Nocturne in F minor, Op. Structure[ edit ] The piece is n ternary form AB. It starts with the main theme which repeats once with only minor variations. The right hand plays a slow melody and the left hand accompanies with a bass note and then a chord, in crotchets.
Sep 1, Few people in the high end know the difference between glorious excess and wretched folly as well as Harvey Rosenberg footnote 1. Fortunately, I am only an humble equipment reviewer and not a literary critic.
Its designer has attempted to minimize the problems an output transformerless design encounters in coping with low impedance loads. It must be able to handle both very high voltages and very high currents at the same time, dissipating up to watts.
The end result of all this power output capability and regulation is physically and acoustically impressive.
The amplifier weights lb and comes in four heavy rack-mountable It is styled using the kind of rugged industrial or laboratory quality meters, switch knobs, and heavy metal construction that was common in hand-built military test gear used during the s "Dr.
The inside of each chassis is strictly s, though, filled with all the latest in active and passive components, and clean circuit boards and wiring layout; the construction standards are superb. Quite frankly, the kind of construction you find inside a Futterman OTL-1 makes the internal wiring of a product like the Jadis embarrassing.
The Futterman exemplifies how high-end equipment should be built footnote 3. It has an extremely fast rise time and an excellent squarewave response for a tube amplifier, and provides wide bandwidth up to full power. I should also state that the Futterman OTL-1 amplifier proved exceptionally reliable.
The OTL-1 is not a "hothouse" unit; you can have real fun with it and not worry about ongoing tube problems, shock, constant readjustment, etc. The Sound The OTL-1 is probably the best amp available for the tube fanatic seeking the maximum possible emotional impact from recorded music.
This does not mean that the OTL-1 is colored in any normal sense of the term. As I have already said, it measures very flat, and harmonic and intermodulation distortion are both exceptionally low for a tube amp.
In fact, the Futterman OTL-1 qualifies for all the best buzz words used by reviewers in characterizing the romantic tube sound: This shows up on a wide range of music; brass has bite without bitterness; unlike many amplifiers that have high transparency, male and female solo voice have their full body and impact; strings retain their natural hardness without added hardness or loss of information; orchestral music has both natural power and convincing detail, even in soft passages; solo instruments never seem to be floating in limbo right next to the microphone to the extent common with most competing amplifiers.
The bass varies considerably with different loads, although the OTL-1 provides by far the most natural measured and apparent deep bass of any OTL design to date. With the right load, it is exceptionally fast and dynamic, without losing control.
The lower midrange is strong and vibrant, with the punch and emphasis of the older concert and opera halls. The OTL-1 does not correct the evils of close miking so prevalent in the last couple of decades, but it certainly gets the best out of modern recordings.
Its midrange provides the kind of conviction sadly missing in most modern power amplifiers precisely because it is transparent and dynamic, without attenuating the lower midrange. While the highs are not quite up to the very best Audio Research designs, they are slightly superior to those of the Conrad Johnson Premier Five, and far superior to the rolled-off highs of the Jadis designs.
Nevertheless, the highs will not sound "flat" by the standards of most of the competition, because the OTL-1 provides the lower midrange and upper bass power and dynamics missing in virtually every amplifier.
One has the feeling of natural treble attenuation that one gets from sitting in rows G-M of a good hall. It is, however, a bit load-dependent. This is particularly true of depth, which can range from good to superb, depending on the speaker.
The competition is also load-sensitive in terms of soundstage performance, but the OTL-1 is a little more load-sensitive than most.
I advise consultation with your dealer, and close attention to cables and speaker placement, to get the best soundstage performance out of this unit. This is one case where careful listening and a little effort can pull you from the doldrums of the merely excellent to scale the heights of the superb.
In fact, the one reservation I have about this design is the fact that it requires even more careful demonstration and set-up, and even more attention to speaker and cable compatibility, than the few top-quality products with which it competes.Start scrolling to learn about famous Classical Music composers.
On this site, click to hear the piece. Download it from iTunes and Amazon. Pollini took time off after his spectacular early success to mature as a musician, and when he returned to concertizing around the time he made this classic recording of the 24 Preludes (), he had achieved a combinaiton of fire and ice, intelligence and passion, that has propelled his career ever since.
Start scrolling to learn about famous Classical Music composers. On this site, click to hear the piece. Download it from iTunes and Amazon. According to the Harvard Concise Dictionary of Music, a nocturne is "most often, a romantic character piece for piano with an expressive melody over a broken-chord movement accompaniment.".
Sheet Music Exchange is a web site for those who wants to access popular sheet music easily, letting them download the sheet music for free for trial purposes.
It's completely free to download and try the listed sheet music, but you have to delete the files after 24 hours of trial rutadeltambor.com't forget, if you like the piece of music you have just learned playing, treat the artist with respect. Guitar Composers of the Classical and Early Romantic Period Circa "Guitar compositions of the 19th century, with the exception of those of a didactic nature, haven't received the attention they deserve from either scholars or performers.