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Imported Talent Joseph Horowitz' article about pianist Bella Davidovich [October 1979] appears to be just an indirect way of writing about Soviet artistic circles and being negative. One might ask why Melodiya issues works by composers whom it is allegedly a crime to perform in the U.S.S.R. There is no doubt that many musical artists leave Russia for genuine artistic reasons. However, it is also possible that many simply emigrate for the money, a certainly non-artistic motive (presuming they aren't starving); the musical standards in Russia are very high. Perhaps HF's bias against the U.S.S.R. is political; perhaps it is just a matter of jealousy. A comparison of the musical education systems in the U.S. and the U.S.S.R. and the number of talented individuals produced by each would be very enlightening. That the U.S. imports most of its talent is well known. -Arthur Walling Hamilton, Ont. If most of the musical talent in the U.S. at least of international superstars--is imported, the reason would appear to have little to do with the quality of music education here. Not only most of our imported talent, but a large percentage of the major musicians throughout the world (at least those under sixty years of age) came here for a critical portion of their education. If Mr. Walling is referring to the solid musicians whose names are not household words but who make up our orchestras and other performing groups, the vast majority are both U.S.-born and U.S.-trained. -Ed. Another Composers' Haven Allan Kozinn's article on Composers Recordings, Inc. [September], brought deserved recognition for the significant accomplishments of this pioneering organization. However, I must point out that CRI has not been the only recording alternative to the major labels that has been available to composers. For more than fifteen years, Owl Recording, Inc., has released records of new music, albeit on a much smaller scale, and has fully funded several of them. We continue to welcome scores and tapes from composers and performers anyone with a potential recording of "high artistic, educational, or historical value." Like CRI, Owl finds that the financial picture must be examined at the outset. One final note: The grant of tax exempt status to CRI in 1977 followed the precedent established in 1976, when Owl became the first record company in the U.S. to acquire such status. Thomas Steenland Program Coordinator Owl Recording, Inc. P.O. Box 4536 Boulder, Colo. 80306 DBX for Pop I welcome the information in Leonard Marcus' editorial [September] that DBX promises to release encoded pop recordings. I own a DBX Model 122 and have found the advantages of increased head room for tape recording and increased dynamic range in both tapes and discs to be tremendous. Jimmy Gene Vandegriff; Randolph Air Force Base, Tex. Labor of Love I agree with some of David Hamilton's criticism of the new Fritz Reiner discography compiled by Arthur J. Helmbrecht Jr. ["Conductors' Discographies," September]. However, as a member of the Fritz Reiner Society and as one who was in on this "labor of love" from the start, I must take exception to the fact that Mr. Hamilton chose only to criticize. It should be said that, even though this discography might be "incomplete" and "infuriating" because of its manner of organization, its author deserves words of praise for his effort. After all, this is the most complete listing thus far and should serve to lighten enormously the workload of the next person who chooses to undertake this monumental task. -Mohammed Zanjani; Ardsley, N.Y. Another View of Ma Vlast I have to comment on reader Larry Garrison's concern ["Letters," October] over R. D. Darrell's omission of Karel An Eerl's recording of Ma Vlast in his discussion of the reissue of Vaclav Talich's performance. Having heard both Talich on the original Parliament recording and Anterl on the old Crossroads, I must say that the latter is not in the same league. Anted has the Czech idiom in hand, but his performance does not flow or breathe. For the quickest comparison, listen to the two versions of Sarka. -John P. Dahlquist Oakland, Calif. (High Fidelity, Jan. 1980) Also see:
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