All the TACET recordings I have are for relatively small musical formations. I often wondered whether the same recording techniques that TACET use could be applied with similar success to larger formation up to a full orchestra. This recording proves that it is possible, and that the results can be as extraordinary as on other TACET recordings.
As is usual for TACET (but so rare on other labels) this recording offers an excellent separation of the various instruments which means that all the musical lines are easy to hear at all time. For example, the lower strings may play in the back and the violins up front, accompanying woodwinds on the center channel. This way all musical cues are immediately perceptible. Sitting at the center of the listening room, all sounds from the loudspeakers blend nicely and there is not the impression to listen to individual loudspeakers, but to a continuous sound field that surround us completely.
All the instruments are exquisitely reproduced with astonishing fidelity. For example, in the Carnival, in the movement "elephant" I never heard a double bass recorded in such a realistic way. The acoustic signature is enormous, larger than the limits of my own listening room.
There is no LFE channel. The sound is really surround, one can turn around 90,180,270 degree and the sound level is equal on all side (of course when all speakers are used). When a single solo flute is playing all the sound energy may seem to come from a single point in the room.
This recording uses a technique that TACET calls "Moving Real Surround Sound". It is the ability to move a sound across or around the listening space. For example, a scale at the piano may start at the back an move up to the front as if the piano was stretched, or a flute will jump from tree to tree across the room. These effects are amusing and perfectly suited to this kind of music. The effects are never overdone and the sound perspective remains realistic at all times.
entire review by Jean-Marc Serre

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