In the early '70s the major classical labels tried to duplicate their success with stereo recording by introducing a new technical breakthrough, variously known as quadriphonic, quadraphonic, or quadro recording, or simply quad sound. It demanded consumer investments that were both sophisticated and large, and thus failed in the marketplace. The format was undoubtedly well suited to certain classical works, however, and quad sound recordings have been issued with success in various new audiophile formats. The Berlioz ...
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In the early '70s the major classical labels tried to duplicate their success with stereo recording by introducing a new technical breakthrough, variously known as quadriphonic, quadraphonic, or quadro recording, or simply quad sound. It demanded consumer investments that were both sophisticated and large, and thus failed in the marketplace. The format was undoubtedly well suited to certain classical works, however, and quad sound recordings have been issued with success in various new audiophile formats. The Berlioz Requiem, with its complement of 400 musicians and singers, was an ideal candidate for treatment in this medium, and this recording, made in 1969, was something of a milestone in its way. Its reissue here by the Netherlands-based PentaTone label is in five-channel super audio surround sound. It was sampled here on a good conventional stereo, but those who hear it may experience a strong urge to drop large sums on new stereo equipment; it is a stunning piece of engineering. Few engineers...
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