL HARMON C 0 STORTION

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the outputs of the two channels. Their ballistic character-istics are such that, with mast musical programs, the am-plifier will be on the verge of clipping when the meterreads 0 dB. The corresponding power, for a sine -waveinput, is about 60 watts into 8 ohms. Programs withheavy sustained passages may "pin" the meter at levelswell below the clipping point; this is normal. Forced -aircooling is required for most applications other than homemusic systems with 8 -ohm speakers. An unswitched a.c.outlet in the rear can be used for powering the fan. ThePhase Linear 700 weighs 45 pounds and measures 19 x7112 x 10 inches. Price: $749.

Comments on Test ResultsOur measurements indicate that, for all practical pur-

poses, all of these amplifiers can be considered as "distor-tionless." In fact, with most high-grade laboratory signalgenerators and distortion analyzers, one would merely bemeasuring the test instruments' residual distortion.

The Crown Intermodulation Analyzer has the uniqueability to measure distortion down to power levels of afew milliwatts. Almost all amplifiers, including some ofthe most highly regarded models, show a considerableincrease in distortion at very low output levels because ofthe so-called "crossover -distortion" effect. This frequent-ly produces distortions of 0.5 to 1 per cent or more at lev-els of less than 100 milliwatts. These super -power ampli-fiers proved to be outstandingly good in this respect. Thehighest distortion we measured (on the Sony TA -3200F)was an insignificant 0.15 per cent at 4 milliwatts output.The lowest, in spite of its enormous power capability,

SUPER -POWER AMPLIFIERS: COMPARATIVE DATA AND TEST RESULTS(in order of increasing power output)

,k`?"

Output at clipping (watts)

e$-e 4 ohms 8 ohms 16 ohms

C/M 911 149

SonyTA -3200F

169

Marantz250

211

CrownDC -300

315

Phase Linear700

120

130

151

180

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84 182 101 84 0.41 350 0.15 3.25 20 to 170,000(±0.1 dB)

90 180 112 84 0.40 200 0.55 3.23 0 to 100,000(+0, -1 dB)

100 180 136 90 0.44 440 0.30 3.6 0 to 85,000(+0, -1 dB)

257 460 378 83.5 0.21 0,47 9 0 to 100,000(+0, -1 dB)

All power measurements made with both channels driven, 120 -volt a.c. line unless otherwise specified. *Into 8 -ohm load. **Not measured (see text).

was on the Phase Linear 700: a mere 0.04 per cent at 10milliwatts. The others fell between these limits.

Our instantaneous peak -power measurements, madefrom an oscilloscope screen, were necessarily less accu-rate than our steady-state measurements. We would saythat the four "lowest powered" amplifiers were approxi-mately equal in this respect, with outputs of 180 to 190watts per channel into 8 ohms. The Phase Linear 700, at460 watts per channel, was in a class by itself.

We were unable to measure the 4 -ohm clipping poweroutput of the Phase Linear 700, which is rated at 730watts per channel. Special fuses are needed for this test,and it is certain that our load resistors would not havesurvived the ordeal. As it was, they literally exploded onthe final full -power measurement we made, having en-dured the repeated insult of overloads far beyond theirdesigners' intentions.

Since the resistance of any practical length of speakercable is far greater than the source impedance of anygood amplifier, the whole question of damping factor is amoot point. Since some commentators place great impor-tance on it, we have tried to deal with it in this test, butreally would rate its importance-once a figure of morethan 10 or 20 is attained-as somewhat less than thephysical weight or color of the amplifier.

The idling, or no -signal, current drawn from the a.c.power line was impressively small with any of the amplifi-ers (as compared with that of earlier vacuum -tube ampli-fiers of much less power capability). The Sony TA -3200Fhad the lowest drain -0.15 ampere-and the 0.7 amperedrawn by the C/M 911 was the highest. The others weretypically 0.3 to 0.5 ampere, corresponding roughly to 30to 50 watts. With normal program material, the averagecurrent will not be very much greater than this, so no oneneed be concerned about running up a large power bill. Ofcourse, at full power, the current is higher, from 3.2 to 3.6amperes with all the amplifiers except the Phase Linear.But even the 9 -ampere drain of the latter will not requireany special power wiring considerations.

Listening Tests and ConclusionsUnlike some reviewers, we have rarely been able to

hear differences, even subtle ones, between power ampli-fiers with comparable measured performance, so long asthey were never driven into clipping or severe distortion.Likewise, in the case of these tests we were not able todetect any differences among the super -power amplifiersat moderate levels with any type of program material in-cluding "white" noise.

However, we were very much surprised - "amazed"would be more accurate-to discover how easily a 100 -to 200 -watt amplifier could be driven to overload. Havingenjoyed listening to the AR-LST speakers with amplifiersin the 30- to 50 -watt range, and at what many would con-sider fairly high volumes, we were unprepared for theonset of clipping at levels only slightly above "normal."

Since the first four amplifiers had fairly similar poweroutputs into 8 -ohm loads, the differences between themwere minor. By the time we came to the Phase Linear700, we were sure that clipping would occur only at un-reasonably high volume levels. We were wrong-or atleast only partially right. With programs having a com-pressed dynamic range, or appreciable inherent distor-tion, the amplifier peaks clipped with average levels of 50to 100 watts-much above the point where our tolerance

for the sound had been exhausted. We also succeeded inblowing the AR-LST protective fuses under these condi-tions. But-and this is an important qualification-musicwith wide dynamic range and low distortion clipped (at450- to 500 -watt peak levels) with an average output ofperhaps 20 to 30 watts, and was very listenable. The mostrevealing test was to play piano recordings, in which thepiano was either the solo or the dominant instrument. Atlevels which we would judge to be "life size," but certain-ly not "larger than life," the Phase Linear 700 clippedregularly.

Some of our preconceived ideas were exploded (alongwith our load resistors) by this exposure to super -poweramplifiers. And, as a result, we have arrived at some un-expected conclusions. In the light of our findings, it isobvious that anyone using a low -efficiency speaker (suchas many of the acoustic -suspension types) with an ampli-fier in the 30- to 50 -watt class cannot approach a realisticlistening level without severe clipping. Yet thousands ofthese speakers are being so operated satisfactorily bytheir users. The key is the word "realistic." As we turn upthe volume, there comes a point where distortion firstbecomes apparent, and then soon unacceptable. It isquite natural to operate at a lower level, with more pleas-ing sound, and to delude ourselves into accepting it as"realistic" - which it is not!

With a more powerful, essentially distortionless ampli-fier, it is easy to use a higher volume level without offend-ing our ears. A volume level that would be intolerable (ifit could be attained at all) because of distortion on peakswith a 50 -watt amplifier is easy to listen to with a 125 -watt amplifier. When 350 watts is available, many instru-ments can be reproduced at very nearly their original lev-els without discomfort. Obviously, no one could listen atthis level all the time: a piano in the living room is believa-ble; a symphony orchestra is not.

All of the foregoing, of course, is predicated on yourhaving speakers that can handle the power and a familyand neighbors who are either out of earshot or are willingto be exposed to higher sound levels than they may everhave experienced before. It is worth mentioning thatsome very high -efficiency speakers, such as the Klip-schorns, can achieve the same results with a much lowerpower amplifier, but most home speaker systems are ofthe low -efficiency type.

A final word of caution is in order. These amplifiers-especially the Crown DC -300 and the Phase Linear700 - can literally destroy almost any speaker in an in-stant. Record clicks and pops, FM tuner muting"thumps," a refrigerator compressor turning on, a care-less flick of the stylus, or dropping the tone arm on therecord -any of these common noises, if the system gain iscarelessly set too high, will blow out almost any tweeteror mid -range, and in some cases the woofer. We wouldnot operate any speaker with a super -power amplifierunless it is adequately fused. Few are, but information isavailable from most speaker and amplifier manufacturerson recommended speaker -fuse types and ratings.

In closing, we would like to quote a line from the PhaseLinear brochure on the Model 700 amplifier. Under thetitle of "Why 700 Watts?", they present a reasoned justi-fication for its use. After writing our own conclusions, wereread their material and found ourselves in completeagreement. One line, which we originally dismissed assheer hyperbole, now seems quite conservative. "Wewonder if 700 watts is enough." So do we.

60 STEREO REVIEW

CHANGING THE GUARDAT THE METThe critics offer some helpful suggestions

to the Metropolitan Opera's new general managerBy Stephen E. Rubin

LONG as there has been a Metropolitan Op-era company in New York there have been

critics telling the management how to runits business. What would have happened had theMet's board of directors appointed a music criticinstead of Goeran Gentele to replace general man-ager Rudolf Bing when he retires at the end of thisseason? What a bold move it would have been! Thatit didn't happen hardly alters the fact that any gen-eral manager, particularly a new one, faces a formi-dable-and often impossible - situation. Might henot be receptive to some high-class, gratis counsel-ing? Who better to call on for counsel than the crit-ics, professional opinion -mongers all?

In an effort to be positive and constructive, weasked nine music critics in good standing what theywould do if they were in Gentele's shoes, how theywould run what to some is the greatest-and toothers could be the greatest-opera house in theworld. The critics were: John Ardoin, Dallas Morn-ing News; Martin Bernheimer, Los Angeles Times;Bernard Jacobson, Chicago News and STEREO

REVIEW; George Jellinek, STEREO REVIEW; Har-riett Johnson, New York Post; Irving Lowens,Washington Star; Alan Rich, New York magazine;Winthrop Sargeant, The New Yorker; and MichaelSteinberg, Boston Globe.

The Met's major problems, according to theseseasoned observers, are fundamental ones. Thewrongs to be righted lie at the very foundations ofthe organization. Yet sweeping alterations initiallyare out of the question. New management may im-ply change, but the change must be gradual. TheHouse of Bing has fallen, but without care in thebuilding, the House of Gentele may never rise.

Critics, as everyone knows, are born to disagreewith one another, but if there is one subject onwhich they unanimously concur, it is that the Methas suffered grievously at the hands of pedestrianconductors. "Although great voices and huge, lav-ish productions have been heard and seen at theMetropolitan during the past twenty-one years, the

music has suffered terribly there," Winthrop Sar-geant reports. "Of course, the answer to this is con-ductors. We should have the very best conductorsavailable, not just youngsters or second -raters,which has been the rule during the Bing regime, ex-cept at the very first."

Michael Steinberg, agreeing, goes a step furtherin underlining the importance of great conductors tothe proper functioning of an opera house. "Whatmakes opera opera is that action and characteriza-tion are articulated and projected through music,and, in a sense, the director always has to considerthe composer as a director- a shaper, pacer, char-acterizer - who got there ahead of him. Therefore,the man in charge of the musical side of the per-formance - the conductor- cannot run the music inisolation. He has to become involved in the overallconcept. He, the director, and the designer shouldwork closely together from the beginning, and Iwould like to see the conductor as primus interpares in that triumvirate."

There is no hesitation on the part of the critics toname names. Some of the gravest conductorialoffenders at doing the Met's music in, they feel,have been Nino Verchi, Carlo Franci, RichardBonynge, Kurt Adler, Nello Santi, and Silvio Var-viso - the list is long. One gets the impression thatsimply by engaging greater maestri the Met, accord-ing to the critics, could improve its artistic standardtenfold. But even that wouldn't be enough.

Alan Rich cites tawdry backstage politics as amajor Met morale problem. "I've heard stories ofpromising young people who came to the Met andgot shunted off because Mr. Bing preferred LucineAmara or because Richard Bonynge (the husbandof Joan Sutherland) had Bing by the ear. This isenough to scare people away from the Met."

Harriett Johnson is far more explicit in voicing asimilar concern. "Many singers and orchestramembers whom I've talked to all say that the Met isgrossly overstaffed. There are always little satellitesrunning around with their pads and pencils and ac -

APRIL 1972 61

Gentele's Agreement(Reprinted from Sweden Now, Jan./ Feb. 1971)

IvHAT has Goeran Gentele got thatno other candidate to replace

Rudolf Bing as general manager of NewYork's Metropolitan Opera had? OnlyMet President George Moore and theBoard of Directors know for sure.

What the Met may get is anybody'sbet, but it may get out of debt, for onething, and at the moment [as of January1971] this amounts to $5.9 million. Geni-al Gentele takes on New York after sev-en years as manager of Sweden's RoyalOpera, where government subsidy is not

alms, but a guarantee that opera is "foreveryone." In his eyes it's the citizen'sright and the state's privilege to sustainopera.

If he continues other trends he startedin Stockholm, there will be less snob-bishness, less evening dress, cheapertickets, and discounts up to 80 per centfor students and pensioners.

There may also be more perform-ances - the Swedish Opera's 750 em-ployees give 380 performances a year,while the Met's 1,000 give 275 - and the

repertoire may shift emphasis toward thecontemporary, the realistic, and works ofsocial indignation.

During Gentele's controversial periodas manager, he has also been appreciatedas an expressionist director. As criticLeif Aare states, "His great productionshave been of works written during ourown century and of classics which,through special arrangements faithful tothe originals on a profound level, havereceived a new quality of urgency."

Known for his personal elegance andwit, it is paradoxical that Gentele is lesssuccessful at light Rossini and Mozartoperas, and best at the realistic Carmen,Menotti's The Consul, Berg's Wozzeck,and Swedish Blomdahl's Aniara and Mr.von Hancken.

The vigorous Mr. Gentele, now 53,who has an MA in political science,speaks five languages, and has directednine movies, will not only welcome newmoney, but new talents, new singers,designers, composers. But the Swedishartists who hope he is their foot in theMet's door are going to be disappointed.

"Europe is full of American singers,"he says. "I think it's time America lendsthem an ear."

Gentele has criticized Swedish televi-sion for not broadcasting more opera,even though taxpayers all over the coun-try support it. Now he's anxious to tele-vise more opera to the American public,and perhaps to have the same excuse.

complishing little. This is one of the most unfortu-nate things about the Metropolitan. It's been domi-nated by personal pressures -by Joe Smith whoknows Mary Jones. From what I've heard, peoplehave sometimes been engaged on a personal basismore than on professional merit. And they haven'tbeen good. A pertinent example is an Italian bari-tone who came to the Met as a rank amateur andwas allowed to serve his apprenticeship at the glo-rious old house while far better singers got therough treatment."

Another major factor which has caused the Metto function poorly, according to Winthrop Sargeant,is that the house has never, under Bing, been inte-grated into American culture as a whole. "I thinkthe Metropolitan ought to be an American operahouse with occasional foreign stars rather than acompletely foreign one such as it is now. There'ssnobbery involved here. Also, I'm sure it has aneffect on the box office. Opera fans are snobs tosome extent, even the standees. They want a greatItalian voice who they've heard has been singing atLa Scala or Covent Garden, and they're preparedto raise the roof when that person sings, no matterwho he is-even somebody like Franco Corelli,

who, to my mind, is one of the most unmusical sing-ers in the world today.

"Mr. Gentele, I think, is hoping to integrate theMet into American culture. He told me that he sawJesus Christ Superstar. He's been looking aroundto see what's happening here. Mr. Bing didn't. In asense, I think the use of versatile American singerswho can sing French, German, and Italian as wellas English-they're very well trained-would makequite a viable institution out of the Met.

"Opera will never become a steadily valued thingin America as a whole unless Americans are partici-pating in it to some extent. Covent Garden foundthis out long ago. They have been developing won-derful native conductors and native singers-if 'na-tive' includes those from Wales, where most of

WINTHROP SARGEANTThe New Yorker

62STEREO REVIEW

them come from. I would like to see the Met runmore on this Covent Garden system."

Not all his colleagues agree with Sargeant. Har-riett Johnson is firmly opposed to operatic chauvin-ism. "I don't believe that a person should be en-gaged because he's an American. An artist shouldbe engaged solely on the basis of merit. A shiningexample of what can happen to an opera company ifa majority must be of its country is the Paris Opera,which fell to a low state in recent years. Frankly, Ithink the two worst evils in the world are national-ism, in art or politics, and religion." Michael Stein-berg says simply: "What we need are good singers,conductors, directors, and designers, no matterwhere they come from." Martin Bernheimer takesno particular chauvinistic stand, but simply asks,"Wouldn't it be nice if the Met imported fewer sec-ond-rate, little-known (inexpensive) Europeans?Fewer of the likes of Ina Delcampo, Elena Cernei,Karl Liebl, Mario Sereni, Claudia Parada, PekkaNuotio, etc.?" George Jellinek feels that "in no wayshould the Met be a proving ground. Certainly,qualified American artists should be given everyopportunity." Finally, Irving Lowens, harking backto Sargeant's feeling about opera as an American

HARRIETT JOHNSONNew York Post

institution, offers the explanation that opera lacksdeep roots here because of "our rather individualis-tic approach of producing operas in the language inwhich they were written. They should be done inEnglish. If opera is going to have any kind of im-pact, you can't have a sold -out house for The Mar-riage of Figaro where everyone is sitting around asif they were at a funeral."

Other than taking a stand on its American identi-ty, the Met should also, according to Martin Bern-heimer, develop an artistic identity of its own. Hewould like it if the Met were to "establish a definite,recognizable production style - if some new ideaswere to emanate from the house, and if the Metcould discover more and copy less (tried -and -sort -of -true procedures) from other companies."

Alan Rich expresses similar views. "The currentgood techniques that exist in the theater -not nec-essarily Tom O'Horgan's extravagances in JesusChrist Superstar, but the works of such directors

as Grotowski or Mike Nichols or William Ball -arecontemporary techniques which have found favorwith a fairly sizable segment of the audience, in-cluding the conservative audience, and which it ishigh time the Met began to recognize."

"The Met began doing this when Bing first camein in the 1950's. It made pretty good headlines atthat time to bring a Margaret Webster or a JoseQuintero into the opera house. But that initial flurryof theatrical excitement at the Met was not followedthrough, by and large. We have, instead, a Margher-ita Wallmann or a Paul -Emile Deiber or a RudolfHeinrich - we're right back where we were beforeBing came to the Met."

Michael Steinberg wants more than just a talent-ed, contemporary theater man. "I want directorswho understand that they have to direct according

MICHAEL STEINBERGBoston Globe

to what is in the score, not just the libretto." JohnArdoin goes a step further. "Honor the style andperiod of a work," he says. "Some pieces (such asthe Ring) have a quality which allows them to beapproached by a scenic designer or director in afree -ranging, even abstract way. Faust is not suchan opera. Nor is Nabucco, Carmen, or Trovatore(to name only a few of the super boo-boos made byBing, because the nature of an opera, its stance asan art work, was violated)."

George Jellinek feels that the Met has beenburned once too often by directors who are alien toopera. "After M. Barrault (whose Carmen wasunanimously panned), I would choose directorsfrom fields other than opera with the greatest cau-tion." Winthrop Sargeant calls for "more imagina-tive, perhaps less expensive productions. The mov-ies can outspectacle any stage spectacle." BernardJacobson says that the Met "must replace its mon-

GEORGE JELLINEKStereo Review

APRIL 1972 63

ey-social ethos -a sort of artistic materialism illus-trated by applause for sets that happily interruptsthe music -drama and by applause for even thosevilely vulgar rising chandeliers-with a doctrine oftrue artistic idealism."

The subject of repertoire has always been a boneof contention between the Met and the critics andwill probably never cease to be one. Much of thedisparity, of course, is in the realm of personal taste,but some of it can be treated in a manner which ap-proaches objectivity. The critics themselves takewildly diverse stands on this most controversial oftopics. All are pleased, however, with Gentele'sappointment of Rafael Kubelik as the first musicdirector in the Met's history -a move they hopewill considerably improve musical matters, particu-larly the choice of a more balanced repertoire.

Bernard Jacobson feels that a historic sampling ofoperas is vitally important to the understanding ofopera in general. "The Met must treat musical his-tory not as a gradual painful rise toward and declinefrom that ineffable peak constituted by the nine-teenth century, but as a long, complex, and in nosense either pro- or re-gressive development inwhich the nineteenth century is simply one stage,no more important in itself than any other."

BERNARD JACOBSONChicago News,Stereo Review

John Ardoin says: "The Met prides itself on nine-ty -plus per cent subscriptions. Then why so dull arepertoire? I mean, if you are so fully subscribed,you have, in effect, a captive audience. So why notplan repertoire that is better balanced? I, unlikeothers, do not expect the Met to rush to give the lat-est Henze opera, or commission a work from Berio,etc. But by upgrading the repertoire I mean why notone season L'Amico Fritz instead of CavalleriaRusticana, Semiramide instead of The Barber ofSeville, Anna Bolena instead of Lucia, L'Africaineor Les Huguenots instead of Martha, The PearlFishers instead of Carmen, etc."

Irving Lowens takes a similar stand. "I believethat the purpose of the Met is to be a museum. ButBing has been extremely conservative. You can runa museum and still be progressive. I believe in re-viving works - taking the ones from down in the cel-lar and airing them now and again. This can cast

considerable light on the masterpieces which are atthe center of attention. Ultimately these revivalssink down to the cellar again. Contemporary andmodern works do not belong at the Met. Theyshould be done at universities and conservatories,where money is not a factor."

Harriett Johnson feels otherwise. "You have tolive in your own time. It's wrong not to do contem-porary opera. But the public shouldn't be experi-mented on beyond a certain point, whether it's sev-enteenth -century or twentieth-century opera. TheMet has made some very bad choices-for exam-ple, turning down an opera like Don Rodrigo andreviving Adriana Lecouvreur. The Met is not amuseum in the sense that it should bring up third-rate period pieces."

George Jellinek is more specific in presenting hisscheme: "The Met repertoire should not exceedtwenty-five operas per season. However, it shouldhave a 'revolving' repertoire of sixty or so works,allowing for an almost total revamping of the 'work-ing' repertoire every three seasons or so. I thinkthat the public's desire for 'staples' is real. How-ever, this desire can be modified. The public can beeducated. Don Giovanni was not a staple in 1930.Don Carlo and Turandot were not staples even in1955. The important thing is to play the best operas,the ones that belong in a major theater.

"Every season should have some contemporaryopera," Jellinek continues. "But not just because itis contemporary. The Met should not become aproving ground. And I don't believe in commissionsat all. They are ego trips for managements andcomposers. They lead to favoritism and the undesir-able status of 'house composer' - Samuel Barber forthe Met, Alberto Ginastera for the City Opera."

Michael Steinberg wants more contemporaryopera than the Met currently offers. "Some twen-tieth-century repertoire lives happily in a staple sta-tus elsewhere in the world - Berg, Britten, Henze,Stravinsky, to name some of the obvious names. Iwould not want to see a general manager demand amedal for bravery for putting on Wozzeck or PeterGrimes. Then, certainly, there should be one con-temporary piece new to the house each season. AndI should like to see commissions, and, with shame-

IRVING LOWENSWashington Star

64 STEREO REVIEW

less chauvinism, I should like to see them go toAmerican composers.

"Gentele will have to be more discriminatingthan Bing in his excursions outside what has beenthe Met's central repertoire. Martha, Adriana Le-couvreur, Antony and Cleopatra, and MourningBecomes Elektra are not roads to a livelier musictheater (though it is perhaps not necessary to goalong with the notion that Bing has deliberatelychosen such junk in order eventually to be able tosay, 'See, it doesn't work')."

Alan Rich has other ideas on this subject, particu-larly concerning the Met's recent fiasco with its firstpresentation of Der Freischfitz in forty-three sea-sons. "I don't know whether anybody can actuallyestablish the fact that the Freischiitz disaster waspart of Bing's revenge against those who have al-ways been yelling for Freischiitz. It just seems sohard to believe that as ill-considered a production asthat could have been done in good faith. I'd justrather not believe it.

"The balance of repertoire has suffered underBing, and it's suffered partly because his own tastehas figured so strongly in running the opera compa-ny. You know, Mr. Bing came up to me a few yearsago, after San Francisco revived The Trojans, andpronounced the work a bloody bore. I don't think

ALAN RICHNew York

anyone in Bing's position should be allowed tomake that pronouncement about as major a work asThe Trojans."

Winthrop Sargeant, although sympathizing withsome of Bing's personal tastes, feels nonethelessthat the general manager has been negligent. "Binghas been criticized for not doing contemporary op-eras. I think to a certain extent his statement thatthey don't sell out is correct. People will go to seeTrovatore who won't go to Hugo Weisgall's SixCharacters in Search of an Author, and I don'tblame them. I feel almost the same way myself.

"The thing that really strikes me as remiss in Mr.Bing's approach is that there are an awful lot of op-eras that might be considered standard that he hasnot produced. For example, things like The Bart-ered Bride. Look, he's got two of the greatest color-atura bel canto singers in the world working for

him -Joan Sutherland and Marilyn Horne. TheMet should put on a series of bel canto operas justfor these two people- not just Norma and Sonnam-bula, which is a terribly silly opera anyway, butPuritani and Semiramide and half a dozen others.There's a big repertoire that's been untouched. Atthe time they have these two singers they ought totake advantage of them. They're not going to bearound forever."

Which brings up the question of making the mostout of what you've got, or casting the right singer inthe right role. John Ardoin believes that a generalmanager should "try to suit an opera to a particularsinger or singers rather than doing an opera and be -

JOHN ARDOINDallas Morning News

ing forced to use whoever is available to singwhether they're qualified or not." Ardoin cites aclassic case of what he means: "Why, with Elisa-beth Griimmer in the company, did Bing giveLohengrin to Martina Arroyo?"

Martin Bernheimer brings up a point that hasmuch to do with proper casting. "Wouldn't it be

MARTIN BERNHEIMERLos Angeles Times

nice if the Met gave up its double standard-gaveup pretending a Fidelio with Barlow, Nagy, Dooley,and Macurdy is the same (and should cost the pub-lic the same) as a Fidelio with Rysanek, Vickers,Berry, and Tozzi? That Colzani and Bruno Ama-ducci can do as much for Falstaff as did Evans andBernstein? That a Lippert -Konya -Adler Turandotequals a Nilsson-Corelli-Mehta Turandot?"

Even the right artist in the right role is not goingto work if that artist enters a production late in theseason without the proper rehearsal. The Met isnotorious for throwing artist A into opera B withoutmuch preparation. During a past season, one Figaro

APR IL 1972 65

had to contend with six Susannas in seven perfor-mances. This kind of helter-skelter assignment ofroles hardly permits any kind of ensemble feeling todevelop, and doesn't aid in giving a production co-hesiveness. John Ardoin implores the Met to"please, run only two or three operas, or four at themost, a month! Few subscribers attend more thanonce a week, so that if the Met has four operas eachmonth, they will accommodate each set of subscrib-ers." Alan Rich says, "A way has to be found formore rehearsal time. Maybe they should cut downthe number of operas per season. The price of tick-ets doesn't go down as Tosca moves from the firstto the tenth to the twenty-first performance withnew casts. The people who see it in April pay thesame amount as those who see it in October, andthey are entitled to the same quality."

Any discussion of casting in a house the size ofthe Met invariably turns to the subject of the starsystem. Here, too, the critics move along differentavenues. Bernard Jacobson feels that the Met's reli-ance upon stars, particularly under Bing's regime,"has tended usually toward the 'staged -concert'conception of opera, with artists of undisputed dis-tinction thrown together after grossly inadequaterehearsal and often under minimal dramatic disci-pline in the hope that, somehow or other, an operawill result."

Harriett Johnson is opposed to the star system intheory, but feels, realistically, that the Met has toengage the greatest singers, and that they are oftenthe stars, and with good reason. Irving Lowenscites the enormous size of the Met which, he says,calls for "cows" whose voices can fill it. These, too,are often the stars. Michael Steinberg doesn't be-lieve in employing the star system as a policy, butreports that the public is always going to have fa-vorites, "and a Traviata with X, who is much loved,will draw better than a Butterfly with Y, who is onlyrespected."

The question of value for money was raised byseveral of the critics. The Met charges exorbitantprices, which is bad in itself, but for it not to give thepublic anywhere near its money's worth is criminal.Harriett Johnson says heatedly, "I've often said tomyself while viewing a performance that if I had topay to see this, I'd be furious."

Michael Steinberg offers a logical extension: "Ifthe experience doesn't offer what the advertisingpromised, people won't come back." This ratherclearly explains the current box office decline at theMet, a decline so terrible that the Met has beenforced to advertise heavily, adding to an alreadyoversized budget an expense which has nothingwhatsoever to do with producing opera. The Met is

trying to make it as simple and convenient as possi-ble for operagoers, but even with the luxury ofphone reservations (credit cards accepted), thepeople are hardly flocking to what once used to be ahouse virtually sold out every single night.

One can offer a variety of reasons why peoplearen't coming to the Met: high prices, fear of goingout at night, etc. But few will dispute the fact thatthe artistic level at the house has fallen to a pointwhere even the nondiscriminating viewer realizeshe's better off going to a movie.

The foregoing suggestions are fundamental, butthey aren't enough. The critics say the Met must gobeyond the basics and improve and expand in otherareas as well. By this they mean putting some lifeand more sense of responsibility into the slovenlychorus. Experimenting New York Philharmonic -

style with the avant-garde in a house other (andsmaller) than its own. Initiating popular prices sostudents and others can attend performances be-yond the second-rate entertainments devised solelyfor youngsters. Developing the corps de balletCovent Garden fashion. Touring less and spendingthe money saved on improving matters at home.Building a restaurant within the house that servesdecent meals at reasonable prices. Instituting aneducational system, formal or informal, whichwould break down barriers between the Met andthe public. Relaxing out-of-date traditions andmaking the Met a place which is fun to visit.

FINALLY, the critics come to the subject of critics.Alan Rich sums up the matter: "I'd like to thinkthat the Met and the critic work together towardbuilding a greater opera house. Whatever Mr. Bingmay think about the critics' mounting a personalvendetta against him, the critics do that, if at all,because they recognize the things that could be bet-ter at the house. The critics and the opera impre-sario work together in the sense that they're all con-cerned about the cultural health of the community.If we can create a lively curiosity for out-of-the-wayworks or create a lively curiosity about what isgoing on at the Met to draw people there, in thatway we are working for the Met.

"I don't think Mr. Bing ever understood whatcriticism is for. There are plenty of managersaround who do regard the critic as their employee.You give the critic a free seat and he repays you bywriting something nice. But a critic does not writeto be agreed with. He writes to stimulate people tothink for themselves. Ideally, there should be nocritics because everyone should actually be one forhimself."

Until that happy day. . . .

66 STEREO REVIEW

"Iwould hesitate to do Nemorino in L'Elisir d'amoreon stage," Barry Morell told me. The Metropolitan

Opera lyric tenor was discussing his newly released RCArecording of arias from Donizetti operas, and was illus-trating the point that a singer can record arias-and entireroles, too -that he would never attempt on stage. "I'mvery fond of Nemorino's aria 'Una furtiva lagrima,' andthe music is right for my voice. But Nemorino is just toostupid! Oh, yes, I know what they say about a tenor-thathe has resonance where his brains ought to be. But I'mnot sure I would feel comfortable as Nemorino."

So Morell relishes the scope and variety that recordingallows him. And during the current year RCA will offer ademonstration of that variety with two releases in addi-tion to the Donizetti - scenes and arias from Belhni, andthe Handel Society production of Judas Maccabaeus, inwhich Morell sings the title role.

Morell was in Vienna to record the Handel oratoriowhen I caught up with him at the Am Parkring, an Ameri-can -style hotel occupying the three top floors in a block -shaped, granite -hued building that rises starkly over theold-world splendors of Europe's music capital. In thedeserted grill -room of this hostelry, with a cup of thecity's famed coffee before him, the tenor gazed out thewindow at a vista of domes and slanting rooftops. "I doother roles on the Donizetti record that I couldn't - or,shall we say, shouldn't-sing in the house. Take Ernesto

BARRYMORELL"You can't fake it at the mike....When you record, all you have is your voice."

By FLORENCE STEVENSON

in Don Pasquale. His aria 'Povero Ernesto' is fine for me,but the rest of the part is too florid for my voice. I sangCalaf's aria 'Nessun dorma' in my first album, for West-minster, but I would never sing Calaf in the opera house,at least not in my right mind. But on records. . . ." Hisbrown eyes were suddenly lit by a wistful gleam. "Onrecords, I could even do Otello."

Reminded that other singers feel that there is a certainsterile quality about a recording that hampers them cre-atively, Morell declared that he felt himself uninhibited bythe bare stage, the score propped on a lectern, the knottedwires, the overhanging spots, and, in Vienna, as I wassoon to discover, the disembodied voice of the sound en-gineer issuing not from a glass control booth but from anupper floor through a grey, oblong, hole -studded, "Big -Brother -is -listening -to -you" transmitter hanging a fewsinister inches over the conductor's head.

In a matter-of-fact voice touched by the Long Islandtwang of his boyhood, the tenor said, "I enjoy recordingvery much. You cannot say that as a medium it's eitherharder or easier than performing in the house. Certainlyit is more demanding musically and vocally, for the re-cording staff does not, and should not, pass a wrong note.By its very nature, a recorded performance must be morenearly perfect musically than its 'live' counterpart. A'live' operatic performance is always diluted, musicallyspeaking. You have to think about props and costumes.

APRIL 1972 67

And then there's the action. In a 'live' performance youare running or fighting or climbing up stairs or fallingdown them-and singing at the same time. For instance,when I made my debut at the Rome Opera last May,singing Cavaradossi, I fell over the sofa onto the floorwhile I was declaiming 'Vittoria!' " An amused lookcame into his eyes. "Sure, I did it on purpose. I surprisedeverybody on stage, and some of my colleagues droppedout of character to help me-they were afraid I'd reallyhurt myself. It was like that time I did Lucia in Boston.After I stabbed myself, I fell the length of a long stair-case. Everybody was sure I was dead.

"But digressions aside, the point I'm trying to make isthat a 'live' performance is both more and less demandingthan the one you give over the microphone. You can'tfake it at the mike. You might not have to run and breatheand sing all at the same time. But you cannot rely on cos-tumes and props, either, to provide the emotion you aresupposed to convey with your voice-costumes, in myestimation, are the window-dressing of emotion: theyreally heighten it both for you and for the spectator. Norcan you cover mistakes with your acting. You leave allthose tricks and gestures in the dressing room. When yourecord, all you have is your voice."

But don't recordings also have their tricks-the echochamber, the engineer's manipulation of sounds, the in-terpolated notes? Morell became very serious. "I," hesaid portentously, "have never resorted to an echo cham-ber. And as far as I know, the dials are set before the re-cording begins and they remain that way. Interpolatednotes? Well, I suppose you could say that artistically theyare a cop-out. But let's talk about expenses. Supposing anartist is not at top form on the day he is to produce a highC. In the house, he can cancel and they will bring in a re-placement. When a record is being made, there are defi-nite schedules to follow and costs to consider. The or-chestra is hired for a certain amount of money, the chorusis assembled, the other singers are on hand-and if thehigh note is not forthcoming, must all these people becalled again at further cost?

"We've already made the point that a recording is not a`live' performance, and that, consequently, 'live' stan-dards do not prevail. For instance, in the Judas Macca-baeus, I was slated to start my segment of the proceed-ings in the latter part of August, but I was called to San-tiago, Chile, to perform in a special benefit concert for theearthquake victims. I made an arrangement with thecompany by which I arrived late, and the baritone, whohad other commitments, recorded his part before I came.We never did get together. In this way, making a record ismuch like making a movie: you might do the death scenefirst, and at the end of the session you might have justsung your first duet with the soprano."

Barry Morell was born in New York City and raised onLong Island. He was "discovered" as a boy by an interiordecorator, who one day, while discussing color swatcheswith Barry's mother at the Morell home, heard somemelodious sounds coming from the hot-air ducts. "Youhave wall-to-wall music?" he said, surprised (this wasbefore the days of home Muzak).

"No, that's my son Barry," she explained. "His work-room is in the basement, and he often sings while he isbuilding boats and things."

"He's got an excellent baritone voice," said the interiordecorator."

"That," Morell explains now, "is because my voice

never changed. When I was a boy, it was deep and nowit's high-it's the same voice. I studied singing as a bari-tone until I ran into some real trouble vocally. An intro-duction to Giuseppe Danise, the great baritone and voiceteacher, righted all the wrongs-he told me I was a tenor.I used to work in my father's office-Morell British Tex-tiles Ltd.-and rush up to the Ansonia for a voice lessonduring my lunch hour. After about seven years, I mademy debut in my hometown, at the New York City Opera,as Pinkerton in Madama Butterfly. I repeated the role inmy Metropolitan Opera debut two seasons later. I sangseven roles my first season there -1958. Since that time,I have sung in opera companies all over the UnitedStates, at Covent Garden, the Vienna Staatsoper, Ham-burg, in Berlin, Malaga, Santiago, Mexico, and Havana(pre -Castro). And last May, I made my debut at theRome Opera, which happens to be my second hometown- I now live there. In January of this year, I will make myconcert debut at the Barcelona Liceo, and later I will singthere in La Favorita. At Carnegie Hall this spring, I willsing the title role in Judas Maccabaeus with much thesame cast as on the recording."

LATER I watched Morell as he worked on the recording.I found the Judas Maccabaeus company installed, fitting-ly enough, in the Mozartsaal of the Vienna Konzerthaus,a white and gold room lit by three immense chandeliers,each of them now anachronistically sporting a single un-frosted worklight. The session, a monotonous repetitionof a few bars of music - stop, repeat, stop, repeat - sug-gested further questions.

"When you sing a few notes and you're constantly in-terrupted, how can you bring any emotion to your work -how can you sustain the mood?" I asked Morell when thesession was over.

"Because I have studied the role, and the emotion hasalready been put there," he explained reasonably. "It'snot something I inject as I go along. And I have no trou-ble picking up the thread, even though I am interrupted.The problem I had this time was concerned with the lackof opportunities for emoting in the work itself. An orato-rio is much different from an opera-and it's an entirelydifferent approach, too. I am used to performing in theItalian style. You can't use it in an oratorio, that tech-nique is out of place-you know, where you get wound upand go `zzzzzzz' to a phrase. Judas is not dramatic, he isheroic, and there's a limit to how much emotion you canget into his attitudes. Certainly a hero cannot sob or rant;he has to declaim, especially this Judas Maccabaeus. Ifhe'd been living today, he'd give Moshe Dayan a run forhis money!

"I have to admit that when I approached the music, Iwas rather daunted by it. It was a real challenge, for I'dnever sung an oratorio before. But when I got into it, Ifound I really enjoyed it, especially the coloratura pas-sages. And when it came to difficulties, I had many help-ful suggestions from my colleagues. That's another thingabout making recordings: you are a team rather than agroup of competitors. In a recording, you are dedicated tomaking an overal effect, and perhaps for that reason,conditions in a studio are generally more friendly thanthey are in the opera house. But I won't say that I likesinging less in the house. To any musician, activity is theanswer: whether you are facing a lectern in shirt -sleevesor a colleague in armor, you are singing and that's allthat matters."

68 STEREO REVIEW

STEREO REVIEW'S SELECTION OF RECORDINGS OF SPECIAL MERIT

BEST OF THE MONTH

CLASSICAL

ANOTHER SUPERB CHARACTERIZATION BY BEVERLY SILLSDonizetti's Maria Stuarda is brilliantly realized on the ABC/Audio Treasury label

AETANO DONIZETTI'S opera Maria Stuarda(1834) is a mature work that dates from aparticularly productive period in the com-

poser's life, falling as it does midway between twoother successful operas dealing with English histo-

ry -A nna Bolena (1830) and Roberto Devereux(1837). In a new ABC/Audio Treasury recording ofthe complete opera, excellent annotations by Wil-

liam Ashbrook detail the many complications anddifficulties - personal, literary, and even political -connected with the opera's first presentation in

Naples. In retrospect, it would appear that the liter-ary complications had the most significant effecton Maria Stuarda, for it was not the distinguishedFelice Romani (Donizetti's first choice) who finallyundertook the adaptation of theSchiller drama to an operatic 'libretto, but the dilettante Giu-seppe Bardari. (Romani, dis-turbed by the cavalier ways ofthe operatic world, had re-moved himself from the theat-rical scene altogether.) Schil-ler's lengthy play needed dras-tic condensation, which Bar-dari effected; the result was aworkable libretto, but one to-tally lacking in literary merit.

It must be admitted that it ismore efficiency than first-rateinspiration that marks Donizet-ti's music for the opera's firstact-in which Mary Stuart her-self does not appear. With thesecond act, however, thingschange dramatically. Mary'sfirst aria brilliantly delineatesher character, and the succeed-

EILEEN FARRELL and BEVERLY SILLSBright rival queens

ing confrontation between the two queens (the

event is carried over from Schiller, though historydoes not confirm such a meeting) is musically anddramatically outstanding. From that crucial episodeon, the music builds inexorably toward the tragicdenouement. There are some pages of conventionalwriting along the way, but nothing tentative or inef-fective. The final scene is on the level of the com-poser's very best achievements elsewhere.

In the title role, the remarkable Beverly Sillsscores another triumph of fully realized characteri-zation. Her Mary is an unjustly persecuted, stillhaughty queen, clinging to life but nonetheless pre-fering death to humiliation. Her singing is emotion -

laden, yet disciplined and controlled both in the sus-tained lyrical and the taxingbravura passages. Much of theopera's best music is given tothis regal figure, and whether inthe remarkable double aria inthe second act preceding thefatal meeting with Elizabeth orin the moving final "Deh! to ditin umile preghiera" with cho-rus, Miss Sills rises brilliantlyto the role's demands.

Casting Eileen Farrell in therole of Elizabeth was a strokeof great inspiration. Her firm,round tones and strongly sup-ported midrange provide a con-trast with the breathier, morefragile Sills that is not only de-sirable musically but, in thisdramatic context, remarkablyeffective. Aside from occasion-al caution in florid passagesand a certain carelessness with

APRIL 197269

Italian pronunciation, Miss Farrell's singing is allopulence and security.

Alongside these bright rival queens, the opera'smale characters must seem rather pale. Leicester isan idealist dedicated to reconciling the two rivals,but his persuasiveness is no match for Elizabeth'siron will. Stuart Burrows interprets the role withunderstanding and sings with a lovely tone andSchipa-like artistry. The reliable Louis Quilicoalmost succeeds in turning the part of Mary's confi-dant, Talbot, into a leading role. And a real "corn-er" is revealed as well, in the person of the youngSouth -African baritone Christian du Plessis. Hisvoice is too amiably lyrical to convey the villainy ofCecil here, but his singing cannot be faulted.

Aldo Ceccato conducts a spirited, totally idio-matic performance, and the engineering keeps sing-ers, orchestra, and chorus in the proper balance allthe way. Michael Williamson and his team, whowere responsible for this company's earlier RobertoDevereux, have again produced an outstanding set.It comes with a fine illustrated booklet which couldhave profited from more painstaking editing to elim-inate spelling errors in English as well as Italian.

George Jellinek

DONIZETTI: Maria Stuarda. Beverly Sills (soprano),Maria Stuarda; Eileen Farrell (soprano), Queen Elisabet-ta; Stuart Burrows (tenor), Leicester; Louis Quilico(baritone), Talbot; Patricia Kern (mezzo-soprano), Anna;Christian du Plessis (baritone), Cecil. London Philhar-monic Orchestra; the John Alldis Choir; Aldo Ceccatocond. ABC/AuDio TREASURY ATS 20010/3 three discs$17.94, ® 20010 $21.95.

TWO NINTHS BY TWOCONTEMPORARY AMERICANS

Humanist sympathies find expressionin an impressive pair of symphonic works

IHAVE at hand a most extraordinary recording:two Ninth Symphonies, by forefront American

composers, both works masterly, heartfelt, andthoroughly remarkable expressions of humanistideas and ideals held in common, both reflecting, atleast in part, their composers' contact with Romeand her influence, through centuries of history, onWestern civilization. To continue the parallel, bothsymphonies were commissioned by the Friends ofAlexander Hillsman (former concert -master andAssociate Conductor of the Philadelphia Orches-

70

tra), and both composers are closely connected withthe Juilliard School of Music - one as President un-til he became President of the Lincoln Center forthe Performing Arts, the other as a faculty membersince 1947 and head of the composition depart-ment since 1963. But here the resemblances end,for these are two composers of markedly differentpersonality.

William Schuman's Ninth Symphony, subtitledThe Ardeatine Caves, was begun in Connecticutand completed in 1968 in Rome. It was stimulatedby a visit to Le Fosse Ardeatine, a memorial to 335

Italian civilians executed by the Nazis in reprisalfor the Italian underground's assassination of thirty-two Nazi soldiers in March of 1944. Like most ofSchuman's orchestral music, the Ninth Symphonyis conceived in extremely broad musical terms. Thecomposer seems to speak first of large general sub-jects, laying down a foundation for his subsequentperoration and indicating in advance (if you tumbleto what he is doing) that his address will be of such-

and -such length and breadth, and that he will, in duetime, call your attention to chapter headings as theyoccur in the course of the narrative. No four -barphrases here, no seams, only an on -going motion, acontinuous flowering. This is, among other things, akind of "music of accumulation" which treats timeas if it were a cosmic yo-yo, on a string millions ofmiles long. It is a conception of musical time that isunique to Schuman, expressively powerful, and, Ithink, utterly American.

Vincent Persichetti is equally American, equallyhumanistic. His Ninth Symphony also unfolds itselfin a continuous flow, seemingly without pause-though there are several subsections of distinctformal importance. But his music does not sound atall like that of Schuman - or, indeed, like anyone'sother than his own. It has an exceedingly strongrhythmic impulse throughout, and this is especiallyimportant in the fast sections. The work does not

WILLIAM SCHUMAN VINCENT PERSICHETTI

JOHN DENVER: a man living ,,here he .s supposed to

seem to be one that depends for its primary impulseon formal expressive means. It is rather a through -composed composition, one of very subtle internalorganization, with the intent and the impact of aphilosophical tone -poem. One can "hear" the struc-ture of the Sinfonia Janiculum, but only as a sup-portive element. It is distinctly subservient in em-phasis to the flow of melodic ideas, colors, and feel-ings -all of which should keep you (it did me) onthe edge of your seat for 23 minutes and 10 sec-onds. Persichetti's use of the orchestra is very dif-ferent from Schuman's, but every bit as dazzling.With seeming ease, he blends the sensuous andideational possibilities of that largest of all instru-ments, using chromaticism, dissonance, and conso-nance in ways only a master can, convincing the lis-tener that these musical manipulations are not justsophisticated expertise, but rather a way of postu-lating a sober philosophical statement. Stimulatedby the enigma of the Roman god Janus, whose twofaces look in opposite directions, Persichetti hasposed himself a number of questions: What is life'sbeginning, and what its end? Is the door opening orclosing? For the answers I refer you to Persichetti'sprovocative symphony. Lester Trimble

SCHUMAN: Symphony No. 9, "The Ardeatine Caves."PERSICHETTI: Symphony No. 9, Sinfonia Janiculum,op. 113. The Philadelphia Orchestra, Eugene Ormandycond. RCA LSC 3212 $5.98.

ENTERTAINMENT- -

"AERIE," JOHN DENVER'SBEST SO FAR

His latest RCA release is a spiritualaffirmation with a geographical base

AERIE," meaning the lofty nest of a bird such asan eagle, is not exactly a household word even

in mountainous Colorado, where John Denvernow lives. But, then again, it's not an obscure wordeither. People there come to know what people in

cities forget-that the landscape, including aeries,is important to human kind. Thus "Aerie," JohnDenver's latest album for RCA, in a way docu-ments how his move from the midwest to theRockies has changed him. It is also the best, theleast sentimental, of his string of albums.

Those who have experienced the Rockies mayunderstand this on some level. Immutable and abso-lute, the mountains are always lonesome but aboveloneliness. Their message: "Hush now, and cope."The scenically deprived can almost be transportedthere by John's version of The Eagle and the Hawk

(co -written with Mike Taylor), which comesscreaming out of the sun and never traffics with-although it seems to acknowledge - man-made triv-ia. That brief but towering song is the focus of thealbum, an affirmation that, for now at least, JohnDenver in Aspen, Colorado, is a man living wherehe's supposed to live.

Though Eagle is the standout, there are othergood songs in the album. City of New Orleans nice-ly evokes the affable progress of a train across theAmerican countryside. Bill Danoff's ReadjustmentBlues, a beast to sing (calling for sustained top -volume, high -pitch wailing and difficult melodicchanges from verse to bridge), is political, disarm-ing, and disquieting, but not dogmatic. Everyday,which hasn't been dusted off since Buddy Holly didit more than a decade ago, is given a sparkling treat-ment, with Taffy Nivert's voice piercing throughfrom the background.

I think All My Memories (possibly written backin the Midwest) drools perhaps a bit too long overthe subject of leaving the city for the country, and

John sings Casey's Last Ride too slowly (but thenKristofferson sang it too rapidly), though he does

show a slight detachment that makes the song muchmore moving than a sobbing version would. Finally,Friends with You has borrowed too much melody,for my taste, from My Heart Cries for You. But

these are small complaints. Compared to the quality

APRIL 197271

THE MAHAVISHNU ORCHESTRA (John McLaughlin up front): a well -coordinated unit with that old intuitive magic

of the singing and the bulk of the material, the back-up vocals and instrumentals, and the production (asusual on Denver records, Milt Okun has done a let-ter-perfect job), these are trivial, trifling complaints.From an eagle's altitude you wouldn't even noticethem. Noel Coppage

JOHN DENVER: Aerie. John Denver (vocals, guitars);Mike Taylor (guitar); Bill Danoff, Taffy Nivert (back-ground vocals); various other musicians. Starwood inAspen; Everyday; Casey's Last Ride; City of New Or-leans; Friends with You; 60 -Second Song for a Bank;Blow Up Your TV; All My Memories; She Won't Let MeFly Away; Readjustment Blues; The Eagle and theHawk; Tools. RCA LSP 4607 $5.98, 0 P8S 1834 $6.98,© PK 1834 $6.98.

MAHAVISHNU ORCHESTRA:FIRST-CLASS JAZZ

Columbia's new "The Inner Mounting Flame"is a stunning state-of-the-art recording

OH, MAN, is this a good record! If I were askedto name four or five discs to represent the cur-

rent state of the art in jazz, "The Inner MountingFlame," Columbia's new release of the MahavishnuOrchestra, would have to be included. John Mc-Laughlin has matured, in the last couple of years,into one of the most gifted, most provocatively

searching guitarists in all of contemporary music.His backup group, now a well -coordinated unit,steams away behind him, ever interactive, respond-ing to each other's moves with the intuitive magicthat always animates first-class jazz music.

The heart of the group is drummer Billy Cobham,a player whose adeptness truly boggles the mind.Working "live," he reminds you of an octopus, hisarms and legs flashing so quickly in so many differ-ent directions that the existence of only four ex-tremities seems too few to make such sounds possi-ble. Violinist Jerry Goodman, late of the much -la-mented group Flock, has found a way to make whatis essentially a classically based style work in a jazzcontext. Pianist Jan Hammer knows all the tricksand electronic gadgetry that are essential to today'selectric -keyboard artists, and he uses them withtaste and rare musical judgment. And, finally, RichLaird, a solid, workmanlike bassist, provides afoundation upon which the others can erect theirfascinating improvised structures.

All in all, a stunning recording. Placid and roman-tic in a piece like A Lotus on Irish Streams, chargedwith primal energy in Awakening, it gives the lie tostories about the decline, the demise, or the obfus-cation of jazz. Those who have ears to hear willunderstand. Don Heckman

THE MAHAVISHNU ORCHESTRA WITH JOHNMC LAUGHLIN: The Inner Mounting Flame. The Ma-havishnu Orchestra (instrumentals). Meetings of theSpirit; Dawn; The Noon ward Race; A Lotus on IrishStreams; Vital Transformation; Awakening; The Danceof Maya; You Know You Know. COLUMBIA KC 31067$5.98, ® CA 31067 $6.98, © CT 31067 $6.98.

72STEREO REVIEW

After the monthlybreakthroughs andrevolutions in speakerdesign, howcomethe Rectilinear III

still sounds better?Figure it out for yourself.More than five years ago,

without much fanfare, we cameout with a very carefully engi-neered but basically quitestraightforward floor -standingspeaker system. It consisted ofsix cone speakers and a cross-over network in a tuned enclo-sure; its dimensions were 35" by18" by 12" deep; its oiled wal-nut cabinet was handsome butquite simple.

That was the original Recti-linear Ill, which we are still sell-ing, to this day, for $279.

Within a year, virtually everyhi-fi editor and equipment re-

viewer went on record to theeffect that the Rectilinear Ill wasunsurpcssed by any otherspeaker system, regardless oftype, size or price. iReprints stillavailable.)

Then came about forty-sevendifferent breakthroughs andrevolutions in the course of theyears, while we kept the Recti-linear Ill unchanged. Wethought it sounded a lot morenatural than the breakthroughstuff, bu of course we were prej-udiced.

Finally, last year, we started tomake a lowboy version of theRectilinear Ill. It was purely acosmetic change, since the twoversions are electrically andacoustically identical. But the

new lowboy is wider, lowerand more sumptuous, with a veryimpressive fretwork grille. Itmeasures 28" by 22" by 121/4"deep (same internal volume) andis priced $20 higher at $299.

The new version gave StereoReview the opportunity to testthe Rectilinear Ill again after alapse of almost five years. And,lo and behold, the test reportsaid that "the system did an es-sentially perfect job of duplicat-ing our "live music" and that boththe original and the lowboyversion "are among the best -sounding and most 'natural'speakers we have heard." (Re-prints on request.)

So, what we would like you tofigure out is this:

What was the real break-through and who made it?

For more information, includ-ing detailed literature see youraudio dealer or write to Recti-linear Research Corp., 107Bruckner Blvd., Bronx, N. Y.10454.

Rectilinear III

APRII. 1972 CIRCLE NO. 39 ON READER SERVICE CARD73

To appreciate this album,all you need

are the facts:

Pierre Boulez.His new orchestra:

The NewYork Philharmonic.His specialty:

Stravinsky (remember theGrammy award winning

"Le Sacre du Printemps"?)His new album:

"Petrushkal." The original,uncut 1911 version.

On Columbia Records ct

and Tapes

COLUM. It, MAP< Pf PRINIFI) IN S A

74STEREO REVIEW

CLASSICALReviewed by DAVID HALL BERNARD JACOBSON GEORGE JELLINEK IGOR KIPNIS

PAUL KRESH ERIC SALZMAN LESTER TRIMBLE

RECORDING OF SPECIAL MERIT

BACH, J. S.: Four Suites for Orchestra (BWV1066-9). William Bennett (flute, in No. 2);Thurston Dart (harpsichord continuo); Acad-emy of St. Martin -in -the -Fields, Neville Mar-riner cond. ARGO ZRG 687/8 two discs$11.90.

Performance: SuperiorRecording: Good

This performance, one of the last in which thelate Thurston Dart was to participate, isbased on research he had done over the pastseveral years. From the average listener'sstandpoint, the results of the research (havingto do with the dating of the works and theearliest forms of some of the suites) are notwildly dramatic, although a number of inter-esting differences between this and the ver-sion usually heard will be noticed by thealert. Most obvious are some of the repeats inthe Fourth, a suite which is believed to datefrom 1725 but had existed for some years in aform that omitted trumpets and timpani; forthese repeats, the brass and drum parts are onoccasion deleted here, an effect that adds tothe variety of the score. This technique ofvarying repeats by lightening the scoring isalso used elsewhere: in Suite No. 3, for in-stance, winds are silent in the repeats of thesecond Gavotte; the Sarabande repeats ofNo. 2 use just the string quartet with the soloflute rather than the entire string section (itselfquite a small body of players). And the firstviolin, as in the beginning of No. 4, oftenplays solo. Other notable stylistic points arethat the same Sarabande has all its bass linematched up with the ornaments and articula-tion slurs of the flute part, something notheard very often in this particular movement,which in fact is a canon. Ornaments in generalhave been added quite liberally, but are basedprimarily on their occurrence in at least one of

Explanation of symbols:

® = reel-to-reel stereo tape= eight -track stereo cartridge= stereo cassette

= quadrasonic disc= reel-to-reel quadrasonic tape= eight -track quadrasonic tape= quadrasonic cassette

Monophonic recordings are indicatedby the symbol ®

The first listing is the one reviewed;other formats, if available, follow it.

the parts of the score. Then, too, a great dealof attention has been paid to phrasing, toproperly lively tempos (note the Minuets inparticular), and to the chamber -music qualityof the sonorities (the trumpets, for instance,never dominate as they are wont to do be-cause of their brilliance).

The playing of the Academy of St. -Martin -in -the -Fields, of course, is gorgeous, with allof that ensemble's usual bounce and vivacity.Perhaps the only disappointments are the lackof prominence of the harpsichord continuo

NEVILLE MARRINERBach Suites led with style and vivacity

(what one does hear of Dart-during the lastfew days of his illness-is marvelously inven-tive but never obtrusive), and sonic reproduc-tion that is always good without being the lastword in clarity or presence.

The record catalog at the moment boaststwo outstanding recordings of the BachSuites, in addition to this one. Competing arethe fine performances by Raymond Leppardwith the English Chamber Orchestra on Phil-ips and the Concentus Musicus under Niko-laus Harnoncourt on Telefunken. Leppard'sis better -recorded than Marriner's; he, too, isinventive in varying repeats, but not quite asdramatically as Marriner, and in adding orna-ments and embellishments to the score is per-haps even more liberal than the latter. How-ever, his French -styled Overtures are notdouble-dotted, a requisite of proper style forthis kind of movement. Harnoncourt's ver-sion, very impressively double-dotted in those

opening movements, has the benefit of origi-nal instruments or reproductions of the periodand an incredibly pristine, vivid recording.Though I would not like to be without theMarriner version (which I have now heardseveral times, each time with greaterappreciation for its values), I think it is theHarnoncourt performance that best realizesthe color and joy of this music. I.K.

BARTOK: Sonatas for Violin and Piano, Nos.

1 and 2. Isaac Stern (violin), Alexander Zak -in (piano). COLUMBIA M 30944 $5.98.

Performance: ExcellentRecording: Unreal

These are such handsome performances thatit's difficult to know why they are not moresatisfying. Isaac Stern is one of the world'struly great violinists; he and Alexander Zak -in play both these sonatas with all the pas-sion and virtuosity one could desire. And yetsome element is missing, one so elusive thatI can hardly name it. One might occasionallywish for a bit more subtlety and depth ofconsideration from the performers. But thisis so much a matter of fleeting moments thatI can't believe it's the reason for my less thanhappy reaction to those sonatas, which I

love.Indeed, after several listenings, I have

concluded that it's not the performers at all,but the sonics of the recording which are theculprit. Columbia's shallow focal depth andits emphasis of high frequencies erase somuch dynamic contrast in this instance thatStern seems constantly to be playing at arather aggressive mezzo -forte, with rosinflying and a consistent nervosity which is nei-ther his kind nor Bartok's. Added to theshrillness, dissonance, tension, and normalagitation of the music itself, this finally justgets on one's nerves.

Of course, ears differ. Mine may be wrong.But I have thought for some time that Co-lumbia's sonic concept embraces the samefallacy which led to the disastrous, rootlessacoustics of Philharmonic Hall. Violins don'treally sound like this recording (even to aviolinist, with his ear an inch away from thestrings). If they did, no one could stand toplay them, let alone listen. I should mention,too, that there are numerous groove flaws onthis recording, which hardly helps matters.

L.T.

BEETHOVEN: Fidelio. Jon Vickers (tenor),Florestan; Helga Dernesch (soprano), Leo-nore; Karl Ridderbusch (bass), Rocco; ZoltanKelemen (bass baritone), Don Pizarro; HelenDonath (soprano), Marzelline; Horst R. Lau -

APRIL 197275

benthal (tenor), Jaquino; Jose Van Dam(bass -baritone), Don Fernando; Berlin Phil-harmonic Orchestra, Herbert von Karajan,cond. ANGEL SCL 3773 three discs $17.94.

Performance: TastyRecording: Effective

Bruno Maderna, the Italian composer andconductor, was quoted in the New YorkTimes recently as remarking about Karajan's"chocolate" Beethoven. Frankly, that crackhaunted me all through two hearings of thisFidelio. For Maderna's remark is more thanjust cattiness between conductors. This isa beautiful, tasty performance - Beethovencooked up like a great meal. It is above all asingers' performance, superb in all the sec-ondary roles and very fine, if not quite ideal,in its leads. Over all is the strong hand of Ka-rajan urging everyone on to great feats: faster,nobler, more brilliant, more effective, withmore pathos, more excitement, more beauty,always more!

Actually, there are small faults. The or-chestra is, surprisingly, not always that welltogether. Kelemen, though very effectivedramatically, plays a little fast and loose withPizarro's pitches. Helga Dernesch, although astrong Leonore, is not quite fully up to thedemands of the role (once or twice she seemsto recede into the orchestral texture as if tocover up a not particularly effective run). JonVickers' singing has always had mannerismsthat can be annoying. And there are a fewstrange-apparently intentional -balances inthe recording. But these criticisms are reallyminor. The overwhelming impression is quitedifferent: brilliance, pathos, and vigor allcooked up in the re-creation of a great old rec-ipe -a tasty experience but hardly a profoundone. Mole! E.S.

BEETHOVEN: Piano Concerto No. 3, in CMinor, Op. 37; Thirty-two Variations in CMinor. Radu Lupu (piano); London Sympho-ny Orchestra, Lawrence Foster cond. LON-DON CS 6715 $5.98.

Performance Very goodRecording: Dark

Radu Lupu is a remarkable young Rumanianpianist who pulled a Van Cliburn in reverse,going from Moscow, where he was a scholar-ship student at the Conservatory, to Texas,where he won Cliburn's own competition.His collaboration here is with one of themost talented younger American conductors,and it is a reasonably happy one. I find ashade of difference in approach; Foster'sorchestra is gentle and confiding, while Lupuromps through the solo in genial high spirits.Even so, they manage an ensemble that in-cludes a measure of expressive freedom byno means out of place here, and a phrasedynamic that carries right across thechanges. The Thirty-two Variations, also inC Minor, are an appropriate and dashinglyperformed supplement. The piano sound ison the mellow side, and the orchestra is toosonically subdued for my taste, but the musicand Lupu's talent come through with reason-able clarity. E.S.

BEETHOVEN: Piano Concerto No. 3, in CMinor, Op. 37. Van Cliburn (piano); Philadel-phia Orchestra, Eugene Ormandy cond. RCALSC 3238 $5.98.08 R8S1216 $6.95.

Performance OfficialRecording: Good

The word "establishment" is bandied aboutso much these days that one hardly knows forsure what it means. Nevertheless, there issuch a thing as an "establishment" viewpointwhich one recognizes, on occasion, evenwithout being sure what its component partsare. In the case of this excellent but slightlyunexciting performance of the BeethovenPiano Concerto No. 3, it seems to me theword applies. One cannot fault either Cliburnor Ormandy on details. Earnestness of pur-pose and civility of musicianship are every-where in evidence. Only a slight sense of déjàvu, which derives not from any ennui on thelistener's part but rather from a sort of over -digested and fatigued interpretive demeanoron the performers', keeps one from truly en-joying the performance, no matter how muchone might admire myriad aspects of it. Mytheory is that, at that point when performersbecome so tired of a piece in the standardrepertoire that they must call upon sheer

CHARLES ROSENA sense of communication in Beethoven

professionalism to put it over still anothertime, the words "official" and "establishmen-tarian" begin to apply. There is the sense of asmall thrombosis somewhere in the heart ofthe piece, though the body is still functioning.

L.T.

RECORDING OF SPECIAL MERITBEETHOVEN: Piano Sonatas: No. 27, inE Minor, Op. 90; No. 28, in A Major, Op.101; No. 29, in B -flat Major, Op. 106 ("Ham-merklavier"); No. 30, in E Major, Op. 109;No. 31, in A -flat Major, Op. 110; No. 32,in C Minor, Op. 111. Charles Rosen (piano).COLUMBIA M3X 30938 three discs $9.98.

Performance: MagnificentRecording: Likewise

Writing about great performances of the lateBeethoven piano sonatas seems to be one ofthe chief delights of record reviewing. Twoyears ago, when I was new to this magazine'sstaff, it was Daniel Barenboim. And now hereis Charles Rosen, with a set of the last sixsonatas worthy to stand with any recordedperformances, whether in or out of the cur-rent catalogs.

The quality of Rosen's performances is themore gratifying to me because I have heardhim play some of these works in recital over

the past few years and have been in some de-gree disappointed. A performance of the A-flat Major Sonata comes to mind, for instance,in which all the right motions were gonethrough with impeccable taste and artistry,and which yet left me feeling, when it wasover, that nothing had really happened.

These recordings suggest that Rosen re-sponds particularly well to the peculiar chal-lenge of the studio. Here the parts are as fine-ly judged as they were in the concert hall, andthey also coalesce into far more satisfyingwholes than they did there. This is not to sug-gest that what we hear on these (very reason-ably priced) Columbia discs are artificial stu-dio constructions. For one thing, with a tech-nique such as Rosen has at his command, itwas probably unnecessary for the record pro-ducers (Paul Myers and Bill Newman) to goto extremes in the way of splicing short takestogether. For another, it is precisely the senseof communication in Rosen's playing thatmakes these performances so wonderfullyrewarding.

In music as prodigal of meaning as this, itwould be unrealistic to expect one artist tohave all the best answers. There are indeedplaces where I feel other performers comecloser to the spirit of one work or another. Butsuch places are remarkably few.

The most important is the theme of the vari-ations in the very last sonata, the C Minor.Here Rosen's way of prolonging the last beatin several measures results in a choppy, man-nered feeling altogether less convincing thanBarenboim's more even and yet also supreme-ly sensitive flow. Rosen's interruption of thecrescendo in the second part of the themewith a relative withdrawal of tone at the fif-teenth measure also strikesism. Similarly, I think Barenboim digs at oncedeeper and more naturally into the lyrical veinof the variation theme in the E Major Sonata,Op. 109, and in this movement Rosen dis-tinctly fails to make Variation IV sound"somewhat slower than the theme" as Bee-thoven directs. This is a minor miscalculation;scarcely more bothersome is Rosen's occa-sional habit of leaning on the second note of afeminine rhythmic pattern instead of keepingthe accent on the beat-the 47th and follow-ing measures in the first movement of Opus90, the 38th measure in the first movement ofthe "Hammerklavier," and the second -timebar in the first movement of Opus 111 are in-stances of this.

But, for the most part, even such quibblesas can be leveled at Rosen have their obversepositive aspects. His phrasing of the theme inthe Opus 1 1 I variations may, as I have sug-gested, be less than convincing-but his shap-ing of the movement as a whole succeeds as-tonishingly well in making its idiosyncraticrhythmic structure at once clear and commu-nicative. Nowhere is the pianist's power oflarge-scale structural thinking more evidentthan in the voluminous slow movement of the"Hammerklavier," where his restraint at thefirst appearance of the con grand'espressionepassage makes his expansiveness at a relatedpoint later in the movement all the moreoverwhelming in its eloquence. (This "Ham-merklavier," by the way, is not a re -pressingof Rosen's old recording but a new and. Ithink, even more powerful performance.)

Ivan Moravec's sublime reading of the EMinor Sonata, Op. 90, on a Connoisseur Soci-ety disc, and particularly his handling of theidyllic second movement, remains for me atouchstone in sheer beauty of Beethoven

76STEREO REVIEW

playing that Rosen does not quite match. Yethere again, Rosen's performance has its com-pensating virtue-in this case, a perceptiveand masterly control of dynamic shading andnuances of phrasing and articulation. Thesuperb, brilliantly integrated detail of Rosen'sreading- I cannot recall any pianist, for ex-ample, capable of realizing so exactly themeaning of Beethoven's little two -note slurswith staccato dots under them-and the moregeneralized loveliness of Moravec's perfor-mance together constitute what great inter-pretation should be: a range of possibilitiessuch that making a choice among them wouldamount to self -deprivation.

These performances, then, are not the onlyway to play late Beethoven. But they repre-sent as cogent a way as you are likely to en-counter. The recording, apart from the slight-est trace of harshness in one or two places, iscomparably magnificent, and Rosen's ownliner notes are full of stimulating ideas. B.J.


BEETHOVEN: Symphony No. 7, in A, Op. 92.SCHUBERT: Symphony No. 8, in B Minor, D.759. Philadelphia Orchestra, Leopold Sto-kowski cond. PARNASSUS 5 $6.00 (availablepostpaid from Parnassus Records, Phoenicia,N.Y. 12464).

Performance: Golden oldieRecording: Early electric

Stokowski is a remarkable example of a mu-sician who, after a long and notable life in thepublic eye and ear, has actually outlived hisown fame. Although nearly ninety, he is stillactive with his American Symphony Orches-tra, a fallen titan from the Golden Age whohas somehow survived into these LeadenDays. But it is necessary to go back to one ofthe numerous revivals of Fantasia to recallwhat a magisterial and innovative spirit Sto-ky was. What a deep impression he made onthe style of music and musicians! That whitemane and those hands were among the firstof what we would call media images. It wasStokowski who made the Philadelphia Or-chestra what it is today. He was a pioneer.and, in spite of his aristocratic bearing, agenuine populist, bringing classical music tothe millions, enriching the sound of the mod-ern orchestra, and dragging it smack into themiddle of the twentieth century via his new -music performances and his pioneering effortsin the recording studio.

Stokowski first brought the PhiladelphiaOrchestra into a Camden, New Jersey, stu-dio in 1917-he was already thirty-five yearsold!-and also made the first electric sym-phonic recordings (in 1925). In the 1926-1927 season he and the orchestra made aseries of large-scale recordings which repre-sent some of the first really mature efforts ofthe recording art in the service of symphonicmusic. These recordings, two of which arereissued here, can be listened to with plea-sure even now.

The performances here are really remark-able by any standard. Stokowski's care andcontrol are phenomenal. There are many in-terpretive decisions that would be distinctlyunfashionable today, and yet they are man-aged with the greatest conviction and musi-cality. The over-all impression has nothing todo with romantic laxness or show -biz flam-boyance. but suggests an intensity that isalways genuine and insightful. Everything istight, intense, and perfectly in place, yet

NEWFROM

toipayRECORDS (_`)*

Hoist: THE PLANETSThe Los Angeles Philharmonic Orches:ra-Zubin MehtaCS -6734

Rossini: STABAT MATERPilar Lorengar, Yvonie Minton, Luciano Pavarotti, Hans Sotin-The London Symphony Chorus and Orchestra-Istvan KerteszOS -26250

Beethoven: EROICA VARIATIONSSchubert: MOMENTS MUSICAUXClifford Curzon (piano)CS -3727

HOMAGE TO PAVLOVALu gini: Ballet Egyptien; Saint -Satins: The Swan; Massenet:Thai's Meditation: Rubinstein: Feramors; Czibulka: Love's dreamafter the ball: Kreisler: The Dragonfly (Sch6n Rosmarin):Drigo: Le Reveil de =lore; Tchaikovsky: Melody; Assafieff;Papillons; Celibes: NaIla-Pas desFlours; Catalani: Danza delle ondine: Krupinski: Polish WeddingThe London Symphony Orchestra-Richard BonyngeCSA-2232

Britten: PIANO CONCERTOSviatoslav RichterBritten: VIOLIN CONCERTOMark LubotskyThe English Chamber Orchestra-Be2jamin BrittenCS -6723

Debussy: PRELUDES-Books 1 andJean-Rodolphe Kars (piano)CSA-2230

Nielsen: SYMPHONY NO. 5L Orchestre de la Suisse Romande-"aul KletzkiCS -6699

Janacek: TARAS BULBA; LACHIAN DANCESThe London Philha-monic Orchestra-FranceRs HuybrechtsC 3-6718

Ovoiak: SYMPHONIC VARIATIONS; THE GOLDENSPINNING WHEELThe London Symphony Orchestra-I 3tvan KerteszCS -6721

Gluck: ORFEO ED EURIDICE-HighlightsMarilyn Horne, Pilar Lorengar, Helen Donath-The Orchestraof the Royal Opera House. Covent Garden-Georg SoltiOS -26214

Giordano: FEDORA-HighlightsMagda Olivero. Mario del Monaco, Tito Gobbi and othersoloists-The Monte Carlo Opera 0 -chestra-Lamberto GardelliOS -26213


there is never any stiffness, never a lack offlow, of fluent expression, of poetic strengthand communication. Even the (then com-mon) use of portamento or legato slides inthe strings does not seem excessive or out ofplace. And even some of the legendary rich-ness of orchestral sound-so restricted bythe narrow recording range and so much imi-tated afterwards -comes through. If youwant to understand something about thepresent pre-eminence of American orches-tras or get a glimpse of a real Golden Age-beautifully poised, like the music itself, be-tween a rich romanticism and an insightful.structured classicism-simply listen to theserecordings!

The original sound is remarkably good andvery well remastered, although I do recom-mend the usual treble cut to reduce noise.And perhaps old Stoky will again receive therecognition he once had and which he is cer-tainly still due. E.S.

RECORDING OF SPECIAL MERITBRAHMS: Ballades, Op. 10: No. 1, in D Mi-nor ("Edward"); No. 2, in D Major; No. 3, inB Minor; No. 4, in B Major. Rhapsodies, Op.79: No. 1, in B Minor; No. 2, in G Minor. In-termezzi: E Minor, Op. 116, No. 5; B -flat Mi-nor, Op. 117, No. 2; E-jiat Minor, Op. 118,No. 6. Capriccio in B Minor, Op. 76, No. 2.Artur Rubinstein (piano). RCA LSC 3186$5.98.

Performance By a masterRecording: Good

BRAHMS: Rhapsodies, Op. 79: No. 1, in BMinor; No. 2, in G Minor. Intermezzi: E Ma-jor, Op. 116, No. 6; B-ilat Minor, Op. 117, No.2; A Minor, Op. 118, No. 1; A Major, Op. 118,No. 2; E -fiat Minor, Op. 118, No. 6; C Major,Op. 119, No. 3. Ballade in G Minor, Op. 118,No. 3. Capriccio in G Minor, Op. 116, No. 3.Waltz in A -flat Major, Op. 39, No. 15. VanCliburn (piano). RCA LSC 3240 $5.98.

Performance: Youth has its sayRecording: Very good

These two discs between them present as finean assortment of Brahms keyboard riches asone could ever ask for on four record sides,and there is just enough overlap in repertoirebetween the old master and the young one-the two Op. 79 Rhapsodies, the IntermezziOp. 117, No. 2, and Op. 118. No. 6-tooffer some fascinating contrasts in Brahmsinterpretation.

With one exception, the Rubinstein albumis an almost miraculous and wholly revealingtestament to a great artist well into his eigh-ties. The four sharply contrasted Ballades ofOp. 10 are played with the necessary passion-ate surge and drama where they are needed(as in Nos. 1 and 3), and where the utmostpurity of line and phrasing is called for, as inNos. 3 and 4, Rubinstein held this listenersimply spellbound. The reading of the deli-cious B Minor Capriccio is sheer delight, andthe handling of the dissonances in the Inter-mezzo Op. 116, No. 5, makes of this an un-cannily haunting, almost spooky piece.

If Rubinstein can no longer match the dy-namic power of a young virtuoso in tacklingthe Op. 79 Rhapsodies, the loss is made up inthe discipline of rhythm and phrasing whichenables him to give these works a stark powerotherwise conveyed only by the late WilhelmBackhaus in his prime.

Indeed, the contrasts between the approach

of age and youth to the Brahms repertoire aremost sharply conveyed in the readings ofthese Rhapsodies. Rubinstein is utterlystraightforward, driving relentlessly onward,Toscanini-fashion, toward the inevitable cli-maxes that sound just right in terms of every-thing that has gone before and is to come af-ter- a sense of proportion carried to its ulti-mate. Cliburn's more freewheeling approachsimply fails to communicate this inevitability.On the other hand, the passionate utterance ofthe Intermezzo Op. 118, No. I, is tellingly setforth by Cliburn; he also does very well inshowing us that the lovely and familiar CMajor Intermezzo, Op. 119, No. 3, is a biggerpiece than many other pianists care to makeof it. Likewise, his playing of the well -lovedA -flat Waltz is a joy.

But the peak of Cliburn's recital comes atthe one point where Rubinstein, to my mind,falters-in the great E -flat Minor Intermezzo,the aging Brahms meditating on the Dies Dae

BENJAMIN BRITTENA revelatory TV opera

motif. Rubinstein, in common with almost allother pianists I have heard do this piece-Wilhelm Backhaus excepted-fails to achievea proper sense of climax in the defiant middlesection that eventually resolves in a return ofthe Dies Due motif. Cliburn, on the otherhand, does so brilliantly, and in a mannerquite different from Backhaus (who relies on agenerally faster pacing): he plays the openingphrases of the section without pedal, thus cre-ating an atmosphere of charged suspense thatcracks wide open phrase by phrase to thepoint that the volcanic recapitulation arrivesas true catharsis. I would buy the Cliburn discfor this performance alone, and I certainlywould not be without the Rubinstein underany circumstances.

Rubinstein's piano, recorded in RCA'sRome studio, is a trifle dry and unresonant intone, but not disturbingly so. Cliburn's pianois recorded with the utmost richness, whollyin keeping with his penchant for savoring tothe full every juicy episode, even if the senseof inevitability and forward motion must loseoccasionally thereby. D.H.

RECORDING OF SPECIAL MERITBRITTEN: Owen Wingrave, Op. 85. BenjaminLuzon (baritone), Owen Wingrave; Janet

Baker (mezzo-soprano), Kate; John Shirley -Quirk (bass), Coyle; Heather Harper(soprano), Mrs. Coyle; Peter Pears (tenor),General Philip Wingrave and Narrator; Syl-via Fisher (soprano), Miss Wingrave; JenniferVyvyan (soprano), Mrs. Julian; Nigel Doug-las (tenor), Lechmere; Wandsworth Boys'Choir (Russell Burgess, dir.), English Cham-ber Orchestra, Benjamin Britten cond. LON-DON OSA 1291 two discs $11.96.

Performance: SuperbRecording: Ditto

I did not see Benjamin Britten's televisionopera Owen Wingrave, but judging by theastonishing impact of the music as it comes offthis recording, I can only say that this work(premiered on BBC 2 in May, 1971) is one ofthe most important musico-dramatic works tocome from the pen of any composer, of what-ever nationality, in several decades. I havenever been a hot Britten fan, but in the pastfew years, it seems to me, this essentially con-servative and often facile composer has be-come so utterly masterly in the use of his cho-sen materials, so unfailingly deep and true inhis evocation of idea and emotion, that he(like Shostakovich) has made considerationsof style or idiom irrelevant to a discussion ofhis music. Everything in his new music is arevelation, no matter what it's made of; everystroke falls exactly where it belongs-effort-lessly and with such accuracy that smudgingand second thoughts seem out of the question.

In actual fact, Britten seems to have "mod-ernized" his idiom somewhat in this work,using some wide -sweeping melodic lines inthe voices that add a sense of high styling tothe solid harmonic underpinning. His instru-mentation, too, is freer than ever, with percus-sion writing of marvelous elegance and evoc-ativeness, woodwind and brass parts as vivid-ly etched as the masses and laceworks in a lateJackson Pollock painting. Where airiness ismost effective, the textures are miraculouslytransparent (and yet almost palpable). Wherebulk is required, or passionate turbulence, thecomposer seems to have had constant inspira-tion about fresh methods of producing thesequalities.

In short, this television opera sounds veryclose to being that very elusive thing-an in-spired and exactly balanced work, with nodead wood or ballast anywhere, and immedi-acy of thrust in every measure. The BBCTelevision Service commission has broughtforth a model for all future opera. Televisionis where late twentieth-century opera belongs.and Britten has finally shown how it can bedone, with modernity, immediacy of impact,relevance, and high culture.

The scenario for Owen Wingrave, with alibretto by Myfanwy Piper. is based on a shortstory by Henry James. It is in essence an anti-war tract. The protagonist, scion of the milita-rist Wingrave family, refuses to continue thefamily pattern of soldiering, and is disownedand held in disgrace by all those close to him.Spice the plot with a good ghost story! TheWingrave house is haunted by ghosts from anearlier tragic generation in which a Wingravetried to break out of the family pattern andwas destroyed by doing so. The protagonist,Owen, is challenged by his scornful ex -be-loved to spend a night in the haunted room.He accepts the challenge and mysteriously,though not unexpectedly, dies. The ending isso classic and so firmly symbolic that it func-tions neatly and with great impact-and with-out the slightest hint of "corn."

78 STEREO REVIEW

Considering the extraordinary group ofsingers on this recording, and the fact that theEnglish Chamber Orchestra and the Wands-worth School Boys' Choir are conducted byBritten himself, it is not surprising to find theperformance an absolute paragon of perfec-tion: elegant beyond description, and perfectin pitch, dynamics, ensemble, and interpreta-tion. The recorded sound is stunning. L.T.

CHAYNES: Concerto for Organ, Strings,Timpani and Percussion; Concerto for Piano.Marie -Claire Alain (organ); Yvonne Loriod(piano); Philharmonic and Chamber Orches-tras of the O.R.T.F., Serge Baudo cond.MUSICAL HERITAGE SOCEITY MHS 1088$2.99 (plus 65¢ handling charge from theMusical Heritage Society, Inc., 1991 Broad-way, New York, N.Y. 10023).

Performance: AuthenticRecording: Good but distant

Although Charles Chaynes is not exactly ayoung composer (he was born in 1925) andhas a very respectable list of credits(Conservatoire, Prix de Rome) and pieces(concertos, symphonies, etudes and the like),he is really very little known-even in hisnative France. Both of these concertos areabout five years old, both were written fortheir respective soloists, and at least one ofthem (the Organ Concerto) was commis-sioned by Erato, the original record companyinvolved. Chaynes defines his own positionas "wholly atonal" but independent of any"school." Neither statement can be entirelyaccepted at face value. The intensity, colora-tion, and mystical, contemplative qualities

(the Organ Concerto is "after the SpiritualCanticle of Holy John of the Cross") suggestthe orbit of Olivier Messiaen. And, if thereare strong differences between the two com-posers, this is largely because Chaynesworks in a much more linear fashion, withstructures and rhythmic -phrase patterns de-rived from the tonal -contrapuntal tradition.

In theory, none of this should affect one'sjudgment of the intrinsic quality and interestof the music. As a practical matter, however,we are talking about an exotic spiritual cli-mate that I find quite alien, even in the workof a master like Messaien. And there is, par-ticularly in the Organ Concerto, a gap be-tween the mystical -coloristic atmosphere andthe rhythmic neo-Classical jogging along.The Piano Concerto also jogs, but being aless pretentious piece there is less discrepan-cy between apparent intention and realiza-tion; it is the more conventional of the twoworks, but also the more successful, in myopinion.

Both works benefit from their excellentsoloists. The recording problems of the PianoConcerto have been better resolved, and thepiece has impact; the Organ Concerto, on theother hand, has lots of atmosphere but notquite enough presence. E.S.

DEBUSSY: Cinq Poemes de Charles Baude-laire; Fetes Galantes, Series I; Void que leprintemps; Romance; Mandoline; Trois Chan-sons de Bilitis. Anna Moffo (soprano); JeanCasadesus (piano). RCA LSC 3225 $5.98.

Performance: FairRecording: Good

It is not really surprising that disc recitalsdevoted entirely to Debussy songs are sorare. For all of Debussy's exemplary under-standing of poetry, his musical settings sel-dom yielded results that amounted to emo-tionally meaningful and really satisfying vocalmusic. Although this personal opinion is byno means unique, it seems fair to the reader tostate my general lack of enthusiasm at theoutset.

I have nonetheless enjoyed Debussy songsrendered in smaller doses in recorded recitalsby Jennie Tourel, Victoria de los Angeles,Regine Crespin, and Gerard Souzay, amongothers. Regrettably, Anna Moffo's interpreta-tions are not in the same league. To makethese essentially declamatory songs evenmoderately effective, the singer must treatthem with a lightness born of total masteryand control. In Miss Moffo's singing the me-chanics are all too evident, to say nothing of ashrill and effortfully managed upper register.The piano accompaniments, which often re-deem the unadventurous vocal half of thepartnership, are sensitively played by JeanCasadesus (recently killed in an auto accidentin Canada at the age of 44). The recorded bal-ance is good, and so are the annotations ofAlan Rich, who, I hasten to add, holds thesesongs in much higher esteem than I do. This isthe only currently available complete record-ing of the Baudelaire songs. G.J.

DONIZETTI: L'Elisir d'amore. Joan Suther-land (soprano), Adina; Luciano Pavarotti(tenor), Nemorino; Dominic Cossa (baritone),Belcore; Spiro Malas (bass), Dulcamara;Maria Casula (mezzo-soprano), Giannetta.

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The Ambrosian Opera Chorus and the En-glish Chamber Orchestra, Richard Bonyngecond. LONDON OSA 13101 three discs$17.94.

Performance: Very good, withreservations

Recording: Good

There are many things to praise in this newrecording of Donizetti's delightful comic op-era. It is complete, for one thing. Though thecuts in previous recorded versions were nei-ther extensive nor really damaging, the operabenefits from an absence of meddling with thecomposer's original design.

Richard Bonynge's conducting is anotherpositive factor. His affection for this kind ofrepertoire is evident in the zest and animationhe brings to the rustic and military episodes

and in the fastidious care for niceties of or-chestral tone and phrasing. Bonynge's treat-ment of the singers is exceptionally accommo-dating. He allows them considerable latitudefor handling tricky passages-an elasticitythat may not always be desirable, but works inL'Elisir.

Luciano Pavarotti's Nemorino is just aboutideal. He sings with a soaring, unforced lyri-cism and with accurate intonation throughout.His "Una furtive lagrima" is fervent andmelting, and his exceptional singing alwaysserves his credible and amusing characteriza-tion of the engaging bumpkin.

The Adina of Joan Sutherland- a rolewhich, to the best of my knowledge, she hasnot yet sung on stage-is a somewhat quali-fied success. In purely vocal terms she isabove criticism: her tone is ample and efful-

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gent, her technique secure, her intonation vir-tually perfect. She even brings an unaccus-tomed liveliness and textual awareness to theearly scenes. But, as the action develops, thefamiliar Sutherland predilection for languidmoods and droopy phrasing places a Luciabefore us instead of the vivacious Adina.At such moments, your acceptance of herachievement depends on the force of her pure-ly vocal magic, which, it must be admitted, isconsiderable.

Dominic Cossa is a youthful -sounding,appropriately cocky Sergeant Belcore, mod-est in vocal resources, but nicely in character.The Dulcamara of Spiro Malas, on the otherhand, is merely adequate, and this role, forwhich Fernando Corena has established sucha colorful and memorable standard, demandsmore than that. I miss not only Corena's ef-fortless buffo gifts, but also his spectacularway with the text. Malas is simply not Italian -sounding enough- a deficiency particularlynoticeable in the delightful Barcarole Duet, inwhich Sutherland is similarly short on idio-matic spirit. Maria Casula's tremulous Gian-netta rounds out the cast.

Bonynge's zealous research in the be/ cantoarchives has yielded an unfamiliar cabalettafor Adina's second -act aria "Prendi, per mesei libero." The music is pretty and very effec-tive (its source is not identified in the notes).Orchestra and chorus respond to the conduc-tor's leadership in fine style. Although thesound is occasionally overreverberant for mytaste, the set surpasses all competition in thisarea. This factor, plus completeness and theappeal of Pavarotti and Sutherland, shouldprove irresistible to many. The performanceis good. It is unfortunate that here again, as inother Sutherland-Bonynge productions in thepast, more effort was not expended towarduniformly excellent casting.

DONIZETTI: Maria Stuarda (see Best of theMonth, page 69)

RECORDING OF SPECIAL MERITLISZT: Transcendental Etudes: (1) Prelude inC Major; (2) Molto vivace, in A Minor; (3)Paysage, in F Major; (5) Feux follets, in BliatMajor; (8) Wilde Jagd, in C Minor; (10) Alle-gro agitato molto, in F Minor; (11) Harmoniesdu soir, in Dflat Major. Gortschakofflm-promptu. Mephisto Waltz No. 1. VladimirAshkenazy (piano). LONDON CS 6719 $5.98.

Performance: Dazzling!Recording: Excellent

One sampling -of the first three minutes of thisLiszt recital by Vladimir Ashkenazy, and thevision of Franz Liszt in his early thirties as averitable tiger of the keyboard was conjuredup irresistibly in my mind's eye-such is theaural stimulus afforded by the fabulous play-ing that opens this disc. Though the first of theTranscendental Etudes is brief, it's definitelyan attention -getter, a warm-up for the disso-nant deviltry of the A Minor Etude which fol-lows virtually without pause. There are lovelysounds in the landscape -piece that is EtudeNo. 3, and delicious virtuosic tinkles in the"Will -o' -the -Wisp" episode. The Wild Huntstrikes me as mostly Teutonic bombast, butthe Etude No. 10 concluding side one showsthe Lisztian deviltry combined with savagepassion. The last of the TranscendentalEtudes played by Ashkenazy is a lengthyand impressive mood piece that looks forwardto the beginning of Impressionist technique.

80 CIRCLE NO. 25 ON READER SERVICE CARD STEREO REVIEW

The Impromptu dedicated to the PrincessGortschakoff is of minor moment, a moreharmonically sophisticated rewriting of thecelebrated Liebestraum. The familiar Mephis-to Waltz concludes the disc in suitabily satan-ic vein.

I cannot describe the playing here as any-thing less than stupendous: even the trashyand repetitive pages become at least bearable.But the great things in Etudes 2, 10, and I I

are moments to remember for a lifetime.Happily, the recorded piano sound - full-bodied and clean-is on a par with the Ash-kenazy technique and romantic sensibility.

D.H.


MAHLER: Symphony No. 5, in C -sharp Mi-nor; Lieder eines fahrenden Gesellen. BavarianRadio Symphony Orchestra, Rafael Kubelikcond. Dietrich Fischer-Dieskau (baritone, inLieder). DEUTSCHE GRAMMOPHON 2530189/190 two discs $11.96.

Performance: MarvelousRecording: Marvelous

Deutsche Grammophon has a real winner inthis new two -record release. Though theKubelik performance of Mahler's SymphonyNo. 5 with the Bavarian Radio SymphonyOrchestra has been available, it was so onlyas part of a boxed collection of the completeMahler Symphonies. This is its first offeringby itself, and the coupling with Songs of aWayfarer on the fourth side (a new recording)could not be more fortuitous. Both works aregiven beautiful performances. Indeed, Kube-lik's reading of the Symphony No. 5 puts ithigh on my own personal list of preferred per-formances. Since the Songs of a Wayfarer isthe brand-new item, however, I'll addressmyself mostly to that.

Baritone soloist Dietrich Fischer-Dieskauis an extremely dependable artist, in additionto all his other virtues. I have yet to hear himgive a performance which seemed to me musi-cally unpraiseworthy, though some are, natu-rally, more praiseworthy than others. In thecase of this recording, I really must use super-latives. His voice sounds so fresh, light, andeasy that one would think the recording hadbeen made by a Fischer-Dieskau some tenyears younger than he actually is (though, ofcourse, he is still a relatively young man).Even the high-tessitura passages in thesesongs (and there are some stretches whichhave tested voices quite severely-includinghis own) are produced with such lyricalbrightness and fluency that they are deeplyimpressive. The singer's interpretive concep-tion of each song is immensely sensitive, so-phisticated, and credible. It is also in com-plete rapport with Kubelik's conception, asexpressed through the orchestra. The per-formance does not break up into small unitsthrough concentration on the individual parts:the totality has form and an arching beauty ofits own.

I am told that Fischer-Dieskau made thisrecording after an enforced rest due to askiing accident. Perhaps that accounts for apart of its splendor-not the skiing accident.but the rest. L.T.

MAHLER: Symphony No. 8, "Symphony of aThousand." Ileana Cotrubas, Heather Har-per, and Hanneke van Bork (sopranos), Bir-git Finnila and Marianne Bieleman (altos).William Cochran (tenor), Hermann Prey

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(baritone), Hans Sotin (bass): AmsterdamChoruses, Concertgebouw Orchestra, Am-sterdam, Bernard Haitink cond. PHILIPS

6700 049 two discs $11.96.

Performance: High qualityRecording: Big and distant

Although Mahler was a major operatic con-ductor and, creatively speaking, a Wagnerite,he wrote nothing for the theater. This may bebecause the central character in his work isalways himself. Mahler did not have thedramatist's gift of externalizing; the dramaticconflicts and interactions are all interior andtranslated in very personal, quirky ways,transcending the traditional notions of form,harmonic structure, and even "style." Thisis, in part, what is so contemporary aboutMahler. Strauss' Salome and Elektra are

Freudian in a purely external and dated way;we are not sure how these shocking and rev-olutionary works relate to their quite sedateand middle-class composer. With Mahler'sless obviously revolutionary music, we haveno doubts about the depth or the originalityof the expression.

All this is by way of introduction to Mah-ler's most dramatic and monumental work.The "Symphony of a Thousand" owes itsenormousness to that most irritating of ego-trips: the ostentatious plea for the personalintervention of the Lord in the favor of thesinner with the most magnificent offering.The first movement is a giant chorale pre-lude. The second movement is a setting of thescene in which Faust. standing in for all ustormented intellectuals, is redeemed and tak-


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JUDAS

MACCABAEUS:Two new recordings swell

the Handelian discography

By BERNARDJACOBSON

Right: Judas slays A pollonius,general of the Samarian army.

NOTIONS of victory and defeat are oftenvulgar oversimplifications when ap-

plied to the lofty art of music, which oughtto be above squalid competition. But some-how such concepts come readily to mind inconnection with the martial patriotic fervorof Handel's Judas Maccabaeus. And inthese terms, Vanguard's new recordingconducted by Johannes Somary plainly hasit over RCA and Stephen Simon, while bothnew versions are clear winners over the onepreviously available recording on Desto.

What may surprise those familiar with theprevious work of Somary and Simon in theirrespective Handel series is not so much thatthe decision comes out this way as that it is arelatively close one. Simon's conducting hasimproved greatly since the days of his un-equal battle (again, the military metaphorseems justified) with Solomon. But thoughhe brings off some attractive effects in JudasMaccabaeus with obviously developingassurance, there are still far too many mo-ments when a touch of unsteadiness in tem-po or of imprecision in ensemble betrays theinadequacy of his technique.

Somary has the advantage of an absolute-ly first-rate orchestra, the English ChamberOrchestra, for which Simon's Viennese en-semble is no match, and Simon is furtherhandicapped by a chorus that is still, evenafter all its experience with Handel oratorio,uncomfortable with the English language -"See the godlike use [youth] advance" isperhaps the most amusing, but certainly notthe only, consequence of the singers' prob-lem with the "th" sound, and their German-ic way with the final "s" leads to such cu-

rious remarksrace [raise]."

To compound Simon's difficulties. theRCA engineers have not been able to rivalthe smooth sonority and natural balancesecured for Somary by his producer, Sey-mour Solomon. In particular. RCA's over -prominent placing of the harpsichord soundsmost unrealistic, especially since the player.Martin Isepp, tends to be obtrusive at times.whereas Vanguard's Harold Lester com-bines a comparable inventiveness withgreater discretion. There is also, in the RCAversion. a very disturbing tape -join in thechorus "Disdainful of danger."

As far as general style and performancepractice are concerned, both conductors dowell (though I think both are wrong to treatthe bass line in the secco recitatives in sosustained a manner-the long notes are aconvention of notation, and not meant to betaken literally). Somary keeps his taste forinappropriate choral and orchestral embel-lishment fairly well in check, and both menare sound on matters of rhythmic alteration,though again Simon is slightly the less con-sistent of the two. More striking is the supe-riority of solo ornamentation in the Somaryperformance. Simon often allows his solo-ists to leave middle sections, and recitativesin particular, unadorned, which creates anodd contrast with the often lavishly decorat-ed du capon in the arias. And, even here, theRCA soloists are far too ready to settle forsimply transposing phrases up an octave.This is a legitimate resource if used withdiscretion, but in excess it becomes a point-less mannerism. The listener can easily

as "Sion now her head shall

guess in advance that this is. for example.what the tenor will do with the last phrase inthe repeat of "How vain is man" - and orna-mentation deprived of at least the semblanceof spontaneity is bad ornamentation.

Perhaps part of the problem is that Si-mon's soloists are just less familiar with thestyle of the Baroque period than Somary's.Barry Morell, for instance, has a fine, heroicvoice. But he tends to pour it forth withmonotonous generosity in the manner of anold-fashioned Irish tenor, and his coups deglotte and gulps for breath are much toooperatic for this kind of music. He also goesnoticeably out of tune and out of time whenfaced with Handel's favorite florid divisions.Simon Estes is more reliable in matters ofthis kind, but he attempts very little in theway of embellishment. The two principalwomen. Judith Blegen and Sofia Steffan.sound more at home in Handel's world. Buteven Miss Blegen, who has an admirablyclear voice, is tempted at times to use aninappropriately "caressing" style of phras-ing, and she really ought to make up hermind whether she is going to pronounce "r"in the American or the European way. TheVanguard soloists, by contrast, are thestrongest group yet assembled for Somary,and no praise can be too high for their com-mand of idiom and technique.

SOMARY makes a few cuts in the score.and I regret such omissions as that of therepeat in the Allegro of the overture, of themiddle section and da capo in the duet "Ohlovely peace." and of the alto aria "So rapidthy course is." But, on the other hand. Si-mon's very completeness raises the suspi-cion of mere literalism when he includes theentire group of arias and duets about libertyin the middle of Act I. Handel made differ-ent selections from among these numbersaccording to the circumstances and re-sources of a given performance, and theeffect of performing them all one after theother is boring and a bit silly.

Though most of these considerations addup to a strong recommendation for So-mary-and for the Misses Heather Harperand Helen Watts and Messrs. AlexanderYoung and John Shirley -Quirk - there isalso much to enjoy in the Simon set. Andthough the work itself is not quite on thelevel of, say, Hercules or Theodora, it is stilla treasure -house of glorious music.

HANDEL: Judas Maccabaeus. HeatherHarper (soprano), Israelite Woman; HelenWatts (contralto). Israelite Man; AlexanderYoung (tenor). Judas Maccabaeus; JohnShirley -Quirk (baritone), Simon; HaroldLester (harpsichord and organ); Amor ArtisChorale, Wandsworth School Boys' Choir.English Chamber Orchestra, JohannesSomary cond. VANGUARD CARDINAL. VCS10105/6/7 three discs $11.94.

HANDEL:Judas Maccabaeus. Judith Blegen(soprano), Israelite Woman; Sofia Steffan(mezzo-soprano), Israelite Man; BarryMorell (tenor). Judas Maccabaeus; SimonEstes (bass), Simon; Martin Isepp(harpsichord); Robert Scholz (organ); Vien-na Academy Chorus. Vienna Mozart Boy -choir. Vienna Volksoper Orchestra, Ste-phen Simon cond. RCA LSC 6201 threediscs $17.94.

1(2 STEREO REVIEW

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en to his final reward. It begins with as vivida bit of scene painting as you will find in theliterature-fearful mountain cliffs and forestsin gorgeously evocative musical form-and issurprisingly operatic much of the waythrough. The earthly and heavenly hosts -soloists, choruses, off-stage brass choirs,everywhere present in the first movement-reappear only at the very end.

I have very personal memories of thiswork, particularly one of dragging a verydubious young lady to hear Stokowski con-duct the Philharmonic at Carnegie and find-ing nothing but grand tier standing room. Thebrass choirs were in the end boxes and, atthe last moment, Stoky whirled, shook hiswhite mane, raised up his arms and, with amighty gesture, summoned the Angel Gabrieland his brass band. Who could fail to be im-pressed? We were.

Somewhat surprisingly I find that it is thesoft solo music that makes the deepest im-pression now. This is partly the nature of thisrecording. Haitink is really the master of thesubtle touch and expressive phrase, and notthe grand Stokowski-style gesture; further-more he has a largely first-rate group of solo-ists, and they are well and prominently re-corded. The rest of the mighty hosts do notfare quite as well. The choruses are immenseand full of an enthusiasm that is much toomassive to communicate well. The orchestrais excellent but generally far back in the son-ic perspective, and many details do not comethrough very well at all. The creation of acathedral -like space does not fully do thepiece justice, and imparts a sonic samenessnot characteristic of the music. Perhaps mu-sic like this should be recorded multi -trackand mixed afterwards to obtain the properperspectives. E.S.

MOUSSORGSKY: Boris Godounov. N icolaiGhiaurov (bass), Boris Godounov; MarttiTalvela (bass), Pimen; Ludovic Spiess(tenor), Grigori/the False Dimitri; AlekseiMaslennikov (tenor), Prince Shuisky/theSimpleton; Galina Vishnevskaya (soprano),Marina Mnishek; Zoltan Kelemen (baritone),Rangoni; Anton Diakov (bass), Varlaam;Milen Paunov (tenor), Missail; Najejda Dob-rianowa (soprano), Xenia; Margarita Lilowa(mezzo-soprano), the Hostess; others. Vien-na Boys Choir, Vienna State Opera Chorus,and Sofia Radio Chorus; Vienna Philharmon-ic Orchestra, Herbert von Karajan cond.LONDON OSA 1439 four discs $23.92.

Performance: Compelling, but notwholly convincing

Recording: Excellent

Neither of the two previous stereo ver-sions of Boris Got/minor (Angel S 3633 withBoris Christoff in the title role, Cluytensconducting, and Columbia M4S 696 withGeorge London as the Tsar and the late Me-lik-Pashayev at the helm) is totally satisfacto-ry. though both offer mighty attractions.Thus a new recording featuring NicolaiGhiaurov in the title role, a United Nationsof a cast, and the conducting of Herbert vonKarajan is not only welcome but also de-mands unusual attention. Critics who habitu-ally attack Rimsky-Korsakov's edition of thisepic opera will be disappointed once again,for this is what Karajan uses. However faith-ful Rimsky's realization may or may not be toMoussorgsky's ground plan, it remains theversion preferred by singers as well as con-ductors everywhere. Economics being what

they are, recording such a vast opera in an-other form appears to be a very remote pos-sibility at the moment.

The word which haunted me while I waslistening to this recording was "refinement."Normally, this is a complimentary term, butit has a double edge in this instance. Certain-ly, Ghiaurov is a magnificent Boris. He singswith an amazing richness of tone and sus-tained legato phrasing, without melodramaticexaggerations. The character he presentscomes across in a less earthy manner than doother Borises I fondly remember (Chaliapin,Kipnis, Christoff among them), but Ghiaurovdoes manage to conjure up a human figurewith all his inner torment very movingly, andhis subdued ways are admirable in their ownway. There is no question in my mind thatKarajan is entitled to part of the credit forthis conception, for he has obtained similarlypolished vocal performances from MarttiTalvela (Pimen) and Zoltan Kelemen

NICOLAI GHIAUROVMagnificent as Boris Godounov

(Rangoni). The former is flawless; the latteris somewhat lacking in sinister undertonesbut vocally superb. I also liked Anton Dia-kov's zesty Varlaam. Being a flexible sort ofa purist, I don't object to having the differentpersonalities of Boris, Pimen, and Varlaaminterpreted by the same artist, particularly ifthat artist is a Christoff, but it's good to havethree distinct vocal characters in these roles.There is, however, a double interpretation inthe set: the Bolshoi Opera's Aleksei Maslen-nikov turns in a satisfactory but by no meansfully realized Shuisky and also an excellentSimpleton.

The casting is less fortunate in the "Ro-mantic" episodes. The appeal of GalinaVishnevskaya's name is compromised by theforced and tremolo -ridden quality of her sing-ing, which does not measure up to her re-corded counterparts (Evelyn Lear on Angel,Irina Arkhipova on Columbia). The Dimitriof Ludovic Spiess is also rather short onappealing lyricism, but he is acceptable, asare the interpreters of minor roles in thispanoramic opera. As for the chorus, it fails tomatch the stirring performance of the Bolshoigroup in the Columbia set.

Without denying Karajan's impressivequalities of leadership, I doubt that he can becalled a "natural" interpreter of Moussorg-

sky. He can work with individual singerseffectively, but in the management of thecrucial massed scenes, in which attention iscentered on the Russian people, his over-refinement results in bloodlessness. His tem-pos are often too slow or too inflexible; hisoverall approach lacks bite and strong dy-namic contrast, that barbaric quality werightfully associate with the composer, andwhich is decidedly present in Melik-Pashay-ev's work in the Columbia set. It is particu-larly unfortunate that the performance getsoff with a tame -sounding, quite unimpres-sive Coronation Scene. Although Karajanachieves some admirable things later on, theinitial impression lingers.

The Bolshoi performance practices are fol-lowed here, with the retention of the St. BasilCathedral Scene and with the opera ending inthe Kromy Forest, as the heart-rending la-ment of the Simpleton trails away, bemoan-ing the plight of the people. Technically, theset is a fine effort, but overall I cannot placeit above its competitors. Eventually. Londonwill get around to releasing a highlight disccontaining Ghiaurov's contribution. Thatwill be a must. G J.

PERSICHETTI: Symphony No. 9, Vanieu-lum" (see Best of the Month, page 70)

SAUGUET: Melodie concertante in E Minor(see VLASOV)

SCHUBERT: Die schone Miillerin. HermannPrey (baritone): Karl Engel (piano). LONDONOS 26251 $5.98.

Performance: Supremely competentRecording: Superb

Hermann Prey is one of those frustrating art-ists who seem to dawdle forever on the veryverge of greatness without making the vitalstep across. I first heard him sing Die s(h)ineM fillerin eleven years ago at the Holland Fes-tival. At the time I thought his performancean extremely accomplished one that onlywanted a little intensification of the poeticmood to achieve true mastery. His new re-cording of this marvelous song -cycle is just asaccomplished, and just as far from the mark.The intensification has not taken place.

Just once, almost at the end, in the firststanza of Der Muller and der Bach, I thoughtthe real magic of great lieder-singing wasgoing to be worked. But then, at the stream'sconsoling answer to the lovesick miller, therewas just a fraction too much animation in theirrepressibly healthy Prey's response, and thespell was broken.

For the rest, there is some quite lovely sing-ing-never a vocal problem shirked or a linesmudged-but there is no sense of the tearsbelow the surface, even when they comeas close to explicitness as in a song likeThranenregen. The lively songs (Dos Wand -ern, Ungeduld, and others like them) are thor-oughly enjoyable, especially since Karl En -gel's fine accompaniment is exceptionallynaturally balanced with the voice. The sadand slow and poetic ones emerge simply dull.I am sorry I must be brutal. But the man singsso beautifully that the final lack of identifica-tion is infuriating.

Considering the stature of this masterpiece,the current catalogs offer precious littlechoice. The late Fritz Wunderlich, who re-corded the cycle twice, was hampered bothtimes by poor accompaniments. His two ver-sions are nevertheless even more beautifully

84 STEREO REVIEW

sung than Prey's, and profoundly though notconsistently sensitive. Of the two, the None-such is a much better value than the laterDeutsche Grammophon. Another outstand-ing tenor, Aksel Schireitz, made a splendid re-cording of the cycle in 1945, with GeraldMoore, that is available on Seraphim, thoughmissing (by mistake, Angel assures me) fromthe current Schwann Supplementary Catalog.His reading is very subtle, restrained, andpure in style, if a shade effortful vocally. Finerstill is Fischer-Dieskau's performance withMoore on Angel- easily the best of the cur-rent versions, to my taste. But the greatestrecording I have ever heard of the work-byPeter Pears and Benjamin Britten-is not cur-rently available. London would do well to re-store it to the lists. BJ.

SCHUBERT: Symphony No. 8, in B Minor(see BEETHOVEN)

SCHUMAN: Symphony No. 9, "The ArdeatineCaves" (see Best of the Month, page 70)

VLASOV: Cello Concerto No. 1, in C Major.SAUGUET: Milodie concertante, in E Minor.Mstislav Rostropovich (cello): Moscow Ra-dio Orchestra, Gennady Rozhdestvensky (inthe Vlasov) and Henri Sauguet cond. M ELM -

DI YA/ANGEL SR 40180 $5.98.

Performance: BrilliantRecording: Excellent

Vladimir Vlasov might with some justice bedescribed as the Soviet Union's answer toMiklos Rozsa, except that, having been bornin 1903, he is the older man by four years.To the extent that it makes fewer meretri-cious bows in the direction of a superficialmodernity, Vlasov's folk -derived First CelloConcerto is a better, more honest piece thanthe dumbfoundingly empty Cello Concertoby Rozsa that Janos Starker has lately beentrotting around. But with that reservation,Rostropovich's dazzling performance (finelyaccompanied by Rozhdestvensky and wellrecorded in what frequent coughs and a finalovation show to have been an actual concert)provokes a similar baffled indignation at thewaste of so many talented musicians' man-hours on so unrewarding an object.

The Sauguet piece on the other side,though modest enough, is on an altogetherhigher level. Essentially nostalgic in manner(and, as the liner notes tell us, in inspiration).it has the feeling of a greatly expanded Sibel-ius Valse triste. Personally I find it a bitdirectionless, preferring my music in generalmore "put together.- But as dreamy roman-tic effusions go, this is a thoroughly genuine.imaginative, and individually felt composi-tion. The performance, conducted by thecomposer and this time, apparently, recordedin the studio, is suitably bewitching. BJ.

COLLECTIONS

RECORDING OF SPECIAL MERITLEV ARONSON: Cello Classics and Encores.Bach: Sonata No. 2, in D Major, for Viola do,gamba and Clavier: Adagio and Allegro(BWV 1028); Pastorale (BWV 590); "Es istvollbracht" (trans. from the Passion Accord-ing to St. John). Handel: "Ombra mai fa"(Xerxes). Vivaldi (arr. D'lndy): Sonata forCello, Op. 14, No. 5. Bloch: From JewishLife: Prayer. Couperin: Pieces en Concert.Lev Aronson (cello): Roger L. Keyes (piano):

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Joyce Jones (organ); string orchestra. WORDWST 8528 $4.98.

Performance Mostly splendidRecording: Splendid

Lev Aronson is one of those rare cellists whomake you rejoice in the simple facts that thecello was invented and perfected and thatmen such as he play it. When I first listenedto this record, I could hardly credit my ears:how to explain this utterly gorgeous, sump-tuous yet straightforward tone, a sibling ofthe sound produced by Gregor Piatigorsky?The answer, probably, is in the liner notes.Aronson began his cello studies in Riga, Lat-via, and continued in Berlin. Later, but be-fore he came to this country to become prin-cipal cellist with the Dallas Symphony, hestudied with Piatigorsky. (One might men-tion, also, that in Berlin he was studying mu-sic and law simultaneously!)

Before I go into my rave, I should pointout that this is a recording on a "small" label.and calls not only for Aronson but for a con-siderable number of other musicians. Thereis a full string orchestra, plus harpsichord, forthe D'Indy arrangement of the Sonata forCello, Op. 14, No. 5, by Vivaldi. Elsewhere,there is an organ; still elsewhere, a piano.This was not a simple or inexpensive recordto produce. For this reason, it bothers meless that the string orchestra sometimessounds a bit ragged. What really shines forthon this disc is the rich, communicative musi-cianship of Aronson himself, which carriesthe message of the music straight to theheart. I could quibble with his intonation at afew points (in the Bloch Prayer, for instance),and with some relatively slack passages onside two. But, for the most part. Aronsonsings the music so wonderfully, displaying somuch sincerity and depth of culture, that hisrecording will rest on my shelves as one ofthose several to which I listen often for sheerpleasure. L.T.


BAROQUE TRUMPET ANTHOLOGY. lac-chini: Tratenimento per camera in D Major.Bononcini: Sinfonia No. 10 in D Major. Tele-mann: Concerto a (maw° in D Major, "DiMelanie." Purcell: The Indian Queen: Trum-pet Overture in D Major: The YorkshireFeast Song: Sinfonia in D Major. Torelli:Sonata a cinque No. 7 in D Major. Gross):Sonata a cinque No. II in D Major. Schmel-zer: Sonata a cilique in C Major. Vejvan-ovsk9: Intrada in C Major. Don Smithers(trumpet); Michael Laird (second trumpet, inBononcini, Purcell Sinfonia, and Vejvanov-sk9); David Monrow (bassoon, in PurcellSinfonia, Schmelzer, and Vejvanovsk9);Desmond Dupre (chitarrone, in Bononcini.Torelli, and Grossi): Simon Preston (harpsi-chord continuo, in lacchini, Telemann. Pur-cell, Schmelzer, and Vejvanovsk9; organcontinuo, in Bononcini, Torelli, and Grossi).Academy of St. Martin -in -the -Fields, NevilleMarriner cond. PHILIPS 6500 110 $5.98.

Performance: ImpeccableRecording: Superior

The majority of pieces in this collection arenot new to records such works as the Tele-mann, Purcell, and Torelli having often beenfeatured in similar collections in the past.Even the sonata by Johann Heinrich Schmel-zer (a late seventeenth -century Austrian) wasrecently included in a performance using orig-

inal instruments on a Concentus Musicusprogram devoted to that composer and Fux(Telefunken SAWT 9563/4). The sonata bythe Bolognese Andrea Grossi, about whomvery little is known, and the Intrada by theCzech Pavel Josef Vejvanovsk9 appear,however, to be first recordings. All of thisrepertoire, incidentally, has been edited fromthe original publications or manuscripts byDon Smithers, an American trumpeter withmore than a passing interest in musicology.His playing is impeccable, both technicallyand stylistically. He uses modern instrumentshere, but they are played with great intelli-gence and understanding for proper balance.The collection is far from being one loudtrumpet blast from beginning to end (a featureof rather too many such anthologies), thoughSmithers can rank with the most brilliant ofhis brass confreres. The accompaniments,likewise, are beautifully managed, and therecorded sound is utterly clean. /.K.

LEV ARONSONCello playing to make you rejoice

CONTEMPORARY MUSIC FROM JA-PAN-Works for Marimba. Akira Miyoshi:Torse III; Conversation. Teruyuki Noda:Quintet for Marimba, Three Flutes and Con-trabass. Minoru Miki: Concerto for Marimbaand Orchestra (excerpts). Maki Ishi: Marim-ba Piece with 2 Percussionists. Keiko Abe(marimba); various soloists. New MusicOrchestra and Japan Philharmonic Orches-tra, Hiroshi Wakasugi cond. CANDIDE CE31051 $3.98.

Performance: ExcellentRecording: Good

The marimba is an Afro -Hispanic -Americaninstrument, but it is easy to understand whyit suits the Japanese temperament. KeikoAbe is a marimba virtuoso of extraordinarytechnical and musical abilities. Almost all ofthis music was created for her, and. althoughnone of it can be called extraordinary, shemakes most of it very vivid. Except in AkiraMiyoshi's intentionally kitschy Conversation,the instrument is nearly always treated deli-cately, with the effect not so much of state-ment as of allusion. Actually, there are con-siderable differences in style and even qualityamong these pieces, but the nature of the in-strument, the performer, and the approachgives the record its sense of unity.

The music on this release, apparently the

"if) STEREO REVIEW

first in a series, is not necessarily typical ofthe tremendous contemporary musical activ-ity in Japan, but it is attractive enough, ex-tremely well played, and well recorded, withonly the non -Dolby hiss and pre -echo levelas a sonic drawback. E.S.

REGINE CRESPIN: Prima Donna from Paris.Gluck: 1phigenie en Tauride: U toi qui pro-longeas mes jours. Berlioz: La Damnation deFaust: D'amour l'ardente flamme. Gounod:Sapho: 0 ma lyre. Saint -Satins: Ascanio: Lachanson de Scozzone. Massenet: Wert her: Airdes kttres; Va! laisse colder mes larmes; Ah!mon courage m'abandonne! Bizet: Carmen:Habanera; Seguidilla. Offenbach: La GrandeDuchesse de Gerolstein:J'aime les militaires.La belle Helene: Dis moi Venus. La Peri-chole: Je t'adore; Air de lettre; Ah! clue! diner.Hahn: Ciboulette: Moi je m'appelle; Y'a desarbres. Christine: Phi -Phi: Ah! cher Mon-sieur. Messager: L'amour masque: J'ai deuxamants. 0. Straus: Les Trois Valses; Saisond'amour; Je ne suis pas; Je t'aime. RegineCrespin (soprano); L'Orchestre de la SuisseRomande and Vienna Volksoper Orchestra,Alain Lombard and Georges Sebastian cond.LONDON OSA 1292 two discs $11.96.

Performance: Fair to goodRecording: Very good

Combining rarely heard French opera andoperetta highlights under the promising aegisof the authoritative Regine Crespin is an en-terprise worthy of enthusiastic praise. It isalso evident that the repertoire for this set waschosen with sound judgment. (While anotherHabanera and Seguidilla were not reallyneeded, their inclusion is understandable:every singer must sooner or later get Carmenout of her system.)

Unfortunately for such a promising ven-ture, the Prima Donna from Paris appeared atthese sessions (in Geneva and Vienna, it sohappens) in considerably less then her bestvocal estate. In none of these operatic rendi-tions does she match the high standard shehas set for herself at her Metropolitan appear-ances and in her previous recordings. Herbest achievements here are the Werther ex-cerpts, the two arias from Carmen, and theunfamiliar but rather conventional air fromAscanio. These display the well -supportedmezzo -like timbre of her lower range to goodadvantage. Hers is a rich, round voice of am-ple volume, and it is used with commendableartistry and intelligent characterization. Un-fortunately, there are lapses from clean inton-ation and refinement in phrasing, and there ismuch harshness in the upper tones. The Ber-lioz aria, in particular, should not have beenpassed for release.

The operetta selections, though exhibitingthe same characteristics, emerge somewhatmore positively. It's good to hear Helene'switty air delivered by such a de luxe voice,and, though the rest of Offenbach does notcome up to the highest (Tourel) level of charmand vivacity, it is still a pleasure to hear. I ten-der special thanks for the bravura rendition ofthe song from Phi -Phi and for the three ex-cerpts from Les Trois Valses, with their spe-cial brand of Viennese -Parisian allure. (Oneof these, "Je ne suis pas," is done to a 1930-ish piano and rhythm accompaniment.)

Some of the orchestral contributions betrayinsufficient rehearsal but, in the main, they areacceptable.There are good notes and illustra-tions in the set. But the gifted and versatileMiss Crespin is capable of better things. G.J.

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Straight talk about a ityluf

Listen carefully and you can still hear some audiophiles refer to the recordstylus as ... "the needle." Although we are not about to quibble oversemantics, we would like to go on record, so to speak, as observing that thestylus of today bears no more resemblance to a needle than it does to aten -penny nail. In fact, it is probably the most skillfully assembled, criticallyimportant component in any high fidelity system. It must maintain flawlesscontact with the undulating walls of the record groove - at the whisper -weight tracking forces required to preserve the fidelity of your recordsthrough repeated playings. We put everything we know into our ShureStereo Dynetic Stylus Assemblies - and we tell all about it in an informa-tive booklet. "Visit To The Small World Ot A Stylus." For your copy, write:Shure Brothers Inc.222 Hartrey Ave., Evanston, III. 60204 A SHU-


ENTERTAINMENTPOPS JAZZ Fl LMS TH EATER FOLK SPOKEN WORD

PAUL ANKA. Paul Anka (vocals); orchestra,Bruce Miller cond. My Way; She's a Lady;To Say to You; House upon a Hill; and sixothers. BUDDAH BDS 5093 $5.98, OO M85093 $6.98, M 55093 $6.98.

Performance: Hard sellRecording: Elaborate

When I see the names of some performers ona record jacket I think immediately of theDurante classic, "Close the windows, they'recomin' in the doors! Close the doors, they'recomin' in the windows!" Paul Anka, theCrown Prince of Chutzpah, has just jumped inthe window, on a new label, but with much thesame go -get -'em act. This time out, the atmos-phere is more Michel Legrandish than usual,thanks to the arrangements by David van dePitte, and the production, which, althoughdone in New York, smacks of the kind of LasVegas swank associated with performers atleast a generation older than Anka, who onlyseems to have been around that long.

Anka made it big, and internationally, in hismiddle teens, and has since parlayed and builton his initial success with a ferocious energythat suggests he has an extra thyroid. He isdauntingly professional in performance, andmuch of his song writing is superior. Two ex-cellent pieces turn up here, Yesterday My Lifeand She's a Lady. His performances oftenverge on overkill, however, and he is not at allconvincing in his reading of his own standard,My Way. It is high -style soliloquizing perfect-ly matched to the legendary ups and downs ofSinatra's career, the poignant summation of anearly spent life. When Anka attempts it in avoice sounding as if he's still in his teens, itsummons up an image of Baby Leroy biddingfarewell to the troops.

The only really new thing on the album isthat, for the first time to my knowledge, acredit is given to the restaurant that cateredthe recording session. It is a Chinese one. If Iwere living in Peking I might begin to worry

Explanation of symbols:® = reel-to-reel stereo tape

= eight -track stereo cartridge= stereo cassette= quadrasonic disc= reel-to-reel quadrasonic tape= eight -track quadrasonic tape= quadrasonic cassette

Monophonic recordings are indicatedby the symbol lit

The first listing is the one reviewed;other formats, if available, follow it.

Reviewed by NOEL COPPAGE DON HECKMAN PAUL KRESHREX REED PETER REILLY JOEL VANCE

about who is preparing to be first in the waveof American performers to culture -exchangethere if the Great Thaw does take place. AndI'm certain I'd start checking all the doors andwindows right now. P.R.

HOYT AXTON: Country Anthem. Hoyt Ax-ton (vocals and guitar); various backup musi-cians and singers. My Carolina SunshineGirl; Better Lovin' Man; Jambalaya; and sev-en others. CAPITOL SMAS 850 $5.98.

BADFINGERSophisticated rock with a light heart

Performance: LaconicRecording: Good

This seems to be one of those albums thatare the legacy of outgoing label presidents.When a man becomes president of a majorlabel, he commits the company to a certainnumber of albums by various artists, and ifhe is deposed, his successors and the labelare stuck with the product. They have theoption of not releasing it, but that might putthem at the mercy of the artist for breach ofcontract (if the artist has a good lawyer).

Capitol has been having its executive prob-lems lately. Maybe this album is part of thelegacy, maybe not. At any rate, it is an abuseof the "back -to -the -roots" movement in rockwhich assumes that peace in the soul comeswith a twang in the throat. Axton sings Caro-lina Sunshine Girl, the great Jimmie Rodgerstune, a cappella and doesn't do anything forit. He slows Jambalaya down to a dirge,much as Barbra Streisand did with Happy

Days Are Here Again. The rest of the albumis his own stuff, and by and large it is medio-cre. Axton's vocal performances are laconic;he seems to be suggesting that if the listenerdoesn't appreciate the "subtlety," then thelistener is a dum-dum. That might be fine ifhe was being subtle, but he isn't.

The gate -fold cover shows him in variousposes alone and with his family. He surelives in gorgeous country. Of course, thebucolic is in these days. But was that anyexcuse for releasing this album? J.V.

RECORDING OF SPECIAL MERITBADFINGER: Straight up. Badfinger (vocalsand instrumentals). Money; Flying; Suitcase;Sweet Tuesday Morning; Perfection; I'd Die,Babe; Take It All; Baby Blue; Name of theGame; Day after Day; Sometimes; It's Over.APPLE SW 3387 $4.98, ® M 3387 $6.95, *8XW 3387 $6.98, 4XW 3387 $6.98.

Performance: Rock lives!Recording: Excellent

With the Bee Gees seemingly unable to put ittogether again and God knows what havingbefallen the Hollies, Badfinger may be thebest group -that -sounds -like -the -early -Beatleswe have left. With this album, Badfingergrows. The vocals haven't changed much (andwhy should they?), remaining more coarse -grained but almost identical in harmonic tex-ture uo those of the early Beatles, but the in-strumentals have gone from middle -groundrock to sophisticated rock, and they've doneit with a lightness of heart that keeps us re-minded that rock is still for the lively in spirit.Much thanks, no doubt, is due George Har-rison, who produced four bands, and ToddRundgren, who produced the others. Thestriking thing about the instrumentals is theireconomy, the same quality, you'll recall, thatalways marked George's guitar playing. It'sespecially gratifying to hear the piano strikeonly one note when one note will do- usuallyyou get at least five in such situations.

Poe Ham, who wrote five of the twelvesongs, is the group's best scribe, I think, hisBaby Blue, Take It All, and Day after Daybeing very fine rockers. But Tom Evans' It'sOver has something microscopically weirdabout it that gives it staying power at myhouse, too. "Straight Up" isn't a classic likethe Bee Gees' "Horizontal" or the Hollies'"Evolution," but it is an enjoyable celebrationof one of the healthiest kinds of rock. N.C.

HARRY BELAFONTE: Calypso Carnival.Harry Belafonte (vocals); orchestra, RalphMacDonald cond. Don't Stop the Carnival;Chinita; Trinidad Carnival Time; Lena;

APRIL 1972 89

Black and White Together; Out de Fire; andfour others. RCA LSP 4521 $5.98, ® P8S1747 $6.95.

Performance. KaleidoscopicRecording: Very good

More bongos, congas, and steel drums thanyou can count flood from the limbos andmarimbas on this new collection, and I mustadmit I found it ingratiating. Belafonte is ingood shape here, with some new animal nois-es picked up from Miriam Makeba, no doubt,and with some new material that should stircool breezes in your mind and make pinacoladas flow through your veins. There is aCaribbean merry-go-round sound to TrinidadCarnival Time that is contagious, and Chini-ta made me think of the dockside excitementthat surrounds the landing of cruise ships inMartinique. But not all the songs begin andend with hully-chee tropical tourist come-ons. Black and White Together is a plea forracial peace with a calypso beat, and Bela-fonte sings it with dedication and panache.He is a first-rate entertainer who has found amusical conscience without sacrificing hishumor. I'm not sure how popular this kind ofmusic is any more, but it's a soothing changefrom most of the offal I've been forced to lis-ten to lately. R.R.

ALEX BEVAN: No Truth to Sell. Alex Bevan(vocals and guitar); orchestra. Linda's Song;Every Song; Trains Gone By; Sunburn;Brady Street Hotel; Take Your Time; andseven others. Bic TREE BTS 2006 $4.98.82006 $6.98, © 52006 $6.98.

Performance: PromisingRecording: Excellent

A nice surprise: this is a charming, modestalbum of songs composed and performed byAlex Bevan. It stands as a low -profile modelof what a recording like this should be: it isintelligently and carefully produced and takescare not to swamp the performer in grandiosearrangements; it offers sincere performancesby someone who has obviously been arounda microphone before, and a group of songsthat reflect a tangible world as seen through ayoung man's eyes. Trains Gone By and Two -Man Carnival, for example, are songs thatseem to come out of observed experience-quite a relief from the all too frequent cosmicjudgments that so many young performersfeel obliged to hurl at their audiences. With itsfine close-up but crisp sound, this is a plea-surable album in every way. P.R.

BIG BLACK AND HIS CONGREGATION: IfYou're Diggin' What You're Doin' Keep OnDoin' What You're Diggin'. Big Black andHis Congregation (vocals and instrumentals).Diggin' What You're Doin'; Long Hair;Children's Philosophy; Variety; and fourothers. U NI 73114 $4.98.

Performance: Soul rockRecording: Very good

This is a first class blues -rock group with noreal material to play. Big Black, a veteran ofthe Dizzy Gillespie and Hugh Masekelagroups, is a superb percussionist and a sur-prisingly good singer. His pieces tend to in-volve long, long one -chord vamps in whichtension and excitement are drawn almostsolely from the rhythm section. Occasionallyhe builds a song on the repetition of aphoris-tic lines like "If you're diggin' . . ." and"Who ever thought the time would come."

One piece, Children's Philosophy (subtitledPoison Air), a musical social protest sungwith rolling West -Indian rhythms, worksbeautifully. If Big Black can come up withmore pieces like this for his hard -rockingmusicians, he'll be on his way. D.H.

JOHN DENVER: Aerie (see Best of the Month,page 71)

JOHN ENTWISTLE: Smash Your HeadAgainst the Wall. John Entwistle (bass, key-boards, flugelhorn, trumpet, trombone, vo-cals); Jerry Shirley (drums); Dave Langston(acoustic and electric guitars); Latin Ameri-can percussion (on one track). My Size; PickMe Up (Big Chicken); What Are We DoingHere?: "What Kind of People Are They?";Heaven and Hell; and four others. DECCADL 79183 $5.98.

Performance: Promising English rockRecording: Excellent

ROBERTA FLACKHer artistry is right out front

A first outing as leader of his own group byJohn Entwistle, bassist with the Who, pro-duces mixed results. The heavy stuff soundslike warmed-over Who-hardly a surprise.Other pieces -a Latin -tinged tune called No.29 (External Youth), some English folklikemelodies-suggest a budding, but still not ful-ly bloomed, talent. With the Who, Entwistlehas been the quietest but the most depend-able member of a flamboyant group. His rarecompositional contributions, however, werealways provocative. I'm pleased to see himflex his solo wings. The next flight should beworth watching. D.H.

FAIRPORT CONVENTION: Angel Delight.Fairport Convention (vocals and instrumen-tals). Lord Marlborough; Sir William Gower;Bridge over the River Ash; Wizard of theWorldly Game; The Journeyman's Grace;and five others. A & M SP 4319 $4.98.

Performance: English folk -song rockRecording: Fine

Fairport's charm eludes me. In their three orfour years of existence such names as IanMatthews and Sandy Denny have passedthrough the often -shuffled personnel. But the

musical focus has remained relatively consis-tent: English folk material supported by surg-ing rock rhythms.

Other groups have tried similar methods.And in comparison with most of them, Fair-port comes up short. It lacks Pentangle'sbrilliant improvisational skills and the In-credible String Band's eerie compositionalview. Perhaps more important, since SandyDenny left the group Fairport has had diffi-culty finding an identity. They saw and strumtheir way through one vaguely folky, hoe-down -sounding tune after another, and theyall blend anonymously into each other. Giv-en the premise of Fairport's music, I'll takePentangle any day. D.H.

JOSE FELICIANO: That the Spirit Needs.Jose Feliciano (vocals and guitar); orchestra.Come Down Jesus; The Spirit; Wild World;Only Once; Pay Day; and six others. RCALSP 4573 $5.98, ® P8S 1786 $6.95, © PK1786 $6.95.

Performance: DisappointingRecording: Fair

This is the first album by Feliciano that I

haven't enjoyed, possibly because the accentseems to be on vocals rather than guitar, orpossibly because of the "inspirational" mes-sage of most of the songs. In any event, itstruck me as pretty heavy going, with theexception of Mellow Feeling, which Felici-ano does with accustomed intensity. I foundtwo Elton John songs, Take Me to the Pilot("of your soul") and Border Song, just plainembarrassing. Come Down Jesus and TheSpirit, composed by Feliciano, are merelydreary. He still plays some of the best guitararound, but even that doesn't seem to be ableto save the album from falling into a ludi-crous sanctimony. P.R.

RECORDING OF SPECIAL MERITROBERTA FLACK: Quiet Fire. RobertaFlack (vocals and piano); orchestra. Go UpMoses; Bridge over Troubled Water; Sundayand Sister Jones; See You Then; Will YouLove Me Tomorrow; To Love Somebody; LetThem Talk; Sweet Bitter Love. ATLANTIC SD1594 $5.98, M 81594 $6.95, © M 51594$6.95.

Performance: StrongRecording: Good

A romantic, it is said, is someone who is oftenhomesick for places he has never been. I thinkI understand what that means when I hear arecording by an artist with such a strong per-forming presence that I can easily imagine Ihave heard him or her "live" when I actuallyhaven't. Roberta Flack's new Atlantic albumis such an recording. She is in such superbcontrol of every facet of her performance-her garnet voice, her vital piano playing, hertart but melodic arrangements-that sheseems to leap to life in the imagination as therecord plays.

Roberta Flack is a special kind of multi -tal-ented musician, but her appeal is wide; thereis no clubby cultishness about her, no hot-house air of "we few, we happy few, luckyenough to have the good taste to enjoy eachother." No, Miss Flack is right out front, lay-ing it on the line, doing a professional and vir-tuoso job of controlled yet deeply passionatesinging and playing. Her Bridge over Trou-bled Water is seven minutes of the finest mu -


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-11APRIL 1972 95

sic -making I have ever heard spring from thatsong, and Sweet Bitter Love becomes in herhands a powerful anthem of mixed emotions.

Being one of the best, Miss Flack wiselysurrounds herself with some of the best: HughMcCracken on guitar, Chuck Rainey on bass,and Grady Tate on percussion. Arif Mardincontributes a lovely string and flute arrange-ment on See You Then. But the essential con-tribution and the real message here are thetremendous talents of Roberta Flack. She isthe best new black singer to arrive since Are-tha Franklin. P.R.

ISAAC HAYES: Black Moses. Isaac Hayes(vocals, keyboards, and vibes); various vocaland orchestral accompaniment. Never CanSay Goodbye; Close to You; Nothing Takesthe Place of You; Man's Temptation; NeverGonna Give You up; Help Me Love; Need toBelong to Someone; Good Love 6-9969; andsix others. ENTERPRISE ENS 5003 two discs$9.96, ® EN8 25003 $9.98, © ENC 25003$9.98.

Performance: Isaac goes on rappingRecording: Very good

Isaac Hayes keeps spinning out the same sto-ry, and the listening public keeps taking it in.Do your thing, be true to yourself, I still loveyou but I'm gonna be okay, and so on andon-the familiar emotions that pop musicdealt with for all the years before social andpolitical consciousness, newly packaged andexpressed in language richly ornamented withhip street jargon.

In his "live" performances, Hayes does agenuinely theatrical trip: dressed in bodystocking and gold chains, and accompaniedby a lovely young woman dancer, he plays therole of Black Moses to the hilt. Much of thattheatricality comes through in this two -discset, primarily because Hayes doesn't truncatehis performances for the sake of the record-ing. Pieces like Help Me Love, Your Love IsSo Doggone Good, and A Brand New Me runupwards of ten minutes, so that Hayes canhave time to do his rap, let the rhythm buildits hypnotic flow, and pour out his slow butsweet -as -clover -honey vocals.

Sure, it's a gimmick. At its worst, it's onlyone or two steps removed from both the senti-ments and the manner of television's Love,American Style. But it is an expression that is,at this time and place, in the stresses andstrains of this society, meaningful to youngblack people. And, if other criteria are impor-tant (and I don't really think they are, in thiscase), Hayes has been blessed with a gor-geous baritone voice and a substantial key-board talent. Twenty years ago he might havebeen another Billy Eckstine. Today he canplay the role of Black Moses. If James Brownis the King of Soul, I'm willing to acceptHayes' assumption of a different sort ofthrone. D.H.

RECORDING OF SPECIAL MERITMARY HOPKIN: Earth Song/Ocean Song.Mary Hopkin (vocals, guitar and harmonium);orchestra. International; Earth Song; HowCome the Sun; Martha; The Wind; and fiveothers. APPLE SMAS 3381 $4.98, M 3381$6.95, 0 8XW 3381 $6.98, © 4XW 3381$6.98.

Performance: LovelyRecording: Excellent

This release offers delightful singing by a girl

who had one smash and hasn't been able tobreak through with anything else since. Per-haps Those Were the Days wasn't really thelucky break that it seemed at the time if theaudiences can't identify her with anythingelse. Of course, she doesn't write her ownmaterial, which is something of a handicapthese days, but she is a lovely and gracefulperformer with a spring -clear voice and inter-pretation. Many of her performances have awistful poignancy about them that I find veryappealing.

This is her best album so far, and much ofthe credit would have to go to her new hus-band, Tony Visconti, who has produced arecording of great sheen and exquisite taste.There is some stunning work by Kevin Peekand Brian Daly on two classical guitars, andthe orchestral backing gives everything a pop -chamber sound. The most spectacular resultis probably in International, in which everyelement works, and superbly. There's Got to

MOONDOGA stately chick -a -boom -chick

Be More is a free -wheeling track that some-how never loses its elegant shape.

With this album Miss Hopkin has put torest the theory that without having PaulMcCartney to supervise her sessions, she wasa not too interesting Trilby. It is an enchant-ing album in every way. I hope a lot of youbuy it. P.R.

ELTON JOHN: Madman Across the Water.Elton John (vocals and piano); various sup-porting musicians. Madman Across the Wa-ter; Razor Face; All the Navies; RottenPeaches; Levon; Holiday Inn; Tiny Dancer,Indian Sunset; Goodbye. UNI 93120 $4.98,

8 93120 $6.98, 2 93120 $6.98.Performance: Wretched excessRecording:Same as above

Among the add -water -and -serve Rock Gen-iuses, of which we get about five per annum.there seems to be a tradition that they shallcut their third or fourth album, and like a fire-cracker kept around too long against a far-offholiday, they shall fizzle out-for lack of goodpowder, because of overexposure, fate, or toomany yes-men.

Elton John's first album was indeed a stun-ning thing; it has already reserved its place inthe history books of the decade, which have

ten years to go before they are written. Thecomposition was innovative, the arrange-ments were tight, the production was con-trolled, and the first hearing of John's voicegave one a lot of pleasure. How rapidly theyfade, these bold bloomers. "Madman Acrossthe Water" makes me put longer odds on thestaying power of his talent. Maybe this is thatacceptable, middle -period, not -quite albumthat artists do from time to time, or maybe it'sthe proof that style is only style, and that rockartists in rock's Jacobean Age assume thatstyle will make up for everything. `Fraid not.The arrangements are overblown, the vocalsare whiney, the material is cheap, and thepackaging is so lush it puts one in mind of alush's midnight resolve to show 'em, dammit,really show 'em.

Even a harmless tune like Holiday Inn,which, with a little ricky-tick, could have beencharmingly inconsequential, is blown up intoa production number. Indian Sunset is a sap-py, hey -we -gotta -say -something -heavy -about -the -Indians treatise. The title tune is okay tolisten to distantly if you've nothing better todo. Razor Face approaches something good,but it is not worth waiting through the wholealbum for.

I call upon the theory of Mao, withoutwhich nobody in China or the moneyed cir-cles in pop could get along, and I recommendthat Elton and Bernie Taupin and everybodyconcerned with this album be sent to a workfarm to get their hands dirty. If they cut an-other album and it still doesn't work, they willprobably be put out to pasture and consignedto page 193 of that book to be written tenyears from now, with the additional penalty ofgetting no footnotes. J.V.

DANNY LEE AND THE CHILDREN OFTRUTH: One Way. Danny Lee and the Chil-dren of Truth (vocals and instrumentals).One Way; Reach Out and Touch; Jesus,Jesus, Rock of Ages; I Don't Know Why;Keep on Holding on; and five others. RCALSP 4611 $5.98.

Peformance Missionary modernRecording: Good

RCA calls them "sacred artists," but the twoboys and two girls who go under the monikerDanny Lee and the Children of Truth looklike just plain folks in the full -color cover ofthis one, grinning determinedly amid fields ofsunlit flowers. The same determination isevident in their singing of sacred songs, mostof which they apparently write themselvesfrom traditional gospel models. The senti-ments of these songs, like Somebody LovesYou and God Will Come into Your Heart,are simple, to say the least, but the singersare so doggedly fresh and wholesome aboutit all that one could almost succumb to thereligious enthusiasm-if it were real. Real asit may mean to sound, it doesn't come acrossthat way, even if Mr. Lee did go off in themiddle of a recording session he was visitingone day to compose, in a sudden access ofdelirious inspiration, his number Jesus, Jesus,Rock of Ages. I am informed that before theChildren of Truth cut a tape they offer aprayer over the microphone. But no matterhow sincere these missionary youngstersthink they are, slick and synthetic is how theycome over, prayers and all. P.K.

MYLON LE FEVRE: Mylon. Mylon Le Fevre(vocals, guitar); Marty Simon (drums); Au-burn Burrell and Jean-Pierre Lauzon (gui-

96 STEREO REVIEW

tars); Tom Robb (bass); Lester Langdale(keyboards); Tina Blount, Renay Garvin, andPat Cummings (vocals). Pool Shooter; Six-teen Tons: Angel Band; and seven others.COLUMBIA C 31085 $4.98.

Performance: OkayRecording: Too busy

Mylon LeFevre's (brief pause for finger -pop)thing is supposed to be a gospel fervor. If so,`tain't here, mostly, and when it is, it's dilutedwith handy Woodstockian peace -and -flowersjive. To add insult to jive, there are two over-blown quotations on the back. One is fromproducer Felix Pappalardi (you can almosthear the reverb): "I will have made three al-bums during this year. Two will have been ofMountain and this is the third." The otherone, unsigned, is: "And our sincere thanks toGod." Pappalardi and Mylon have made analbum purporting to be full of sincerity andpositive fervor, but even on the better cuts,like Pool Shooter and Why You Been GoneSo Long, it is hardly better than average.

Since they're so generous with quotations, Iwill lug in one from the John Wayne WesternRed River, in which he plays an unmitigatedbastard of a trail boss on a cattle drive. At onepoint, three cowpunchers announce they areleaving the group because Mr. Dunston(Wayne) is such an unmitigated aforemen-tioned. Wayne growls, picks up a rifle, killsthem, and announces he will read the serviceat the burial. As the rest of the punchers scat-ter, one old man murmurs: "When they do kil-lin', why do they always try to bring the Lordin on the job?" J.V.

MOONDOG: Moondog 2. Moondog (vocalsand instrumentals); orchestra. Coffee Beans;Be a Hobo; Down Is Up; Sadness: Maybe;and twenty-one others. COLUMBIA KC 30897$5.98.

Performance: UniqueRecording: Good

Moondog has a way of being discoveredevery five years or so. I remember a late -nightdisc jockey who often used to invite him toperform on the air, and he has turned up hereand there throughout the years. Not that he iseasy to ignore even when he is not perform-ing. He is a familiar, and slightly spooky, sightin midtown Manhattan, where, in a costumethat looks like he's answering a casting call foran olive -drab Viking saga, he just standsaround being impressively bizarre.

His new album is a collection of what hecalls "rounds," although he doesn't mind ifyou call them madrigals, he says. There aretwenty-six of them included here. Moondog isupset about rock: "While hearing rock musicI find myself thinking 'Where are the writers?'The sameness of the material is appalling." Iguess Moondog worries too much, because inthe twenty-six tracks here I could find onlyminimal differences. He uses a vast array ofinstruments, including a pipe organ, virginals,viola da gamba, etc., and he occasionallysings along with his daughter June. But thetotal effect is soporific. The instrument thatmost intrigued me was a morose maraca thatgave out a stately chick -a -boom -chick, and, Ihoped, might eventually break into a rhumba.Of course it never did. The unusually elabo-rate packaging contains a complete score.

P.R.

LAURA NYRO: Gonna Take a Miracle. LauraNyro (vocals); Labelle (vocal group); Tom

Bell, Lenny Pakula, and Robert Martin arrs.Spanish Harlem; Jimmy Mack; Wind; NoWhere to Run; Gonna Take a Miracle; / MetHim on a Sunday, The Bells; and four others.COLUMBIA KC 30987 $5.98, ® CR 30987$6.98, ® CA 30987 $6.98, © CT 30987$6.98.

Performance: AdequateRecording Excellent

As a charter member of the Laura Nyro fanclub, I look forward to each new recording bythis pop high priestess with unbridled relish.And with the kind of devotion that typifiessuch infatuations, I am usually deaf to allvoices raised against her. But with this newaddition to my Laura Nyro library, I do un-derstand some of the reservations about her.even though I am still thrilled by what I hear.

Some insist that Miss Nyro is at her best asa writer. They point to the number of hits shehas written that have climbed the charts whensung by other performers, with the implica-tion that her music is better when sung bysomebody else. I have never agreed. EveryLaura Nyro song 1 have ever heard per-formed by groups like the 5th Dimensionsounds pale when compared with Miss Nyro'soriginal recording of the same song. But onthis latest disc, she sings the music of otherwriters, and the results are less satisfying.

Her detractors do have a point. Her faultydiction often wreaks havoc on the coherenceof the songs she sings. This doesn't matterwhen the songs are as passionate and lyricalas her own material, but it does very much onmediocre material. Not that all of the selec-tions on this album are mediocre. Indeed, I

have never heard Spanish Harlem sung withsuch poignancy and beauty. A haunting thingcalled Wind assumes the proportions of achamber concert, and the title tune, GonnaTake a Miracle, is as throbbing and dramaticas an intermission riff by the Kenton band.The rousing vocal group Labelle is one of thebest back-up choruses it has ever been mypleasure to hear in pop music: their voicesblend with Miss Nyro's like hot instrumentsjamming on a cold night.

But there are problems. Too many of thetunes lack purpose and clarity, and some arejust plain dull- something that can never besaid about Laura's own songs. There isn't oneLaura Nyro song on the whole album, whichmay help to explain the banality of most of thelyrics. Don Renaldo has provided some inter-esting string passages, and the arrangementsare mostly adequate. But adequate is not aword I have come to associate with LauraNyro, and this adequate but seldom excitingalbum is not one of her best efforts. Actually.I don't really understand why she bothered.

R.R.

MARIA OSTIZ. Maria Ostiz (vocals, guitar).orchestra, Waldo de los Rios cond. Floresrotas; No sabes como sufri; La princess:Cancitin en la matiana; No me digas nada:Cantarcillos; and seven others. VANGUARDVSD 6575 $4.98.

Performance. SmoothRecording: Excellent

It is difficult to guess, here in America, justhow, over there in Spain, Maria Ostiz gothooked up with Waldo de los Rios. Her folk -pretty melodies seem too fragile for his lushblunderbuss approach to orchestration. InFlores rotas, he tries to make her sound like


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APRIL 1972 97 CIRCLE NO. 19 ON READER SERVICE CARD

At the somewhat delayed original -cast recording session (1961):Adolph Green, Betty Comden, Leonard Bernstein, and Goddard Lieherson.

HOORAY FOR ON THE TOWNOnly ( ! ) a reissue, but then they

don't make musicals like it any moreBy PAUL KRESH

4EWIS NICHOLS, writing in the NewYork Times, calls it "the freshest and

most engaging musical to come this waysince the golden days of Oklahoma." Wol-cott Gibbs describes it in The New Yorkeras "young, bright and lovingly executed, andhaving above all that air of careless impro-visation, as if the actors were making thingsup for their private amusement as they wentalong. . . ." To Time, it's "a youthful highdive that hits the water with a terrific splash. . . one of the freshest, liveliest, most en-gaging musicals in many years . . . with thebrightest of books and lyrics by Betty Corn -den and Adolph Green."

The year is 1944, and the show they'reraving about is the new musical On theTown, which composer Leonard Bernsteinand choreographer Jerome Robbins havebuilt on the foundations of their high-spirit-ed ballet Fancy Free, all about the adven-tures of three sailors on leave in wartimeNew York City. I, for one, couldn't wait tosee it. When my friend Herb himself aNavy man, was on leave in New York, heand his wife and I went hurrying down to theAdelphi one winter evening, where wefound the new hit to be every bit as "fresh"and "engaging" as Time and the Timesclaimed it was. What lyrics! What songs!What dances! What wit! What energy! Whatsophistication! With the rest of the packedhouse, we stood up to cheer.

Still, the tunes from On the Town neverreally made it to the nation's jukeboxes. Theballet music, developed in a manner morefamiliar to the world of modern dance thanto Broadway, was not for everybody. But Iwould not rest until I got hold of the recordsof that hilarious show and heard it all again.Now, in those days, not every musical auto-matically gave birth to an "original -cast"album. One set released by Decca, which atfirst appeared as separate singles on ten -inch78's, was not altogether what you'd call"original" in its cast. It was not John Bat -

ties, who played the lovesick sailor Gabeyonstage, but Mary Martin who sang Luckyto Be Me and Lonely Town. Nancy Walker,a ghost of herself in that album as the rau-cous lady taxi-driver who ordered her sailor

didn't sing that guided tour -de -force of asong but did run through You Got Me and ICan Cook Too, taking up two more sides.The third disc boasted members of the origi-nal company doing I Feel Like I'm Not Outof Bed Yet and New York, New York, andon the back, Comden and Green relivedtheir Museum of Natural History number,Carried Away. And that was all. Notenough!

Next came an RCA album of 78's, withthe ballet music from the show, Bernsteinhimself conducting the show orchestra, andchoral versions of several songs in Christ-mas -carol arrangements with the RobertShaw Chorale. Eventually, the Decca setbecame an LP, and the suave Miss Comdenand Mr. Green (who, it turned out, were notmarried to each other at all but to a couple ofother people) performed a number of thesongs from the show in a Heritage recordingcalled "Show Music at Its Best, VolumeOne." They did it again on a Capitol platterin 1959, performing with much bravado, ifslightly off-key. The ballads, like the soaringLucky to Be Me and the wistful Some OtherTime, still begged for definitive vocal treat-ment. They certainly didn't get it in the sub-sequent filmed version, for when the moviesbought On the Town they rejected all but acouple of Bernstein's original songs as in-consequential and engaged Comden andGreen to write new lyrics for music by acomposer named Roger Edens! At least nooriginal -soundtrack recording ever came ofthat.

Then, in 1961, all the scattered membersof the underground On -the -Town cult gotthe big news: Columbia was about to releasea recreated original -cast LP containing

everything, with stars who had been in the1944 production summoned to the studiofrom far and wide, and Bernstein himself atthe helm. When the album, billed as the"first full-length recording" of the show,came out at last, I sent a fresh copy to Herbin Washington. Herb's wife wanted to knowwhat had happened to the song I Under-stand from the second act. Well, it was gone,but I never missed it much because here,finally, was all the rest of it, with Comdenand Green in their original roles; the entireballet score sounding zingier than ever, withBernstein now a great internationally ac-claimed conductor instead of that merelypromising chap he had been in the Forties;Nancy Walker back at the wheel of her cab;Cris Alexander on hand again as Chip, thenautical fare she captures; John Reardon infull, virile possession of his famous baritoneand doing right by Lucky to Be Me and thehaunting Lonely Town.

ALL of which brings us up to the pres-ent and Columbia's re-release (with a help-ful plot summary in new notes by StanleyGreen) of its 1961 recreation of the show.As charming as ever, its presence on themarket today would be an embarrassment tothe recent new production in New York-ifit were still running (it closed in January).But you don't really have to see On theTown to enjoy the energy and exuberance ofthe score, the endless ingenuities of its or-chestral texture, the flashing lyrics, the me-lodic inventiveness, the symphonically re-sourceful development. It is music that

Tin Pan Alley, but in Stravinsky as much asin Gershwin, in Copland more than in ColePorter- even, perhaps, owing something tothe John Alden Carpenter who wrote Sky-scrapers. Too subtle for Hollywood, toouncommercial for "The Hit Parade," it ismusic that is New York, and deserves farmore than the short shrift it got from tone-deaf reviewers this last time around. Theseoffenders should be sentenced to thirty daysof full-length, four -disc original -cast record-ings of English music -hall musicals with amelodic range of three notes and therhythmic vitality of a mudbound lorry.

For the score of On the Town hasn't dat-ed-it's not old enough for that. It is NewYork itself that has dated. No longer a citywe residents refrained from "giving" to visi-tors (who used to say they wouldn't livehere if we turned it over to them), it has un-fortunately become a town in which threesailors could no longer roam at will from theBronx to the Battery and all the way toConey Island through twenty-four carefreehours without encountering at least onemugging, rape, or robbery. If the New Yorkof On the Town ever existed, it's just adream now, but no less real to me. A fewyears ago, in these pages, I came right outand called On the Town the best musical Ihad ever seen. It still is, and the Columbiaalbum remains the best recording of a musi-cal I have yet heard.

ON THE TOWN (Bernstein-Comden-Green).Original -cast recording. Nancy Walker, Bet-ty Comden, Adolph Green, John Reardon,Cris Alexander, others (vocals); orchestra,Leonard Bernstein cond. COLUMBIA S

31005 $5.98.

98 STEREO REVIEW

the typical cabaret singer, which should be atleast a felony, and in other spots he tries tomake his orchestra sound like one of ManosHadjidakis' confections. But then, I associateDe los Rios with his rip-off of Beethoven forhis schlock -rock Song of Joy two summersago, and I may be a tough nut for him tocrack. Not for Maria, though. I find her melo-dies exquisite, as inventive as Jacques Brel'sand without his apocalyptic bent that some-times breeds sloppiness. Her guitar playing isawesome, but not heard much, thanks to Wal-do. Her voice is clean, and has a good rangeand remarkable smoothness. Her lyrics-what little 1 can translate with my creaky es-panol - seem a bit bland, being mostly aboutnature and love. But then Hemingway himselfcouldn't barge in and talk politics once Fran-

. co had set up shop. No sabes como sufri, atany rate, is the loveliest ballad I've heard in L1.7 years. Senorita Ostiz sings, writes, plays,and photographs beautifully. Get lost, Waldo.

N.C.

HELEN REDDY. Helen Reddy (vocals); in-strumental accompaniment. Come On John;No Sad Song; Summer of '71; / Think It'sGoing to Rain Today; Tulsa Turnaround;Time; More than You Could Take; and threeothers. CAPITOL ST 857 $5.98, 8XT 857$6.98, 4XT 857 $6.98.

Performance Derivativek Recording: Good

Unlike most of the current pop trend-setters,Helen Reddy can at least sing in tune, al-though that's about as far as my complimentsgo. I am still at a loss to explain the largenumber of followers she appears to haveamassed in a relatively short time. Practicallyeverything she does is derived from the waysome other singer does it better. The best cuton this second collection on Capitol is CaroleKing's No Sad Song, but when you get rightdown to -it, the song is a second-rate imitationof the blackly bitter A Most Peculiar Man bySimon and Garfunkel, and Miss Reddy'swholesome sing -a -long treatment is too rem-iniscent of Edith Piaf on a good day. OnTulsa Turnaround, she mimics Bobbie Gen-try to the point of possible litigation. And onRandy Newman's depressing I Think It'sGoing to Rain Today, which has been donebetter by almost anybody you care to name,she falls into the Streisand trap of making asong over at cross-purposes with its originalintention. Miss Reddy seems to think thissong is a ballad. It isn't. Her own individualitydoes seep through on Donovan's Nell, Year'sResolution, but it is maimed by a monotonousvocal group that should get out Laura Nyro'salbum with Labelle and find out what vocalaccompaniment is all about. All told, a repeti-tive and highly cluttered affair with about asmuch inventive imagination as a TV re -run ofGo into Your Dance. R.R.

FRANK SINATRA, Jr.: Spice. Frank Sinatra,Jr. (vocals); orchestra, Nelson Riddle arr. andcond. The Trolley Song; Black Coffee; Indis-creet; Believe in Me; So Many Stars; andeight others. DAYBREAK DR2003 $4.98, ®P8S 1830 $6.98.

Performance: ImitativeRecording: Good

The careers of the Golden Tots of BeverlyHills are becoming something of a subcultureby themselves. For every Candice Bergen orMia Farrow there is a Maureen Reagan or

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Tish Sterling. For every Peter and Jane Fon-da (easily the most colorful theatrical familysince the Barrymores), there are a Gail andDino Martin. Frank Sinatra, Jr., can be count-ed among the casualties. He has been per-forming for several years now, and he stillsounds like a dim carbon of his father. Andpart of the reason probably is a simple case ofgenes. The voice seems to be produced inmuch the same way as, and the actual sound isvery close to that of, his father's. But it is ininterpretation that the young Sinatra hasmade his giant misstep. He has tried to adoptthe famous looseness and swinging quality ofthe older Sinatra, but the result sounds un-pleasantly up -tight and forced. Singing thesame sort of repertoire that his father is identi-fied with is another bad mistake. And, finally,Nelson Riddle, who arranged and conductedso many of Frank's albums during the Sixties,has contributed charts that echo that era.(Would you believe yet another TrolleySong?)

Actually, the odds may simply be too heavi-ly stacked against the offspring of any hugelypopular singer for him to make it in the samefield. The public is attracted to unique sounds,and for purely physical reasons the offspring'ssound may be too much the same. The Cros-by boys never made it for similar reasons. Theonly one that I know of who did is Jack Jones.But his father was a light -opera tenor withclassical training, and Jones Jr.'s method ofvoice production is totally different.

This album is only for those held so com-pletely in sway by the Sinatra Mystique thateven pale relections suffice. P.R.

TUCKY BUZZARD: Warm Slash. DaveBrown (bass); Nicky Graham (keyboards);Jimmy Henderson (vocal); Terry Taylor(guitar); Chris Johnson (drums). Sky Balloon;Ain't Too Soon; Which Way, When for Why;Need Your Love; and five others. CAPITOLST 864 $5.98.

Performance: MediocreRecording: Okay

When a Famous -Person -by -Association (likeBill Wyman of the Rolling Stones) producesan album, or several of them, by an unknowngroup like Tucky Buzzard, it is often a signthat neither group nor producer is going towork, and that they wouldn't have gotten to-gether if the producer hadn't been famous andthe group hadn't been unknown and, presum-ably, unwanted. Put them all together and itspells mediocrity.

Out of nine attempts, this group falls down,except for isolated moments, on seven. Theother two, Sky Balloon and Ain't Too Soon,are both buried at the end of side two, whichmeans you have to wade through seven tritecuts of "Hey, pretty baby" and high-schoolguitar trying to pass as "heavy" via expensiveamplifiers. Really, this is too shabby. Thevocalist, like hundreds of others, is doing sucha job of trying to sound black that he turns thedisc into a minstrel show.

And to top it all off, kids, the front covershows the quintet posing with bared bicepsand scowls-to prove they're tough -and theback cover shows one of them (or maybeWyman) relieving himself in the woods-toprove they're just folks. Faaaarr out. J.V.

RECORDING OF SPECIAL MERITJOE TURNER: His Greatest Recordings. JoeTurner (vocals); unlisted accompaniment.

I00

Shake, Rattle and Roll; Teenage Letter; TVMama; Chains of Love; Boogie WoogieCountry Girl; Oke-she-moke-she-pop; HoneyHush; Flip, Flop and Fly; Corrine, Cortina;and five others. ATco SD 33-376 $4.98.

Performance: MasterlyRecording: Evocative mono

Out of the vaults of Atlantic comes the thun-dering mouth -beat of the great Joe Turner.His dates were done during Atlantic's earlyyears, when improvisation was the rule notonly on its recordings, but in running thecompany. Even for the small label they werethen, concentrating mostly on jazz and mak-ing up rock-and-roll as they went along, theyutilized several studios in New York (in-cluding their own) plus wax -shacks in Chi-cago and New Orleans. Turner was a big -band jazz vocalist feeling the slump that all histype felt during the early Fifties, when Atlan-tic helped him make the transition to r -&-b.Seen now with hindsight, he was one of thedaddies of soul.

There are many good things on this LP.The standouts are TV Mama, done in Chica-go with Elmore James and his band; Chains ofLove, a fine urban blues ballad coauthored byAhmet Ertegun, the label chief: Teenage Let-ter, with the unlikely line. "There's a manacross the water changin' water into wine";and Honey Hush, cut in New Orleans, with itshappy, goofy "Hi -yo Silver" ensemble vocalchorus (this surely has to be the source fromwhich Jimmy Reed drew his Hush Hush) andTurner's original. definitive Shake, Rattleand Roll. A good time is had by all. J.V.

HOWARD WALES AND JERRY GARCIA:Hooteroll? Howard Wales (piano, organ):Jerry Garcia (guitar); various other musi-cians. South Side Strut; A Trip to WhatNext; Up from the Desert; DC -502; OneA.M. Approach; Uncle Martin's: Da BirgSong. DOUGLAS KZ 30859 $4.98. ZT30859 $6.98.

Performance: GoodRecording: Excellent

Before this was recorded, keyboard manHoward Wales played on a couple of Grate-ful Dead cuts, and at that time Jerry Garciawas leading the Dead further into countrymusic. This shows what else has been ontheir minds, for this one is closer to jazz thananything the Dead has done. Wales and Gar-cia work well together; the entire album isgood music to daydream to, but I don't findmuch of it very involving.

Just as jazz (among other things) "prog-ressed" itself to death, the album seemsmostly a showcase for technique and too sel-dom a musical experience. That may be ex-clusively the fault of the tunes, which areconstructed that way, but I imagine the musi-cians' mystique enters into it. Now and thenthe boys in the band like to make a recordingjust for themselves. Hope they enjoy it. Itshould be noted, however, that Up from theDesert and Da Birg Song do penetrate thelayers of technique to reach the listener onan emotional level, the former featuring someespecially mournful guitar figures etched byGarcia in front of a backwash of both organand piano dubbed in by Wales, and the lattersome nice call -and -answer action (also slight-ly melancholy) between piano and guitar.These are two extremely skillful musicians.but being dazzled is not as good as beingmoved. N.C.


JAZZ

ik

RECORDING OF SPECIAL MERITMILES DAVIS: Live. Miles Davis (trumpet);with various other musicians. Sivad: LittleChurch; Gemini; Double Image; What ISay; N CM Um Talvez; Selim; Funky Tonky;Inamorata. COLUMBIA G 30954 two discs$5.98.

Performance: Brilliant modern jazzRecording: Very good

The Prince of Darkness continues, ironically.to light the way. Miles Davis' near -mythic

AR RMIAn American original

status in the jazz community hasn't kept himfrom the hard, grinding work of continuingartistic creativity. True as the tales of fastcars, beautiful women, and high living maybe, Davis is also one of the most physicallyand aesthetically disciplined of all currentjazz musicians.

Collections like this are the result. Thetracks include a variety of musicians: RonCarter and Herbie Hancock from past Davisbands; Airto Moreira, Keith Jarrett. andGary Bartz from more recent ensembles.They were recorded over the space of- Isuspect -at least a year. And it doesn't seemto matter who is playing, what the music is.or when it was made. Davis' current rock -tinged, free -association jazz is the dominantstyle, of course. but he is not averse to slip-ping in bits of lyrical melody (as in LittleChurch), Latin rhythms, bebop, and thesound of a sitar. He even uses an electrictrumpet once or twice.

Of course you should have this record.I've probably said the same about Miles' lastfive releases, too, but I'm not ashamed toadmire genius openly and without reserva-

tion. Miles Davis, Prince of Darkness (andLight). is one of a kind. D.H.

RECORDING OF SPECIAL MERITDON EWELL: A jazz Portrait of the Artist.Don Ewell (piano). Buddy's Habit/CarolinaShout/Little Rock Getaway; Careless Love:Lullaby in Rhythm; Delmar Drag: Sunday;Spain: and five others. CHIAROSCURO CR 106$5.98.

Performance: Timeless jazz pianoRecording: Very good

Fine vintage stuff, this. Ewell has been anunderrated pianist for years, perhaps becausehe plays too many styles too well. I hear agreat deal of Fats Waller in his music, but thelong solo tradition that twists and turnsthrough Jelly Roll Morton, James P. Johnson,Art Tatum, etc., touches every aspect of Ew-ell's playing.

Many of the songs are familiar, and someare piano classics. Ewell digs through it all infine fettle, the shininess of his playing bright-ened by the glimmer and gleam of bits of JoeSullivan. Tatum, Waller, and all the others.Not very topical, of course, in these days ofelectrified keyboards and over -amplified right-hand piano players. But it's good, yes. indeed.and highly worthy of your attention. D.H.


ART FARMER: Homecoming. Art Farmer(flugelhorn); Billy Higgins (drums); WarrenSmith Jr. (percussion); James Heath (tenorsaxophone, soprano saxophone. flute); CedarWalton (piano); Sam Jones (bass); JamesForman-Mtume (conga drums). Homecom-in,g; Cascavelo; Some Other Time: BlueBossa: Here's That Rainy Day: NoW.MAINSTREAM MRL 332 $4.98.

Performance: Fine mainstream jazzRecording: Good

Art Farmer always has been a prophet with-out honor. In the Fifties the importance ofhis music was cast into the shade by CliffordBrown; in the Sixties his lyrical flights wereoverlooked in the jet-propelled explosivenessof the jazz avant-garde. For the last fewyears Farmer has lived in Europe, working inan environment that still views jazz as animportant musical art.

Farmer's always exceptional skills nowhave been honed to a fine point. This set.made during a return trip to the US, findshim in a familiarly introspective mood, chip-ping away gradually at his material until theshapes of his carefully crafted improvisationsbreak through. At his best in dark balladswith rich harmonies, he is particularly effec-tive in Here's That Rainy Day and the Leon-ard Bernstein song Some Other Time.

Unlike many other jazz players of his gen-eration, Farmer has not chosen to embracerock music. He continues at his task as healways has-quietly, effectively, and withextraordinary originality. An American origi-nal. Art Farmer-too bad we can't find aplace for him. D.H.

RICHARD "GROOVE" HOLMES: Comin'on Home. Richard Holmes (organ); WeldonIrvine (electric piano): Gerald Hubbard(guitar): Jerry Jemmott (electric bass); RayArmando (conga); Darryh Washington(drums). Groovin' for Mr. G; Theme fromLove Story; Mr. Clean: Down Home Funk:

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Performance: Soul jazz revivedRecording: Very good

Incredibly, soul jazz survives. The eagersearch for roots that occupied musicians likeBobby Timmons, Horace Silver, and Can-nonball Adderly nearly a decade ago stillshows signs of life. "Groove" Holmes wasone of the early blues organists, not quite in aclass with Jimmy Smith, but quite capable ofrattling the room on his own terms, thankyou.

Many of the soul jazz recordings of a de-cade ago were too limited in scope to sustaininterest for very long. Holmes has neatlyavoided the problem by putting together aprogram that includes, in addition to the obli-gatory hard funk pieces (notably Timmons'classic This Here), such unexpected items asthe Theme from Love Story and AntonioCarlos Jobim's Wave. More to the point,Holmes plays with a breadth of style andmanner unrestricted by the limited objectivesof most soul jazz. Quite simply, he has keptsome color in the old girl's cheeks by dress-ing her in bright new clothing. D.H.

MAHAVISHNU ORCHESTRA: The InnerMounting Flame (see Best of the Month, page72)

MAXINE WELDON: Chilly Winds. MaxineWeldon (vocals); instrumental accompani-ment, Ernie Wilkins arr. and cond. ChillyWinds; I'll Remember Today; It Don't Mat-ter to Me; I (Who Have Nothing); Fire andRain; and five others. MAINSTREAM MRL339 $4.98.

Performance: OkayRecording: Clean

Jazz has gone through two periods in the lastten years. One was closet stuff, where jazz gottoo proud for its audience. The other waswhen jazzmen realized their mistake and sawrock taking away most of the audience, somusicians and record producers hurried intothe studios and cut "jazz" versions of pro-gressive pop stuff. This sort of thing, being adesperate form of musical survival, doesn'tleave room for great individual artists. What ithas room for are adaptable-and sometimesquite good- average artists. But artists whoare individuals go out and do something else.

I don't know which type Maxine Weldon is.Possibly she was led astray by producers. Atany rate, even given the recent history of jazz,it is unfortunate that her album is named afterthe song Chilly Winds, for Nina Simone madethe version some years ago. Weldon's scattingon the number is fine, but she's competingagainst a classic.

The arrangements are boring neo-Ellingtonstuff. Since jazz isn't commercial, pop isrushed in like a witch doctor to save the prof-its. But the patient- music- dies.

Relaxed jazz tunes such as I'll RememberToday and It Don't Matter to Me are very lis-tenable; / Who Have Nothing has an interest-ing idea- a duet between voice and harmoni-ca-but it's the wrong tune to do it on. And itis unfair to subject any singer to the monoto-nous drivel of Leonard Cohen's Hey, That'sNo Way to Say Goodbye. I don't really know,from this album, who Miss Weldon is, but Ithink there is something there, and I alsothink that she done been wronged by time andfashion. J.V.

THEATER FILMS

RECORDING OF SPECIAL MERITGILBERT AND SULLIVAN: H.M.S. Pina-fore. D'Oyly Carte Opera Company; RoyalPhilharmonic Orchestra, James Walker cond.LONDON SPCA 12001 two discs $11.96.

Performance: Trim cruiseRecording: Superb

If you were a subscriber to the British maga-zine called Fun back in 1870, you probablyenjoyed a rather rousing poem that appearedin the April issue. It was called "The Bum -boat Woman's Story," and was one of the"Bab Ballads" by W. S. Gilbert, which werethen delighting readers of the day. A bum -boat was a. small craft peddling provisionsand wares to the crews of ships in Britishports. The saleswoman on this particularbumboat was a shrivelled old girl of seventycalled Poll Pineapple who had once been the"standing toast of the Royal Fleet," and whodelighted in the nickname "Little Buttercup,"which had been bestowed on her by a kindlylieutenant aboard the gunboat Hot CrossBun. Poll Pineapple was to turn up with hername reversed in 1951 as the heroine of theballet Pineapple Poll, but first, in 1878, shematerialized as Little Buttercup; selling herwares to the boys aboard the H.M.S. Pina-fore. This Gilbert and Sullivan operettaabout a sailor who seeks to marry "a lassabove his station" was even more successfulin this country than in its native England. Atone time there were no fewer than eight ver-sions, most of them pirated, playing in NewYork at the same time. The infectious tuneswere inescapable: the whole English-speak-ing world went about "whistling all the airsfrom that infernal nonsense Pinafore," asGilbert himself later noted in The Pirates ofPenzance.

There have been countless recordings ofthe score in this century, including at leastthree earlier ones by the D'Oyly Carte Op-era Company, and each has reflected theprogress of the recording medium in the in-creasing resonance of choral passages, theintelligibility of Gilbert's mock -solemn lyrics,and the salty exhilaration of Sullivan's nauti-cal tunes in their bright orchestral wrappings.London rereleased its monophonic LP versionon the Richmond label some years ago at abargain price; its chief virtue was the perfor-mance of Martyn Green in the role of Sir Jo-seph Porter, K.C.B., First Lord of the Admi-ralty, who rose to his rank by staying at hisdesk and avoiding marine voyages. That re-cording also featured the great stars of thetroupe in its heyday, but the recording itselfwas thin and technically unimpressive. Lessthan a decade ago the troupe was back torecord it again, with John Reed as Sir Josephand several of the old faithful all on board ina vigorous reading "complete with dialogue"


and stunning stereo sound. This time aroundthe company offers a "Phase Four" stereoversion, with Reed in Sir Joseph's uniformonce again, Thomas Lawlor as the captain,Christine Palmer as Buttercup, Ralph Masonas Ralph Rackstraw. and John Ayldon asDick Deadeye, with the Royal PhilharmonicOrchestra (there's richness) conducted byJames Walker.

If you own the earlier stereo version, thenew one would seem dispensable, although itdoes offer a number of innovations and ad-vantages. The continuity has been fitted outwith sound effects -the lapping of water,seagulls crying-that help keep the actionflowing like the soundtrack of a film. The dia-logue, which was impossible to follow with-out a libretto in the earlier stereo version,comes through now loud and clear. The threerousing cheers that conclude "He is an En-glishman" at the final curtain are formidablyrealistic. Mr. Walker launches his superbchoral and orchestral forces at a vigorousclip (almost too much so at times), and thesingers are all plausible performers thorough-ly indoctrinated in the D'Oyly Carte stylethat is so essential to a first-rate G&S pro-duction. Thomas Lawlor merits an extra "jol-ly good" along with the usual cheers for hisurbane Captain Corcoran, the affable officerwhose imperturbability can be ruffled only bya cuss -word. Reed continues to sound tooyoung for his role, though he certainly mustbe of a proper age by now. In all, Pinaforecomes through remarkably ageless after itscentury -long career afloat, but without quitethe nautical polish and precision it achievedunder Isidore Godfrey in earlier recordings.The new album doesn't come in a proper boxlike its predecessors, but there's a nicelyprinted libretto, with every word snugly inplace, and drawings of the principals to boot.

P.K.

SHAFT (Isaac Hayes). Original -soundtrackrecording. Ensemble. Isaac Hayes. leader.ENTERPRISE ENS 2-5002 two discs $9.98.

Performance: FacileRecording: Very good

Shaft has been the surprise sleeper film hit ofthe year. I'm surprised at the surprise. SurelyCotton Comes to Harlem proved that thereis a vast black audience that is anxious (andable for the first time in their lives) to seefilms directed by, starring, and mainly castwith blacks. Both these films are excitingpotboilers, only a cut above the average TVadventure series, but both contain shrewdcomic insights into present-day black life inAmerica.

Isaac Hayes seems to have been undulyserious about his assignment, for his scorefor Shaft is a topheavy, complex, and overlyshowy piece of composing and arranging. Itsounds too often like what it should not onrecords: exciting background music. And,unfortunately, it also sounds labored andpadded. But the recorded sound is spaciousand very well engineered. P.R.


TWO GENTLEMEN OF VERONA (JohnGuare-Galt MacDermot). Original Broadway -cast recording. Jonelle Allen, Diana Davila.Clifton Davis, Raul Julia, Norman Metlock.Alix Elias, Frank O'Brien, Jose Perez, Fred-erick Warriner, Alvin Lum, and John Bottoms(vocals); chorus and orchestra, Harold

Wheeler cond. ABC BCSY 1001 two discs$9.95, OO J 81001 $9.95. © J 51001 $9.95.

Performance: CarefreeRecording: Bright

Back around 1559, a Spanish writer namedJorge de Montemayor published a pastoralnovel called Diana. Thirty years later, Wil-liam Shakespeare got hold of the manuscriptor saw a play based on it-we don't knowwhich-and decided to turn it into a comedyfor the British stage. The result, Two Gentle-men of Verona, was not one of his greatesthits. The story of Valentine and Proteus, the"two gentlemen" and close friends who fallout over Silvia, the Duke of Milan's daughter,made use of ploys and situations that werestale even then-a girl disguised as a page. aletter dictated to the wrong lover, a suitorbanished for trying to rescue a young ladylocked away in a tower by an angry, jealousfather. Critics have traditionally dismissed thewhole thing as one of Shakespeare's "lessercomedies."

But last summer John Guare took the scriptin hand for Joseph Papp of the New YorkShakespeare Festival and turned it into amusical triumph that delighted countless citi-zens in New York's Central Park as well as instreet -theater presentations around the city.Soon it was on Broadway. Guare accom-plished this feat mainly by throwing out mostof the play except the lyric "Who is Silvia?"and some airier portions of the blank -versedialogue, and by persuading Galt MacDermotto match and even surpass the score he wrotefor Hair with the sunniest series of songs anddances to reach the musical theater in an age.It's all here to raise any listener's spirits inthis two -record set. Here is Raul Julia, as Pro-teus, tossing out the Calypso number CallaLily Lady that brings down the house, andleading the chorus in that overwhelming ques-tion, Who is Silvia?; lisping Diana Davila asthe Julia he betrays, singing What a Nice Idea-with an unexpected coda in fiery Puerto -Rican Spanish; Jonelle Allen-the Silviawhose father has to lock her up to keep herfrom marrying anybody but the foolish Thu-rio - burning the air with the soul -style num-bers Night Letter and Love Me; Alix Elias, asLucetta, pinpointing the country of the heartwhere it all takes place so accurately as TheLand of Betrayal. Here too are Frank O'Brienin Thurio's hot-blooded Samba, Clifton Davisas Valentine planning Love's Revenge, andNorman Metlock as the Duke striking asardonic timeliness in Bring All the Boys BackHome. In fact, the only character not heardfrom is Crab, the dog, who has a non -speakingpart (so to speak) and steals the show with it.

There is so much-so many styles aremocked, so many great tunes are heard-thatit takes a while before the listener can adjusthimself to the pace and spirit of TWO Gentle-men of Verona and get into the hang -looseswing of it. Once that happens, however, thisset is the sort any musical -comedy bug is lia-ble to wear out if he doesn't restrain himself.The sound is ringingly bright, and if Side C inyour copy turns out to be Side B, as it did inmine, well, just chalk it up to the carefree spir-it of the whole event. P.K.

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CHERUBINI: Medea (highlights). GwynethJones (soprano). Medea: Pilar Lorengar(soprano). Glauce; Fiorenza Cossotto(mezzo-soprano). Neris; Bruno Prevedi(tenor). Jason; Justino Diaz (bass), Creon;Chorus and Orchestra of the Academia Na-zionale di Santa Cecilia, Rome, LambertoGardelli cond. LONDON © M 31193 $6.95.

Performance: Hair-raisingRecording: ExcellentPlaying Time: 63' 24"

Luigi Cherubini's opera Medee (1797) hasbeen recorded twice in its Italian translation,the first time by a cast headed by Maria Cal-las, and more recently with Gwyneth Jones inthe title role. For those unfamiliar with thecomplete work, a superb dramatic piece imag-inatively scored and gripping in effect, a set ofexcerpts is the ideal solution. Those includedon this extremely long-playing cassette aredeftly chosen and exceptionally well per-formed. If Gwyneth Jones does not entirelyeclipse memories of the unique Callas inter-pretation (excerpts from which are availableon an Everest cassette, which I haven'theard), she does handle the role in a most dra-matic fashion. (I wonder, like George Jellinekin these pages, if Miss Jones' voice will last:some strain is evident in this recording, madeseveral years ago.) The secondary membersof the cast are especially good, particularlyPilar Lorengar, whose opening scene in thesehighlights is marvelous. The conducting. too.is most impressive.

The Dolbyized cassette is the best one Ihave heard to date from Ampex, one that canrank with the very best cassettes availablethus far. The Ampex packaging, however, hasnot improved: no notes or texts, minisculetype for the list of contents, and no indication

Explanation of symbols:

® = reel-to7reel stereo tape= eight -track stereo cartridge= stereo cassette

= quadrasonic disc= reel-to-reel quadrasonic tape= eight -track quadrasonic tape= quadrasonic cassette

Monophonic recordings are indicatedby the symbol

The first listing is the one reviewed:other formats, if available, follow it.

of who sings what part. Copy the cast listfrom the heading above and get the cassetteanyway it's a gem! 1.K.

HANDEL: Overtures and Sinfonias, Vol. 2.Semele: Sinfonia; Julius Caesar: Overtureand Minuet; Faramondo: Overture: JudasMaccahaeus: Overture; Radamisto: Over-ture; Arminio: Overture; Deidamia: Over-ture; Scipio: Overture; Belshazzar: Sinfonia.

GWYNETH JONESA highly dramatic Medea

English Chamber Orchestra, Richard Bon-ynge cond. LONDON © M 10243 $6.95.

Performance: ScintillatingRecord i ng : ExcellentPlaying Time: 42" 1"

I enjoyed the disc version of this brightly andstylishly played collection of instrumentalintroductions from Handel oratorios andoperas when I first heard it. The cassette,except for a marginal loss of spaciousnessand openness in the full tonal spectrum, isequally entertaining. This Dolbyized cas-sette, in fact, compares most favorably withthe open -reel version; the latter, indeed, hasa more obvious hiss level, though the cas-sette may appear to have a slightly unnatural-ly bright top end (but without hiss). In anycase. this is one of Ampex's best Dolby cas-settes to date. No annotations, as usual. I.K.

RAVEL: Daphnis et Chloe: Suite No. 2; Pa-vane pour une infante defunte; Rapsodie es-pagnole; Alborada del gracioso. Cleveland

Orchestra Chorus: Cleveland Orchestra,Pierre Boulez cond. COLUMBIA © MT30651 56.98. ® MA 30651 $6.98.

Performance: Somewhat variableRecording: At times unfocusedPlaying Time: 45' 13"

I have said previously that Pierre Boulez,when in top conductorial form, makes methink of a Gallic Toscanini. so remarkable ishis feeling for linear detail and shaping ofphrase, and for achieving a sense of totallybalanced and beautiful proportion. So it hasbeen, for me at least. in the Boulez record-ings of Parsifal and Pellet's et Melisande.What is still missing in Boulez as a conduc-tor is. to my mind, the elemental yet subtlyflexible rhythmic pulse characteristic ofToscanini at his best. Perhaps this is why Ifind Boulez's recorded performances of thestandard orchestral repertoire disconcert-ing-the almost perverse Beethoven Fifth, arather labored Berlioz Symphonic, .fantas-tique., an unvital Debussy Fetes. Yet he cancome forth with a revelatory Prelude atapres-midi dun faune, and similarly theRavel Rapsodie espagnole on the presentcassette. This last is a miraculous piece ofwork if I have ever heard one: the tonal imag-ination of Ravel emerges clear, strong, andvital purified of sensuous goo.

As for the rest of Boulez's Ravel program,the Alborada del gracioso has ample zip andsass to it, but the Pavane does not reallycome off with the true poignancy that can beachieved in a fine performance of the pianooriginal. Hats off to M. Boulez for retainingthe wordless chorus in Daphnis-the musicgains immeasurably in magical effect thereby.But though his readings of the Daybreak andPantomime music are beautifully measured indynamics and texture, the General Dancebeglins to achieve its full effect only in thevery last pages. The slowish pacing of theopening simply fails to create the sense ofanticipation needed to bring off this finalecompletely.

I'm not entirely happy with the sonics ofeither the Debussy or Ravel discs done byBoulez in Cleveland. I miss in the reproduc-tion a sharpness of focus on the total orches-tral texture that I suspect was aimed for byBoulez in his interpretation. The Rapsodieespagnole suffers least in this regard, he -cause of the character of the music as awhole. The cassette sonics seem to me some-what below Columbia's high standard of clar-ity combined with quiet background. D.H.

(Continued on next page)

APRIL 1972 105

VERDI: Rigoletto (highlights). Robert Merrill(baritone), Rigoletto; Anna Moffo (soprano),Gilda; Rosalind Elias (mezzo-soprano), Mad-dalena; Ezio Flagello (bass), Sparafucile;Alfredo Kraus (tenor), Duke of Mantua;RCA Italiana Opera Orchestra and Chorus,Georg Solti cond. RCA © RK 1050 $6.95.

Performance: Rich antipastoRecording: Very goodPlaying Time: 57' 27"

Poor Rigoletto! It's bad enough being ahunchback, let alone working as the jester fora promiscuous Italian duke who tries to se-duce your daughter. Then when you plot andscheme to save the girl from the Duke'sclutches, all your efforts backfire and theperson who gets stabbed is not the wickedDuke but your own lovely Gilda, who windsup dead in a sack, after all you've done toprevent her ruination.

Well, that's how it goes in Verdi's opera,and even though this doughty little cassetteonly presents highlights, RCA generouslysupplies a synopsis of the plot so you can tellwhere you are. An hour's selection of arias isincluded, and the cast is a Rigoletto-lover'sdream - Alfredo Kraus in splendid voice asthe Duke who sings of the fickleness ofwomen in "La donna e mobile" but is hardlya model of fidelity himself; Robert Merrill inmagnificent shape as the cursed jester; AnnaMoffo as the broken-hearted Gilda who mustwatch the Duke two-time her with a girlnamed Maddalena; Rosalind Elias as Madda-lena; and Ezio Flagello as Sparafucile, theprofessional murderer Rigoletto has hired toget rid of the Duke. All the popular momentsare here, including Moffo's gorgeous rendi-tion of "Caro nome," and are capped by a re-sounding performance of the famous quartet.There are almost no choral passages, whichis a pity, but Solti's conducting is vigorousand vivid. Occasionally there's an abrupt cut-off of an excerpt, but mostly the transitionsare smooth and the sound is pretty fine.

P.K.

COLLECTIONS

EVERYTHING YOU ALWAYS WANTEDTO HEAR ON THE MOOG BUT WEREAFRAID TO ASK FOR. Chabrier: Espana.Lecuona: Malagueiia. Bizet: Carmen: Pre-lude to Act One; Habanera; Introduction toAct Four. Ravel: Bolero. Moog Synthesiz-er, Andrew Kazdin and Thomas Z. Shepard,"semi -conductors." COLUMBIA © MT 30383$6.98.

Performance: Hi-jinksRecording: Very goodPlaying Time: 29' 23"

Spanish music by three Frenchmen and aCuban is the stuff that's put through thecomputer on this curious and clever butwearing little exercise. Both Mr. Shepard andMr. Kazdin know their classics, and parrotthe orchestral languages of Chabrier, Bizet,and Lecuona with a marvelous gift for mim-icry and some sprightly tongue-in-cheekasides from the Moog. Yet for all the witsupplied by its operators, the machinesounds, as it always does, like some mon-strous Wurlitzer being played by a robot-emitting a sort of musical equivalent of thosenon-objective cartoons, fashionable in the Fif-ties, in which abstract designs cavorted onthe screen, resembling animated rubberbands. Carmen, for all the ingenuity with

E

which the airs from the opera are evoked,struts as stiffly as a plastic mannequin; Cha-brier gleams, but like metal, not like fire, andLecuona's alluring rhythms sound simplymusclebound. If you turn the cassette over,however, there's a real surprise in store. Thearrangers.have lavished what must have beenan extraordinary amount of thought and inge-nuity on the elaborate crescendo known asRavel's Bolero, and the piece fattens andgrows huge almost as hypnotically as whenit's tackled by live musicians. A few gratui-tous curlicues mar the contours, but for themost part the mechanics of the Moog matchthe mechanics of the Bolero itself with in-triguing results-a tour de force. But despitethe allure of the album title, I've never reallywanted to hear anything on the Moog. P.K.

ENTERTAINMENT

BIG BROTHER AND THE HOLDINGCOMPANY: How Hard It Is. Big Brotherand the Holding Company (vocals and in -

BIG BROTHER & THE HOLDING COMPANYThe promise shines through

strumentals); various other musicians. HowHard It Is; You've Been Talkin"Bout Me,Baby; House on Fire; Nu Boogaloo Jam;Maui; Shine On; and four others. COLUMBIA© CT 30738 $6.98, ® CA 30738 $6.98.

Performance: ImprovingRecording: ExcellentPlaying Time: 37' 16"

The first and most maligned of Janis Joplin'sbackup bands seems to be maturing nicely;their next album should be the one to watchfor. The promise shines through in spite ofthe fact that Big Brother had some valuablehelp in putting this one together- KathyMcDonald doing a soulful vocal on BlackWidow Spider (my favorite of the tunes),David Shallock playing some of the moredifficult lead guitar parts, and Nick Graven-ites singing Buried Alive in the Blues, whichhe wrote. But Sam Andrew and the BB com-pany do a lot to convince me they're on theirway.

This present specimen is passable but a lit-tle bland. The melodies are thin, and the lyr-ics too often aren't about anything much.The band has learned to make its soundswith economy, though, and is still makingthem with gusto, and Andrew's vocals have araw severity that gets good mileage out of thematerial. Compared to the inept thrashing oftheir "Cheap Thrills" days, this recordingtends to make the band sound as if it's ar-rived, but I think it can do better. N.C.

THE MORMON TABERNACLE CHOIR'SGREATEST HITS (Vol. 3). Anvil Chorus;Home on the Range; See the Conqu'ring HeroComes!; All Through the Night; None but theLonely Heart; Shenandoah; Bridal Chorus;Jeanie with the Light Brown Hair; Deep Riv-er; Loch Lomond; One Small Step; Prayerfrom "Hansel and Gretel"; Finlandia. TheMormon Tabernacle Choir (vocals with in-strumental accompaniment). COLUMBIA ©16 11 0170 $6.98, ® 18 11 0170 $6.98.

Performance: Big, bland, and beneficentRecording: Good transferPlaying Time: 52' 03"

The Mormon Tabernacle Choir can Ameri-canize anything-the Anvil Chorus, a marchfrom Judas Maccabaeus by Handel, LochLomond, the Bridal Chorus from Lohengrin(better known as Here Comes the Bride) andeven Finlandia. These foreign specimens,after payment of the usual import tax, arespun through gigantic musical washing ma-chines to purge them of dangerous alien char-acteristics, rinsed, dried, and rearranged in ahome-grown idiom for six thousand voices,symphony orchestra, and mammoth organ.By the time the Mormon Tabernacle singersget through them, you'd swear they had allbeen written by Stephen Foster and were assafe for home consumption-and just aboutas spicy-as peanut butter. Come to think ofit, Jeanie with the Light Brown Hair, whichseems to be required by law for inclusion inevery Mormon Tabernacle Choir program, isby Stephen Foster, but I never realized be-fore that Tchaikovsky's None but the LonelyHeart can seem to be, too. This is the thirdvolume of the group's "Greatest Hits"(everything they sing is a "greatest hit"), andit is guaranteed to have a sure-fire appeal tothe same American Gothic buying public asits predecessors have, or your money will berefunded. But send it back to Columbia, notto me. P . K .

ANDY ROBERTS: Home Grown. Andy Rob-erts (vocals); unidentified accompaniment.Home Grown; Keep My Children Warm;Good Time Charlie; Queen of the MoonlightWorld; Moths and Lizards in Detroit; andfour others. AMPEX © M 51020 $6.95, ® M81020 $6.95.

Performance: OverdoneRecording: GoodPlaying Time: 40' 50"

Some nice textures are almost achievedhere - behind some deftly carved melodies-but the album is, finally, overproduced. Asoften happens, the excessive work on thearrangements seems to have been done be-cause the concept for the album was sovague. When people aren't sure what theywant to do, they tend to do a lot. This oneambles toward a country sound, takes anabrupt left and becomes hard rock, takes ahard right and becomes violin -padded easy-

listening, and so forth. Andy Roberts hasthe voice for such vagaries, the kind of voicethat acquits itself nicely but two minutes la-ter is forgotten. Keep My Children Warm is apoignant song that survives an almost bizarrearrangement, but too many others-alongwith Roberts' singing style, most of the mov-ies I see on television, and other dribbles anddrabbles of experience-seem destined togather dust in the attic of my mind, if I mayparaphrase Bobby Goldsboro copying JohnHartford. N.C.

106 STEREO REVIEW

introducing ...a brilliant new 'Super Star'

KENWOOD KR -7200260 -Watt (IHF), Direct-Ccupling, FET, IC, FM/AM Stereo Receiver

Out of the KENWOOD tradition of superb engineering, skilledcraftsmanship and excellent design comes yet another top stereoreceiver, precision-engireered for tt-e KENWOOD 'Super Sound,'styled for the look and 'eel of luxury, designed with beauty andelegance to control al expansive anc sophisticated soundsystem.

The KENWOOD KR -7200 takes its place it the KENWOOD line-upof fine receivers to shine as the newest 'Super Star,' with superbperformance characteristics to delight you and luxury features toadd to your stereo enjoyment. Frcnt panel jacks for a secondtape deck with A -B Tape Monitor ...`mike mixing' in any modewith front panel mike input and level control ...and a specialMidrange Tone Contro for an added musical dimension ...areonly a few of the extra refinements that make the KR -7200 abrilliant new addition to the KENWOOD line.

SPECIAL FEATURES: Ou:puts for 3 sets of stereo speakers, with newOne -Touch Terminals for easy hook-up Inputs for 2 Phonos, 2 Aux Termirals for 2 Tape Decks 3-FET Front End, including 1 dual -gatedevice, for high sensitivity (1.6 pLV) High Capture Ratio (1.5 dB, IHF)Sharp Selectivity (75 dB) New Doubla-Switching System in MPX Stage RMS Power: Both Chancels Driven, 55/55 watts @ 8 ohms from 20-20kHz Frequency Linear Type Variable Capacitor for easy tuning Direct -Coupling Power Amplifier with high reliability protection circuit

For ccmplete information visit your nearest KENWOOD Dealer, or write...

IA. ,..141,epprroulo f quethey 15777 So. Broadway, Gardena, Calif. 90248

KENVVOOD 72-32 Fifbefirst Ave., Woodside, N.Y. 11377In Canada: Magnasonic Canada, Ltd., Toronto,Ontario; Montreal, Quebec; Vancouver. B.C.


STEREO REVIEW MARKET PLACENON -DISPLAY CLASSIFIED: COMMERCIAL RATES: For firms or individuals offering commercial products or services, $1.50 per word (including name andaddress). Minimum order $15.00. Payment must accompany copy except when ads are placed by accredited advertising agencies. Frequency discount: 5%for 6 months; 10% for 12 months paid in advance.READER RATE: For individuals with a personal item to buy or sell. $1.00 per word (including name and address). No minimum! Payment must accompanycopy.DISPLAY CLASSIFIED: One inch by one column, $215.00. Two inches by one column, $430.00. Column width 2%". Advertiser to supply film positives.Please write or phone for frequency rates.GENERAL INFORMATION: First word in all ads set in bold caps at no extra charge. All copy subject to publisher's approval. All advertisers using Post OfficeBoxes in their addresses MUST supply publisher with permanent address and telephone number before ad can be run. Closing Date: 1st of the 2nd monthpreceding cover date (for example, March issue closes January 1st). Send order and remittance to: Hal Cymes, STEREO REVIEW, One Park Avenue, NewYork, New York 10016.

EQUIPMENT

WRITE for quotation on any Hi-Fi components: SoundReproduction Inc., 460 Central Avenue, East Orange, N.J.07018. 201-673-0600.

NEW low prices on all stereo components and taperecorders. Write for our quote. Stereo Corp. of America,2122 Utica Avenue, Brooklyn, New York 11234.

FREE LP AND SHIPPING to most states. We will not beundersold. Airmail Quotes. Hi-Fi Discount Specialists,Box 2576 PVS. Hialeah, Florida 33012.

ELECTRONIC TUBES, Semiconductors, Equipment andParts, Electro-Voice Quad Stereo, Lab matched tubes.Finest quality. Serving TV/Hi-Fi Servicemen, Engi-neers, and Industry for 28 Years. Advise needs. Writefor Catalog. Barry Electronics, 512 Broadway, New York,N.Y. 10012.12121925-7000.

NO fair trade laws in D.C. Write for discount prices onyour choice of components. District Sound, Inc, 2316R.I. Ave, N.E., Wash., D.C. 20018. (202) 832-1900.HI Fl Furniture? See Toujay Designs at SEE -70's HiFidelity Exhibit. 443 Park Avenue South, N.Y.C. 10016.Tues. to Fri. 10-6, Sat. 10-4. Full line brochure 25C.MCINTOSH 2505 versus Marantz 32, Citation Twelve,Dynaco Stereo 120. The winner? Send 51 today forcomparative test, refundable with $7.50 subscription.HI-FI Newsletter, Box 593, Hialeah, Fla. 33011.

DISCOUNT PRICES on Stereo Components and Systems.For lowest cost, fastest service, write for our quote andorder form. West Coast customers: Save on shipping costsand time. Redwood Stereo Co., P.O. Box 2794, SanRafael, Calif. 94902. (415) 472-2255.

HEGEMAN "Omni -Directional" Speakers 5100. CreightonAudio Labs, Haven Pl., Linden, N.J. 07036.

LOWEST quotes Dynaco kits & wired, AR lines. Hi-Fi,Roslyn, Pa. 19001.

OVER 20 YEARS successful discounting of audio equip-ment insures best value and service. Specialize in StereoComponents. Tape Recorders, Cassettes, Magnetic Car-tridges. Sleep Learn Equipment, etc. Low Quotes, FreeCatalog. Dressner, 1523SR, Jericho Turnpike, New HydePark, New York 11040.

KLIPSCH, TANNOY, MARANTZ, RABCO, THORENS-No Discounting -Superior Sound, 1801 Brewerton Rd.,Syracuse, N.Y. 13211.

DIAMOND NEEDLES and Stereo Cartridges at Discountprices for Shure, Pickering, Stanton, Empire, Grado andADC. Send for free catalog. All merchandise brand newand factory sealed. LYLE CARTRIDGES. Dept S, P.O.Box 69, Kensington Station, Brooklyn, New York 11218.

SPEAKER SYSTEMS wholesaled to public. BOAT. Box18123, Seattle, Washington 98118.

NATIONALLY advertised Audio Equipment. Cost Plus10%. Stereo World, 3250 Duke Street, Alexandria, Vir-ginia 22314.

STEREO HI-FI Sale. Nationally advertised amplifiers,tuners, speakers, tape decks, etc. Discounting to 40%since 1959. Arkay National, 1028-01 Commonwealth,Boston, Mass. 02215.

QUAD, Radford, Bang & Olufsen audio components ofsuperb quality for the connoisseur. Audio Imports, 5557Versaille Dr., Indianapolis, Indiana 46227.

LOW, LOW, prices, on audio equipment. All factory fresh,1st quality items. Trained personnel at your disposal foraudio consultation. For free catalogs or information writeto: Mr. A, Dept. AMS at SMG Distributors. Inc., 46-3554th Road, Maspeth, New York 11378.

DISCOUNTS UNLIMITED in our 1972 price list. Send foryour FREE copy to: Box 467, New Hampton, New Hamp-shire 03256.

WORLD's FINEST COMPONENTS -On demonstration-Audio Research Corporation. 4' x 6' speaker panels,Trans -static Monitors, Trans -static Ones, Seven, SuperQuads, Infinity, B&W, Phase Linear 700, 400, SAE.ARC, Quad, Decca, SSI Straight tracking arm -turntable.Information, brochures available. Paul Heath, 81 Big Tree,Livonia, N.Y. 14487. (716) 346-5630.

BUY DIRECT from manufacturer at wholesale prices, HiFi sets. 60 watts 5109.00, 120 watts $139.00. Save 40%.Free catalog. Associated Importers, 1038 Filbert, SanFrancisco, Calif. 94133.

FREE quotes and literature on Hitachi radios and re-corders. Write: Disco Electronics, P.O. Box 146, Spring-field, N.J. 07081.

FOR SALE

JAPAN HONG KONG Directory. World products infor-mation. $1.00 today. Sekai Shogyo Annai, Hillyard,Wash. 99207.

NEW SEMICONDUCTOR LIGHT EMITTING DIODES.Bright red lights replace light bulbs. Typical life 100years. Operate at 1.65 volts, 60 milliamps. Order 2 for$2.98 NOW. Data sheet and instructions included. Mon-santo Company, Hobby Section, 10131 Bubb Road,Cupertino, California 95014.

CONSTRUCTION PLANS: Laser ... $2.00. Investigationaids -2 -FM microphone transmitters ... $1.00. FM Tele-phone transmitter ... S2.00. Sound telescope ... $2.00.Space monitor -missile tracker ... $2.00. Free equipmentand kit catalog. Howard, 20174 Ward, Detroit, Michigan48235.

HEATH AR -15, complete, 5395. 4527 Grant, Omaha, Neb.68104.

CLASSIC JAZZ CASSETTES huge personal collection forsale. C -90's, $5.00. ABRAMS, 6212 Castillon, Newark,Calif. 04560.

CASSETTE HOLDER -Compact; styled in walnut. Holds48 cassettes; swivel base mounted. Dimensions: 8/8/10-59.00 postpaid. House of the Swanson, Box 808, EastNorwich, New York 11732.

IMPROVE your present speaker system in a new eco-nomical, guaranteed way. Write for details. Robert Fike,3821 Sunset Drive, Harrisburg, Penna. 17111.

DIRECTORY OF SPOKEN -VOICE CASSETTES: business,sales, professional, religious, literature, self-improvement.$5. Cassette Information Services, Box 17727-S, LosAngeles 90057.

MAGNETOMETERS and Han-D-Mags-Are your tape trans-port components really free of damaging magnetism?How is your background noise? Are you losing highs?Write for latest copy of "Notes On Demagnetizing." R.B.Annis, Co., 1105 N. Delaware St.. Indianapolis, Ind.46202.

TAPE AND RECORDERS

RENT stereo tapes 81.50 week postpaid -NEW catalog250. Tape Library, Box 8126, Washington, D.C. 20024.

OLD Time radio programs -all your old favorites. 50C forcatalog. Robert Mussehl, R. 1, Brooklyn, Wisc. 53521.

STEREO TAPE RENTAL for particular people. Freecatalog. Gold Coast Tape Library, Box 2262, Palm VillageStation, Hialeah, Fla. 33012.

OLD Radio Programs Catalog. $1.00 (refundable). TheRadio Vault, Box 9032, Wyoming. Michigan 49509.

MEMOREX recording tape, audio & video. Lowest prices,write for free information. BERGETZ SYSTEMS CO., Box1181, Melrose Park, III. 60161.

OLD Radio Shows catalog 50C. TBOR, Box 1692B, F.D.R.Station, New York 10022.

STEREO TAPE TRANSPORT -7" reel -2 speeds -pausecontrol -made for famous manufacturer -50 to 15,000 Hzwith rec/play and erase heads, without case. Send M.O.or check for 519.50 to Alsheimer Audio Electronics, 218Columbia St., Utica, N.Y. 13502. $2.50 for prepaidshipping and insurance.

BASF RECORDING TAPE ... Prerecorded Stereo Tapes,Postpaid. Stereotone-Tapes, Box 657, Sterling, Illinois61801.

OPERA tapes -historical performances of past 40 years.Unbelievable treasures and rarities. Free catalog. EdRosen, Box 97, Freeport, N.Y. 11520.

RECORDING TAPE made by top American manufactur-er, guaranteed not "seconds" or "white box;" 2400'mylar, $2.29; 1800' mylar $1.69; 1200' acetate $0.79.Send for information and quantity pricing. AlsheimerAudio Electronics, 218 Columbia Street, Utica, New York13502.

TAPE -BASF, TDK, Sony, Memorex. C -60's from 520.AudioCessories, 320 West Edmonston, Rockville, Mary-land 20852.

OLD Radio Programs on cassettes or reels. High quality,low prices, thousands to choose from, professionalequipment, catalog 500. Remember Radio Inc., Box 2513,Norman, Okla. 73069.

CASSETTES -Unique titles including old time radio,educational, language. Send 100 for new 16 -page 1972catalog covering 8 -track and cassette blanks plus hard-to -find accessories. Cassettes Unlimited. P.O. Box13119S, Pittsburgh, Pennsylvania 15243.

SCOTCH TAPES. Cassettes -cartridges -reels. Catalog 100.Tower, Lafayette Hill, Pa. 19444.

SCOTCH TAPE #150, 1800 foot, 7" reel, polyester, $1.95,postpaid. Recorders, cassettes, open reel music tapes (100page discount catalog 25C). Saxitone Tape Sales, 1776Columbia Road, Washington, D.C. 20009.

RENT 4 -track open reel tapes -all major labels -3,000different -free brochure. Stereo-Parti, 55 St. James Drive,Santa Rosa, California 95401.

BASF. Memorex, Scotch reels, cassettes, 8 -track. Lowestprices. S&S Audio, Box 2065, Champaign, III. 61820.

RENT any Cassette, Cartridge, or Open Reel prerecordedtape, ALL labels. Catalog 75C. Tape & Time, Box 268,St. Ann, Missouri 63074.

SCOTCH RECORDING TAPE, lowest prices. TAPE CEN-TER, Box 4305, Washington, D.C. 20012.

GOLDEN AGE RADIO -Your best source for radio tapes.Box 8404-T, St. Louis, Missouri 63132.

ENJOY a complete music system. Use the "Dubie" con-trol to integrate two or more tape recorders with yourtuner and record player. Tape, edit, mix with profes-sional skill. Brochure A-1, Dubie Co., 1509 Oklahoma,Norman, Okla. 73069.

Complete catalog!

6,000STEREOTAPES

Pop Rock Jazz Folk Countryand Western Classical Completenew entertainment guide. A must forevery owner of an open reel, 8 -trackcartridge, or cassette player/recorder.Send 25¢ in coin, check, or moneyorder to Ampex, 2201 Lunt, Elk GroveVillage, Ill. 60007. ATTN: Dept. 127

[AMPEXSTEREO TAPES

RARE Sound Tracks. Rose Friend, 532 Grand Blvd., Ven-ice, Calif. 90291.

MOST amazing Radio Show ever produced. Featuring KenNordine. On Cassettes. Free Brochure. "Incredible, ButTrue!" Sawyer, Michigan 49125.

BASF/Lifetime, super -dynamic, low -noise, high -output,cassette tape. C-60 ... $1.39, C-90 ... $2.39, C-120 ...$2.99. Sent postpaid! Minimum 5, 10 deduct 10%. ForChromdioxid ISM), Write: DTR Sound, 2575 W. Main,Littleton, Colorado 80120.

AMPEX cassettes as low as: C -40-62C, C60 -69C, C90-$1.13, C120-$1.25. Capitol cassettes: C30-520,C60-600, C90-960, C120-51.04. Postpaid. Send forcomplete price list. Exhibo West, Box 5174-S, MissionHills, CA. 91340.

OPERA TAPES -Free catalog. Performances from operacapitals of the world. A. Fischer, Box 83, Fordham Station,Bronx, N.Y. 10458.

108STEREO REVIEW

FREE 4 -Track Stereo Tapes, Cartridge, Cassette. Write:Music, Box 27815, Los Angeles, Calif. 90027.

FREE LIST -8 -Track Tapes "Yesterday Lives Today." Webuy, rent, sell and exchange. Complete information.Musicom Tape Exchange, P.O. Box 656, Warren, Michigan48090.RADIO YESTERYEAR! Biggest and best in the industrywe created. Over 11,000 of those great old-time radioshows. ANY program you remember, drama, band, serials,comedy, etc. Available on tape, cassettes, cartridges, andLP records. Highest fidelity possible with Ampex dupli-cators. Send for our Free catalog. RADIO YESTERYEAR,Box H, Dept. B, Croton -on -Hudson, N.Y. 10520. MemberBetter Business Bureau.

RECORDS

SHOW ALBUMS, Rare, Out -of -Print LP's. Large list. 16C.Broadway/Hollywood Recordings, Georgetown, Conn.06829.POPULAR organ albums factory direct. Concert Record-ing, Lynwood, Calif. 90262.

"HARD To Get" records -all speeds. Record Exchange,842 Seventh Avenue, New York, N.Y. 10019.

FREE 162 -PAGE CATALOG offers over 1,000 fine re-cordings of Renaissance, Baroque, Classical, Romanticand Modern music. All late stereo recordings. Highestquality at budget label prices. Available only by mail fromMUSICAL HERITAGE SOCIETY, Box 932 HS, New York,N.Y. 10023.

PROTECT your records -Poly sleeves for jackets 5C; Innersleeves 4C; Poly lined paper 10C; white jackets 25C.Postage $1.00. Record House, Hillburn, N.Y. 10931.

LIKE new LPs and prerecorded tapes. Catalogue 75C.Records, Hillburn, New York 10931.

HARD to find soundtrack and show LP's. List 10C. MusicMinstrel, P.O. Box 15271, New Orleans, La. 70115.

RECORD COLLECTORS -Deleted, discontinued, "hard -to -find" LPs. Soundtracks, shows, classical our specialty.Send your want list to The Record House, Inc., 1101Polk St., San Francisco, Calif. 94109.

FILM MUSIC -Free List. 183 N. Hickory Street. N. Massa-pequa, New York 11758.

RECORD -Cassette --Cartridge Bargain Sheet, Discountsto 80%1 Send S1 for latest list. A. Roseman, P.O. Box16083, Phila., Pa. 19114.FREE CATALOGS -broadcasts. Sound Tracks of Thirties.ARG, 341 Cooper Station, New York City 10003.

ANY RECORD, ANY TAPE AT LOWEST DISCOUNTPRICES. Enroll in Saturnian Record Club. S1 Lifetimemembership fee brings you a Free Schwann catalogue andforms for immediate ordering of any record at unmatch-ably low prices. No minimum, no limit. Write SaturnianRecord Club, 507 5th Avenue, N.Y.C. 10017, Box STR.OUT -OF -PRINT operettas, lieder, opera recitals, folk -songs, piano, from private collection. Sierle, 80 CentralPark West, New York 10023.

RARE Shows -Soundtracks. OCFAA, 9281 Herle Avenue,Anaheim, Calif. 92804.

MAGAZINES

JAPAN PUBLICATIONS GUIDE Business, pleasure,education. $8.00. INTERCONTINENTAL CPO 1717,Tokyo 100-91.

BUSINESS OPPORTUNITIES

I MADE $40,000.00 Year by mailorderl Helped othersmake money! Start with $10.00 -Free Proof. Torrey, Box318-N, Ypsilanti, Michigan 48197.$200.00 Daily In Your Mailbox! Your Opportunity To DoWhat Mailorder Experts Do. Free Details. Associates,Box 136 -SR, Holland, Michigan 49423.

START small, highly profitable electronic productionin your basement. Investment, knowledge unnecessary.Postpaid brings facts. Barta-SRA, Box 248, Walnut Creek,Calif. 94597.MAILORDER MILLIONAIRE helps beginners make $500weekly. Free report reveals secret plan) Executive (1K4),333 North Michigan, Chicago 60601.

FREE BOOK "999 Successful, Little-known businesses."Work home) Plymouth-BGD, Brooklyn, New York 11218.MAKE $25,000 with new mailorder plan! Quick, remark-able results! Only S31 Guaranteed! Limited Offerl Ordernowt I Goldco, Box 1747. New York City 10022.

MAKE money at home. No risk, no investment. Demon-strate Hi Fi set to our customer in your home. Freedetails. Write: Associated Importers, 1038 Filbert, SanFrancisco, Calif. 94133.

MAILORDER-How to prepare your own catalog for pen-nies. Free catalog! Obie-BGC, Brooklyn, New York 11219.

YOU can be rich, free report, mail order millions. WriteSimpson (3D4), 10014 South Paxton, Chicago 60617.

TUBES

TV and Radio Tubes 36C. Free 48 page color catalog.Cornell, 4215-H University, San Diego, California 92105.

WANTED

QUICKSILVER, Platinum, Silver, Gold, Ores Analyzed.Free Circular. Mercury Terminal, Norwood, Mass. 02062.

INSTRUCTION

F.C.C. 1st phone license training in 5 weeks. R.E.I.'sintensive training produces outstanding results. Forinformation and free brochure call toll free: 1-800-237-2251, or write home office, Radio EngineeringIncorporated Schools, 1336 Main Street, Sarasota, Florida33577. Florida residents call (813) 955-6922.

LEARN Electronics Organ Servicing at home. All makes,including transistors. Experimental kit -trouble -shooting.Accredited NHSC, Free Booklet. Niles Bryant School,3631 Stockton, Dept. A, Sacramento, Calif. 95820.

ASSOCIATE DEGREE IN ELECTRONICS through corre-spondence instruction. G.I. Bill approved. Free catalog.Grantham, 1509 N. Western, Hollywood. Calif. 90027.

PERSONALS

MAKE FRIENDS WORLDWIDE through internationalcorrespondence. Illustrated brochure free. Hermes, Berlin11, Germany.

HYPNOTISM

Free Hypnotism, Self -Hypnosis. Sleep Learning Catalog!Drawer H400, Ruidoso, New Mexico 88345.

SLEEP LEARNING. Hypnotic Method. 92% effective.Details free. ASR Foundation, Box 7545 EG, FortLauderdale, Florida 33304.

MOVIE FILMS

16mm SOUND Features, Shorts, New. Used for Sale.Free Catalog. National Cinema, 333 W. 57 St., N.Y.,

N.Y. 10019.

EDUCATIONAL OPPORTUNITIES

LEARN WHILE ASLEEP. Hypnotize! Strange catalogfree. Autosuggestion, Box 24-ZD, Olympia, Washington98501.

GOVERNMENT SURPLUS

JEEPS Typically From $53.90 ... Trucks From $78.40Boats, Typewriters, Knives, Airplanes, Clothing,

Multimeters, Oscilloscopes, Transceivers, Photographic,Electronics Equipment. Wide Variety, Condition. 100,000Bid Bargains Direct From Government Nationwide.Complete Sales Directory and Surplus Categories Catalog$1.00 (Deductible on Orders From Separate IncludedCatalog). Surplus Service, Box 820-L Holland, Michigan49423.

PLANS & KITS

KITS -Color Organs, Synchronizer, Strobes, Workshop,Box 393Z, Bethpage, New York 11714.

RUBBER STAMPS

RUBBER Address Stamps S2.00. Signature $3.50. Freecatalog. Jackson's, Box 443G, Franklin Park. III. 60131.

EMPLOYMENT INFORMATION

EXCITING Overseas Jobs. Directory 81.00. ResearchAssociates, Box 942-E, Belmont, California 94002.EUROPEAN -FOREIGN EMPLOYMENT. Detailed report,currently available jobs, Europe, Australia, Africa. S3.00.Eurojob Report, Box 52643-Z, Lafayette, Louisiana 70501.

MUSICAL INSTRUMENTS

30% DISCOUNT name brand musical instruments. Freecatalog. Freeport Music, 127-Q Sunrise Hway, Freeport,N.Y. 11520.

ORGAN OWNERS and builders get the facts about elec-tronic and pipe organs, kits and accessories. Send 52.00for new book "Organ Building For Fun And Profit," byRobert L. Eby. Free parts catalog included. NewportOrgans, Dept. A, 846 Production Place, Newport Beach,Calif. 02660.

RESORTS AND TRAVEL

LAKE ERIE CHARTERS -Slops, 26 and 30 ft., out ofCatawba, Port Clinton, Ohio. Write: 2617 Broadway,Toledo, Ohio 43609.

MISCELLANEOUS

WINEMAKERS. Free illustrated catalog of yeasts, equip-ment. Semplex, Box 12276, Minneapolis, Minn. 55412.

CATALOGS! Receive manyl Catalog Directory 51.00.Box 305, Plymouth Meeting, Pa. 19462

GUIDE TO EARNINGEXTRA INCOMEA Ziff -Davis Publication

All new -first time ever pub-lished! Everything you need toknow about full and part timemoney -making. How to startyour own mail order business 22 proven and profitable homebusiness ideas How to earnextra $'s Franchising Vend-ing machines Advice on cut-ting, living costs. Only 75it

3rder from Ziff -Davis Service Division,595 Broadway, New York, New York 10012.

Enclose an additional 25c for postage and handling

tox4oaeLet us know 6 to 8 weeks in advance so that youwon't miss a single issue of STEREO REVIEW.

Attach old label where indicated and print newaddress in space provided. Also include your mail-ing label whenever you write concerning your sub-scription. It helps us serve you promptly.Write to: P.O. Box 1099, Flushing, N.Y. 11352, giv-ing the following information.

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BONUS) B II me later.,cAFFIX LABEL -2.r -

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APRII 1972 109

TAPEHORIZO\SBy CRAIG STAR <

HEAD ALIGNMENTN recent columns I've talked about some of the ways in which wear orI imperfect orientation of tape heads can take its toll of the potential fidelity

of a recording. Adjustment of head height, fore and aft tilt, and proper pro-trusion of the head into the tape path can be checked relatively easily, usingthe technique I suggested last month, for in these planes a small amount oferror can be tolerated. Unfortunately, this is not true of the most importanthead -alignment adjustment of all: "azimuth."

To have correct azimuth a head must be so oriented that the vertical gapbetween its pole pieces is absolutely perpendicular to the edges of the tape.If the playback gap is on a slight diagonal instead of at 90 degrees to the tapeedges, large high -frequency losses will result when the tape has been record-ed with the proper azimuth. The extent of these losses can even be predict-ed, thanks to some calculations worked out by Ampex. If we wish to repro-duce a 15,000 -Hz tone at 71/2 ips, using an ordinary quarter -track head, anazimuth error of slightly less than one-half of one degree (29.5 minutes ofarc) will produce a loss of 10 dB. That is to say, the playback head will re-produce only one third as much signal as it would if properly adjusted. At33/4 ips the situation is even worse: the same loss would occur from a mis-adjustment of less than a quarter of a degree deviation from absolute per-pendicularity. And a monophonic FM station using a full -track recorder at71/2 ips will sustain a 10 -dB loss at 15,000 Hz if the azimuth of its machineis off by a mere five minutes of arc -1/12 of a degree!

Stereo presents an additional complication, for each head contains twoindependent sets of pole pieces and their gaps may not be perfectly in line(colinear) with each other. I talked with an engineer at one of the leadingtape -head manufacturers and he confirmed that, despite every precaution,even high -quality quarter -track stereo heads were likely to exhibit a 10- to15 -minute error between the two gaps. This means that if one adjusts theazimuth for one channel, high -end response on the other will be off by 1 or 2dB at 71/2 ips, and there will be much greater losses at lower speeds. Ob-viously, one must make a compromise between channels.

A marked loss of brilliance when playing an assortment of prerecordedtapes known to have adequate treble content indicates likely azimuth troublein the playback head. On a machine with a separate record head, if prere-corded or borrowed tapes sound fine but the ones you make yourself aredull, your record -head azimuth may well be out, though other causes canalso produce this result. On cassette machines and other recorders that usethe same head for record and playback, no losses from azimuth misalign-ment will show up on tapes made on that machine, but some day you maywant to replace it (or its worn-out head), and then tapes made previously willplay back as poorly as the commercially prerecorded material does now.

Azimuth adjustment requires professional instruments, test tapes, andknow-how, but you'll be wise to have it checked about once a year.

STEREO REVIEWAPRIL 1972

ADVERTISERS INDEX

READERSERVICE NO. ADVERTISER

PAGE

NUMBER

1 A.D.R. Audio 1022 Acoustic Research, Inc 263 Allied Radio Shack 214 Allied Radio Shack 875 Allied Radio Shack 1016 Altec Lansing 397 Angel Records 798 Audio Dynamics Corporation 249 Audio Unlimited, Inc 103

10 BASF Systems, Inc 4011 BSR (USA) Ltd 2012 Baltimore Stereo Wholesalers 10013 Bose 3114 Bose 33

103 British Industries-Garrard 2

15 CTS of Paducah, Inc 99Columbia Records 74

17 District Sound Inc 10218 Dixie High Fidelity Wholesalers 9720 Downtown Audio, Inc 10037 Dual 10, 1123 Dynaco Inc 13

22 ELAC Division, Benjamin ElectronicSound Corp 7

Early Times Distillery Co 8519 Electro-Voice, Inc 4th Cover21 Empire Scientific Corp 525 Empire Scientific Corp 80

26 Heath Company 34, 35, 36, 37

27 International Hi-Fi Distributors 101

28 KLH Research & Development 8329 Kenwood 107

30 Lafayette Radio Electronics 9131 Linear Design Labs., Inc 8132 London Records 77

35 McIntosh Laboratory Inc 8733 Mallory 1534 Maxell Corporation of America 4116 Midwest Hi-Fi Wholesalers 97

3M 42, 43

36 North American Philips Corporation 16

38 Rabsons 57 St. Inc 8739 Rectilinear Research Corp 7340 Revox Corporation 20

41 Sansui Electronics Corp 22, 23100 Scott, Inc., H.H. 1942 Sherwood Electronic Laboratories, Inc

2nd Cover, 143 Shure Brothers Inc 8844 Sony Corp. of America 2545 Sound Reproduction, Inc 10346 Stanton Magnetics, Inc 947 Stereo Corporation of America 9948 Superex Electronics Corp 44

76 TEAC Corporation of America 3rd Cover

U.S. Pioneer Electronics Corp 2937 United Audio Products, Inc 10, 11

49 Wollensak 3M Company 104

CLASSIFIED ADVERTISING 108, 109

Printed in the U.S.A.

110 STEREO REVIEW

Sure, you can do withoutEdi-Q and BiaTron.

But think whatyou can do with them.

In talking about the fine TEAC semi -pro 1230 four -track,two -channel reel-to-reel deck, we may have given you theidea that its Edi-Q and BiaTron features are just thefrosting on the cake. That's what happens when you takea classic deck in the consumer best -buy class, and thendecide to outdo yourself.If your name isn't TEAC, you add on the latest kluge andveeblefetzer, and call yourself a pro.But when you're TEAC, it's noblesse oblige all the way.You have to integrate into the design a sophisticatededit/cueing/pause system that would do credit to arecording studio. The kind that lets you edit out unwantedmaterial while you're recording. Smoothly. Instantaneously.With two flicks of a toggle. This is all incorporated in aninconspicuous control lever on the panel, so to call yourattention to it, we've named it Edi-Q.

Then to versatilize the 1230 for both standard and low -noise, high -output tapes, we've enhanced it with a bias -current switching capability that lets you choose thecorrect bias for the tape you're using. But a panel switchis pretty unassuming, so we've given this one the catch -name BiaTron.Of course, there's still a basic high-powered deck tobegin with. Three TEAC precision motors. Constant -contact hyperbolic heads. Hairtrigger solenoid controls.MIC and LINE mixing. TAPE and SOURCE monitoring.Turntable height adjustment. Independent headphonemonitoring with built-in volume control.If you're an audiophile with a case of noblesse oblige likeours, we have a sneaking suspicion there'll be Edi-Q andBiaTron on your next deck.

Frequency response -30 to 20,000 Hz (40 to 18,000 ± 3 dB) at 71/2 ipsSignal-to-noise ratio-Better than 55 dB at 71/2 ipsWow and flutter -0.08% at 71/2 ipsRewind time -1200 ft in 90 secondsMicrophone input -600 ohms

TEAGTEAC Corporation of America, 7733 Telegraph Road, Montebello, California 90640

TEAC Corporation, 1-8-1 Nishi-shinjuku. Shinjuku-ku, Tokyo, Japan TEAC EUROPE NM.. Kabelweg 45-47, Amsterdam-W.2, HollandIn Canada: White Electronic Development Corp., Ltd.. Toronto


A superb condensermicrophone for just $39.75What's the trick?Brilliant engineering.

Condenser microphones have longbeen known for their sound...and theircost, and their complexity. Now Electro-Voice introduces a series of genuinecondenser microphones that providesound embarrassingly close to the mostexpensive studio models, without thehigh cost and complexity.

A big problem with conventionalcondenser microphones has been theneed for a high voltage power supplyto polarize the diaphragm. E -V haseliminated it completely with its newelectret condensers. We've found a wayto permanently trap this voltage righton the surface of the diaphragm, thusdoing away with the need for bulky,expensive power supplies.

How do the new Electro-Voiceelectrets sound? Response is clean,flat, and transparent, with very high out-put for full recording volume. It's justwhat you would expect from condensermicrophones costing much more,and by far the best sound -per -dollaryou've ever heard.

A simple FET circuit inside eachE -V electret microphone matches bothprofessional and home tape recorderinputs with equal quality. This low -noise, high -output circuit operates froma single "AA" penlite battery for aslong as 1200 hours of use.

Choose either omnidirectional orSingle -D cardioid types. The chartshows the prices, and some of thereasons for the difference in cost.Whichever model you choose will giveyou excellent transient response, highsensitivity, and uniform polar response.Our "second -generation" electretdesign offers vastly improved protectionagainst extremes of humidity andtemperature. And the ruggedness ofE -V electret condensers is rivalled onlyby E -V dynamic models. All -in -all,new E -V condensers are a significantimprovement over less sophisticatedcondenser microphones (electret orotherwise).

If your goal is to record natural sound,or natural music -try an E -V electret.Or in the PA field where condensershave never been sufficiently reliable-try an E -V electret. But don't tell yourlisteners how much you paid for yournew microphones. They'll neverbelieve you!

ELECTRO-VOICE, INC., Dept. 422F616 Cecil Street, Buchanan, Michigan 49107In Europe: Electro.Voice, S.A., Lyss-Strasse 55,2560 Nidau, Switzerland

MODEL 1710Omnidirectional80-13,000 Hz responseUnbalanced 150 ohm output-50 dB output level*539.75

MODEL 1711Omnidirectional60-15,000Hz responseBalanced 150 ohm outputProfessional cable connector Professional cable connector-50 dB output level* -43 dB output559.70 575.00

*Oulcut level ref. to 1 mw/10 dynes/cm2. The smaller thenumber, the better. Prices shown are suggested retail.

MODEL 1750Single -0 Cardioid80-13,000 Hz responseUnbalanced 150 ohm output-43 dB output level°545.00

MODEL 1751Single -0 Cardioid60-15,000 Hz responseBalanced 150 ohm output

gfICC-AYOICZ9

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