Sa­muel Bar­ber – Piano Con­certo op38 (1. Al­le­gro Ap­pas­sion­ato) To test de­cay

What Hi-Fi (UK) - - Testing Your System's Treble… -

In some ways Keith Jar­rett is the per­fect pi­anist to wran­gle Sa­muel Bar­ber’s volatile Piano Con­certo op38 – his play­ing is as stri­dent and sten­to­rian, or as del­i­cately un­der­stated, as the piece it­self. And there are nu­mer­ous op­por­tu­ni­ties dur­ing these tur­bu­lent 12 min­utes for your sys­tem to demon­strate its adroit­ness (or oth­er­wise) when it comes to de­scrib­ing the de­cay of the co­pi­ous high­fre­quency sig­nals burst­ing from the piece.

Dy­namic and ex­plo­sive

The dy­namism of Jar­rett’s play­ing (par­tic­u­larly in the up­per reg­is­ters) is test­ing enough by it­self – his stabs at his in­stru­ment’s key­board shouldn’t over­stay their wel­come, though nei­ther should they dis­si­pate ahead of time. And that’s be­fore you fac­tor in the tre­ble in­puts of an en­raged string sec­tion, the blar­ing brass or the ex­plo­sive per­cus­sion punc­tu­a­tion. There are many ways your set-up can be ex­posed by this piece – but if those short wave-forms are de­scribed in full, it’s even eas­ier to be swept away by its po­tency and power.

Also Try Duke Elling­ton and John Coltrane In A Sen­ti­men­tal Mood

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