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Montreal Olympics A lot of us, I think, enjoyed the Olympic Games of last summer at Montreal. Among the enjoyments of the Olympics I would certainly include the music, written mostly by the late Canadian composer Andre Mathieu, together with Victor Vogel, and arranged by Art Phillips. It was stunning, exciting, and really contributed to the games. Others who feel as I do will be happy to know that the music is available on a Canadian Polydor disc (2424 124), which is distribute in the United States by Peters International, 619 West 54th Street, New York, N.Y. 10019. The list price is $7.98. PHILIP DAVID MORGAN; Saint James, N.Y. The Music Editor adds: Those who watched the Olympic Games on television and were attracted by the fanfare that opened each session should know that it does not form a part of the music mentioned above. It is, in fact, a work by Leo Arnaud called Olympic Fanfare, part of a larger piece called Bugler's Dream. It is available on record performed by the Con cert Arts Symphonic Band under the direction of Felix Slatkin, Angel S-36936. Buyer's Guide I've been striking a 90 percent batting average lately by buying what Joel Vance dislikes. Although this technique has made me go broke, I've now a collection of records that I really enjoy. I don't know anything about art, but I know what I will like, thanks to JV's reviews. JERRY CHAPMAN; DeKalb, Ill. Hm. That makes Joel Vance about 90 percent effective. More on Mahler Please advise Paul Samuel that it should be de mortuis nil nisi bonum, not bene as it appeared in his December letter. And, while we are at it, another good notion is de gustibus non-disputandum est. I happen to like Mahler's music very much, but I do not feel that everyone else should. I would have scant respect for a critic who tempered his judgment to conform to the current feelings of the majority. Of course, I concede that R. D. Darrell was unprofessionally intemperate. CHARLES J. SHEEDY; Woodhaven, N.Y. Heloisa and Astrud In reference to Chris Albertson's review of Stan Getz's recent album "The Best of Two Worlds" in December: the reason Astrud Gilberto's name does not appear on the album or liner notes is that she doesn't sing on the album. All the English vocals on this al bum are by Heloisa Buarque de Hollanda, who does a very creditable job. It is my understanding that Astrud Gilberto has not sung on a Getz album since the live album in 1968 or 1969 which introduced Gary Burton on vibes. CHARLES J. MALEMUD; Port Jefferson Station, N.Y. Mr. Albertson replies: Mr. Malemud is probably right. I checked with Columbia Records, and they would neither confirm nor deny that Ms. Heloisa Buarque de Hollanda is the vocalist. Thus, Ms. Gilberto may well have made her last album with Getz in 1968 or 1969-but no such album "introduced" Gary Burton, who began recording as a leader in 1961 and with Getz as early as 1963. Steeleye A million thanks from a long-time Steeleye Spanatic for the faithful attention you have paid to each one of their recordings, the latest being Eric Salzman's review in the December issue. I stumbled on the Span at a Procol Harum concert a few years ago in Pittsburgh, and Maddy Prior and the group's extraordinary vocal abilities sent me on a wild hunt for any of their recordings I could find. Seeing and hearing them do Gaudete from "Below the Salt" was orgasmic! They just stood there in a line with hands cupped over their ears and did this glorious a cappella vocal. I urge anyone who hasn't yet heard Steeleye Span to go out and buy some albums and listen to something really "solid" in folk-rock. If getting the imports means a trip to England-do it! GARY SALAMONE; Pittsburgh, Pa. Opera Cats Every month when I receive STEREO REVIEW, I look at the regular columns first be cause I always want to see the new pictures of the columnists even before I read them. I am a cat lover, so naturally I was fascinated by the picture at the heading of "The Opera File" in December, showing William Living stone with a group of most unusual-looking cats climbing over his record collection (is that a good idea?). They are unlike any others I have ever seen, and I'd like to know what kind they are, what color they are, and all about them. MARY ANN PALMER; Portland, Ore. Mr. Livingstone replies: They are Korats, a rare breed from Thailand. Silvery grey all over, they have very short hair. The eyes of young Korats are gold-colored, but they turn green in maturity. My tomcat, in the fore ground of the picture at the column head, is Ernesto Leogrande, named for a character in Is That You, Miss Blue?, a novel by M.E. Kerr. At his left is his mate, Gioconda. Their three kittens, all females, are Laura, Cieca, and Gemma di Vergy. There are about two thousand Korats in the United States, where the breed is promoted and protected by the Korat Cat Fanciers Association. Literature on the breed can be obtained for 500 from the president of the association, Miss Catherine Barclay, 324 North 76th Street, Boulder, Colo. 80303. Critic's Candor I applaud Noel Coppage's review of Dylan's "Hard Rain" (December). It is rare that such a revealing exposé of a critic's motivating perceptions appears in print. I don't agree with his conclusions, but I appreciate the opportunity to get outside my own manner of perceiving things and into someone else's. Will Peter Reilly be so bold? STEVE CORWIN; Monmouth, Ore. All writing, except perhaps laundry lists, is autobiographical, and the real Mr. Reilly can of ten be glimpsed fleetingly through the prose thicket as he slips easily from metaphor to metaphor. Record Rating I'm afraid to even read your record re views any more, for one day I fear this is what I'll see: NEARLY EVERY RECORD THIS MONTH. All pop recordings and one hillbilly bluegrass record. ALL LABELS, assorted prices. Performance: Terrible, terrible Recording: Excellent to like cosmic, man All records this month were so bad that we couldn't even bear to take off the shrink wrap. One record, however, was good: "The Inbred Mountain Boys," and it was "good old nose-pickin' music," indeed a refreshing change from any of the utter trash from at least one year back. C.A. , , P. K. , P.R., J. V. The rest of the magazine remains typically superb, but a little more of the old objective view could be observed by the "record-raters." Joel Vance's poem on the new Aero smith album in November was unnecessary, for example. GAYLE W. RARESHEID; Lorain, Ohio Otello In November Letters, John Clifton wisely requests a new complete recording of Otello with Carlo Bergonzi singing the Moor. For the past twenty-five years we have endured the coarse shouting and bawling of some and the overblown histrionics and exaggerated melodrama of others who have attempted to "sing": this greatest of tenor roles. Neither approach can begin to suggest the grand humanity of Otello. With Mr. Bergonzi's innate musicianship, dramatic sensitivity (and restraint!), noble expression, and his now thicker and darker sound, he would be an outstanding Otello. I, too, strongly urge Philips Records to record Verdi's greatest work with Car lo Bergonzi, Montserrat Caballe, Piero Cappuccilli, and, of course, conductor Lamberto Gardelli. THOMAS R. WILSON Downers Grove, Ill. John Clifton might have mentioned that Jose Carreras has a more beautiful sound to day than Carlo Bergonzi, and John Leone could have suggested that Jussi Bjoerling was also a pillar of the Metropolitan Opera despite their great praise for Carlo Bergonzi in November Letters. Nevertheless, I believe that Mr. Bergonzi surpasses even Carreras and Bjoerling because of the way he sings. His beautiful line, highly intelligent phrasing, and limitless breath control leave all others in the shade. A new Otello with Mr. Bergonzi would be most welcome. GEORGE KILENS; Bayside, Wis. Little Trips First, Steve Simels gave us Bruce Springsteen, then Patti Smith, and more recently he drooled all over Warren Zevon in August's "Best of the Month." What's the matter with this man? Has he no taste?! The aforementioned may have been different, may even have provided a moment's interest amongst the Velveeta, but they were never consistently good. And it was immediately obvious to those among us who swallowed Simels' line and bought the records that these people were not really interested in entertaining anyone or in even producing "art" but were on their own little trips to nowhere. At least I still have Noel Coppage and Paul Kresh to believe in. W.A. HILL, JR. Tallahassee, Fla. Monkees In reply to Noel Coppage's review of the Monkees' "Greatest Hits" in November, I would have to agree that the music is pretty simple, but I'd rather listen to old "bubble-gum" music than disco or the so-called "rockers" like Robin Trower, Montrose, Kiss, and hundreds of other groups like them. The Monkees' music brings back a lot of good memories when the only things I had to worry about was if the Tigers would win the pennant and if I'd ever reach sixteen. If Noel is using his album to strike matches on, do me a favor: have him send it to me so I won't have to buy one and worry about whether I'll be able to make my car payment! JOHN FOSTER; Fairgrove, Mich. Homemade Rock Although I cannot answer the exact question Steve Simels poses in his November column, "What's Playing in Peoria?", I can tell him how to find out what's playing in Louisville. WLRS, the local FM rock outlet, has just issued the "WLRS Homemade Album" with twelve original performances by local rock outfits for only $1.25. Copies are avail able from WLRS-FM, 800 South Fourth Street, Louisville, Ky. 40203. W. GEOFFREY ROMMEL; Pewee Valley, Ky. Disc Quality I am becoming increasingly disgusted with the deteriorating quality of record albums. It is a rare occasion when I am lucky enough to buy an album without audible defects and warpage. A few years ago I was a prolific record buyer, purchasing two or three albums a week, but lately I hesitate to buy even one al bum (and it would most likely be an import, at that). In the meantime, record companies will continue to profit from less discerning buyers who, unfortunately, comprise the bulk of the market. Nevertheless, it is a consolation to know that they have lost one minuscule source of their revenue. RAY CHIN; Los Angeles, Calif. Rachmaninoff Rarity The Rachmaninoff "D Minor Prelude," as it was called in David Hall's October review of Ruth Laredo's recording, is actually an un titled piece dated November 14, 1917, of which I gave the first performance from a manuscript facsimile in 1962 (a copy I had sent Van Cliburn for that purpose after his Russian trip was lost). Since then I have performed it a number of times together with Fragments (November 15, 1917). This is another example of a publisher's misnomer. Rachmaninoff had written twenty-four preludes, one in every key, and had chosen other titles for all subsequent piano works of this kind. The piece in question was finally published only last year. NOEL FARRAND; Canon, N.M. King Bhumibol Joel Vance's review of "Bill Cosby Is Not Himself These Days" in the October issue contains an inaccurate and rather negligent statement. His Majesty King Bhumibol Adul yadej has been reigning in Thailand with great wisdom and fortitude for thirty years and will undoubtedly continue to do so for many years to come. Referring to His Majesty as the "former" King of Thailand is certainly in poor taste, and I feel an apology from Mr. Vance is in order. The fact that there are very few recordings of His Majesty on the saxo phone is a great loss to all of us who have had the pleasure of listening to him "live." P. THIENPRASIT; Chiangmai, Thailand Product Evaluations Although Mr. Hirsch's fine review of our state-of-the-art 2000Z phono cartridge in the October 1976 issue was accurate as far as it went, the testing procedures used did not allow the cartridge to realize its full potential. Specifically, the tests were conducted in a tone arm that was not fully state-of-the-art. In general, it seems valid to test an advanced product such as the 2000Z in an equivalently advanced tone arm. In that way, a truer evaluation of the product itself can be made. This approach would be beneficial to your readers as it will tell them the best that can be expect ed from the product. Standardization of the tone arm in cartridge evaluation would also allow for better comparison between different models and brands. Let's keep in mind that we are all in search of high fidelity-not aver age fidelity. NORMAN LEVENSTEIN; Empire Scientific Corp. Garden City, N. Y. Larry Klein replies: We agree--so long as the cartridge manufacturers let us know-so we can let our readers know-what, if any, deterioration in performance might be expected when certain parameters of their recommended tonearm performance depart from that which they consider ideal. The problem is, I fear, that almost everyone has his own notion of what a "state-of-the-art" anything consists of. Erratum We apologize to our readers and to London Records for the mistake in the headline, in the December "Best of the Month" section, erroneously attributing Sir Georg Solti's new recording of Carmen to Deutsche Grammophon. The headline should have read: "London Records' New Carmen Goes Straight to the Head of the Class." Now, class, repeat after me: "London Records' New Carmen ... " -Ed. Also see: NEW PRODUCTS: Roundup of latest audio equipment and accessories. THE TOKYO AUDIO FAIR: A report on breakthroughs, trends, and approaches (Feb. 1977). AUDIO QUESTIONS and ANSWERS: Advice on readers' technical problems, by LARRY KLEIN EQUIPMENT TEST REPORTS: Hirsch-Houck Laboratory test results on the: JVC JR-S600 AM/FM stereo receiver, Marantz Model 1250 integrated stereo amplifier, KLH Model 354 speaker system, and Micro Seiki DDX-1000 turntable and MA-505 tonearm Source: Stereo Review (USA magazine) |
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