Word: telefunkens
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...head with IBM, Machines Bull (now Honeywell), Philips, Burroughs and Univac. Nixdorfs firm is the only European-based company that has consistently earned a profit from computers throughout the past two decades. Lately, the directors of one major manufacturer decided that he must be doing something right: AEG-Telefunken last December placed its computer interests in a fifty-fifty partnership with Nixdorf; the two companies have formed a joint subsidiary to develop and produce large computers...
...living room will be complete without a videotape player and recorder, along with a library of cassettes. Some companies have been putting movie classics on cassettes, as well as cooking lessons, travelogues and courses for salesmen and doctors. Many of the biggest companies in consumer electronics-RCA, CBS, Sony, Telefunken, Decca, Ampex, Avco -have poured fortunes into developing cassettes or special player attachments for home television sets that, any day now, would revolutionize...
...Telefunken recordings (SA WT 9059-10) of the J.S. Bach orchestral suites are a superb example of how musicological scholarship has radically transformed performance. Played by the Concentus Musicus of Vienna, the suites are led by Nikolaus Harnoncourt, an excellent viola da gambist and brilliant musicologist...
QUARTET FOR FLUTE AND STRINGS, K. 285; QUARTET FOR OBOE AND STRINGS, K. 370; QUINTET FOR HORN AND STRINGS, K. 407 (Telefunken). This new recording of some seldom heard but thoroughly charming Mozart is ably presented by the Strauss Quartet, a group of young German instrumentalists, and three agile collaborators. Particularly outstanding is Hermann Baumann's dazzling horn playing in the quintet; he seems to be daunted neither by enormous leaps nor precipitous scales and ornaments...
REQUIEM, K. 626 (Telefunken). Mozart's liturgical music is tricky to interpret. But Karl Richter, an organist and harpsichordist as well as conductor, creates a performance that combines operatic grandeur in the Dies Irae with the religious awe attending death that is heralded by the sepulchral drumbeats at the close of the Agnus Dei. The four first-class soloists (Maria Stader, soprano; Hertha Töpper, alto; John van Kesteren, tenor; Karl-Christian Kohn, bass) enter into the spirit of their conductor's classical conception: they never struggle to achieve Wagnerian eminence of tone but modestly blend into...