Evening star., 1952-06-08
TurntobIe Talk
BY james 6. Deone

''FFRR" tfull frequency range
recording)-the trade mark of
English Decca and London records
has become such byword in
the Photographic vocabulary that
a search for similar catch phrases
by other makers was inevitable.
Several have been introduced re-
Gently, each as a label for what
is heralded as an advanced rec
ording technique.
Capitol calls it's product full
dimensional sound" IF D S.
Westminster, which established a
reputation without any catch
word, now touts natural balance. "
Bargain-priced Remington para
phrases London with a multi
syllable complete audible range
reproduction" And Mercury es-
pouses the most grandiose of all
-"living presence"
All this phraseology has con-
siderable basis, although none
represents either monopoly or
finality. More modest-speaking
purveyors-including the two big
gest-also are making substantial
engineering strides; and the end
is nowhere in sight. But the fact
is that records-technically-are
getting better.
Technique Explained
Mercury's pretensions-and these
are the ones that will be dealt
with-rest at present on six discs.
These comprise what is called the
Olympian series. Four present
the Chicago Symphony Orchestra
under its new conductor, Rafael
Kubelik. The other two are by
the Minneapolis Symphony under
Antal Dorati.
The recording technique is ex-
planned on each record jacket-a
rarity in itself. Mercury, proudly
if incautiously. calls its method
unique" The aim, states the
jacket, is realistic depicting of
the orchestra playing in the con-
cert hall. The method is a single
microphone, suspended IS feet
above the podium. The explana-
tion continues:
Particular emphasis has been
placed on achieving full dynamic
range and on avoidance of tonal
distortion resulting from attempts
to create spurious effects of ultra
wide frequency range and bril-
lance"
All this has a practical con-
sequence, also noted on the
jacket: In order to hear quiet
passages in proper relation to the
|climaxes dynamic range again)
each record must be played at
full room volume" G.e., loud)
Moussorgsky Is CoIorfuI
The aims-realism, no distortion
are laudable. What of the re-
suits? The first of the Chicago
discs was MoussorgSky's Pictures
at an Exhibition" orchestrated by
Ravel. There isn't a more color
full work in the repertoire. How
does it sound? Breathtaking. Is
it typical? OF the Chicago record
ings, yes. Here are some details:
Striking overall clarity. No
blasting, screeching. Incisiv
|clean-cut percussion-typani are
unforgettable. Tremendous dy-
namics-quiet passages really are
quiet: loud ones Jump at you. But
it's all cohesive-no pulling apart
Real spartial feeling-sounds just
like Orchestra Hall. Chicago. Far
outdazzles only long playing COM
Ipetitor Rodzinski-C Columbia).
There are faults, too. Winds
percussion sometimes overshadow
strings in loud passages, espe-
cially violinS. Certain other
instruments are occasion ally
sighted. And climaxes-at proper
volume-are almost overwhelming
But good points outweigh these
/ Newt disc-a pairing Of Bloch's
Concerto Crosse" Bartok' S
1 l"MuSic for STRINGS Percussion and
Celesta." Strings here are live
resonant and natural. (Bartok is
dissonant, astringent, in place OF
Pictures" sonorities.) Clean per-
cussion. Again the spatial effect
/ Two very good alternatives art
available for comparison with the
lDyorak New World Symphony.
One is Stokowski's (Victor) anc
1.-THE other. Jorda's Gondon)