Audiophilepure

https://www.stereophile.com/content/estelon-aura-loudspeaker

The instruments and their aural environments are remarkably similar to each other, but I detect a bit more focus in the BIS recording. And, although Zhang was recorded in a film/recording studio in Munich and Piemontesi in a small, modern concert hall in Lugano, neither recording offered much information about the acoustics of the recording sites. The contrast is in the playing. Zhang clearly relishes articulating individual notes, which he does with almost superhuman precision. Piemontesi leans toward a more legato expression, although the Estelons still let me hear each of the notes when I attended to them. Zhang’s delineations were thrilling in the “big” pieces, such as No.4, “Mazeppa,” and No.8, “Wilde Jagd,” but also surprisingly touching in the more delicate No.7, “Vision”; he kept me hanging on every note, with bated breath. Strangely, Piemontesi’s more fluid playing achieved more momentum in the big pieces and provided a much-appreciated grace in the delicate pieces. I listened to both performances several times via the AURAs. The experience was informative, enjoyable, and totally nonfatiguing.

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