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There are those who might regard Tacet’s unorthodox recording technique—placing the listener dead centre in the surround sound picture—as something of a gimmick, but once the initial surprise has worn off, the tactic can be regarded as both totally immersive (the listener virtually becomes part of the recording) and, in fact, as musically justified as the separation of the individual instrumental strands allows for a truly balanced and judicious examination of such elements as harmony and counterpoint. That is very much the case with this new recording, but the device would not be defensible unless it worked within the context of such sensitive performances of the Dvoøák chamber pieces as those to be found here.

Barry Forshaw

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