Hyperion are not on streaming services. FLAC download here. It was recorded in 2006. I have a CD (ripped), I assume the FLAC is 16/44, mastered in 24/96. About $12. Plenty of people here buy Hyperion downloads. Very high quality recordings.
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If you want to stream, try these. The Cuarteto Casals completed the Haydn quartets in a more recent disc, this is the earlier first half that I bought on CD, it’s a 24/96 stream. Fine performers.
The recording was produced by Martin Bauer at Teldex Studios Berlin, which is as good as it gets.
Here is a short video of them recording the Rasumovsky quartet at Teldex.
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That’s a much earlier recording, different line-up and production team, recorded in Germany.
Thanks for the info! I’ll definitely try it out.
You should try it before criticizing it. The recordings take place in very large halls as well as an outdoor’ish venue, and yes, a few in the studio.
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I did. I sampled all the tracks using Airplay. I was only commenting on the quartet recording, which it was stated was a studio recording. Recording quartets needs a big space, the microphone set ups for Takacs and Casals are rather different, although both groups have widely acclaimed recordings that could be considered reference quality. Also, both place violins and viola either side of cello, whereas the recordings I grew up with (Alban Berg) have cello on the right.
I agree that a sample playlist is helpful to check imaging and soundstage, and I have my own. Curiously, one key track is an extremely focused centre image, The Conference from One Zero, a tabla solo recorded live (direct to disc) by Nitin Sawhney at Metropolis.
When my speakers were set up, my dealer used this disc. If not set up properly, the deep bass smears the vocals. It also works for balancing imaging and soundstage depending on the toe-in.
So I was confused as to what each track was trying to achieve, some like Eleven, by far the longest track at 15 minutes, appears to have no notes at all.
I downloaded the Soundstage Collection DSD256 earlier, but we are hosting a party tonight, so it stayed unzipped.
I will listen to it tomorrow so I can BE there 
Steven, is there a particular track or two where this smearing can be noticed? I listened to the whole album and could hear nothing problematic. 
The DSD256 I downloaded last night contains two folders for a total of 11 tracks. So, they fix it, I think.
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Sorry, my mistake, I thought it’s an archive, as it’s named part1 and 2. But it needs unpacking both separately…it’s complete then.
It’s always been two folders with 11 tracks. Perhaps Jazznut only got on folder?
No, I thought I only have to unpack part 1 and it continues with part 2 automatically. But I then saw I have to unpack both, so I also had all files then.
I was very interested and really ready to praise overall, that’s why I bought the album. Finally to be honest, it was quite a mixed bag for me, count it as just one singular experience if you otherwise just read rave reviews. I speak of small curiosities, even if it may sound more serious than that, it’s just to be more clear.
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First the more negative overall impression:
compared to the majority of well selected recordings I have from any label (normal or audiophile), my impression of most tracks of this album was a sound somehow dampened in energy, liveliness, dynamics and openness with not very focused and enveloping, not airy and breathing stage/imaging and a somehow curiously colored bass on some tracks. The focus seems to have been a detached, wide soundstage far enough behind and/or between the speakers, only on some tracks soundstage opens up in all directions and on none also quite noticeable to the front. The ambiance of several tracks was quite dry and dampened in room sound for my taste, but this probably simply is the studio ambiance or mic’ing strategy then. Some tracks had odd mixing choices, creating an effect, but not sounding realistic. On several tracks the wide soundstage is obvious, but other aspects of imaging except width are not up to the level they should. Few tracks only have some real magic. This mixed overall impression was so odd for me (not bad, but quite striking), that I thought something’s wrong with my setup at the moment, so I first switched DAC phase (with no obvious effect) and then listened to several other mixed albums/tracks, but everything was normal then.
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The positive overall impression:
all tracks have a certain high standard, some with some very good characteristics which show the potential of the technology used. Many tracks have a quite widespread soundstage, some one in all dimensions. Stage is always detached from the speakers.
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A bit in detail:
tracks 1 and 11 are nice but don’t have the energy, focus and dynamics I’m used to from such flamenco style recordings.
Tracks 3 and 4 have nothing special in sound quality or soundstaging in comparison to a majority of recordings for me.
Track 8 is good music for a jazznut, nice top end, not so special in soundstaging imo for such a topic album. Most instruments placed quite closely together mid to left with the drum set appearing left to right of them. Not unusual for recordings but that’s always a case where I’d love to hear them more clearly separated and maybe even the drum set located somewhere instead of omnipresent. Recorded at extremely low volume level, so the other tracks of this album must have quite some peaks as a surprise.
Tracks 9 and 10 are interesting to compare with a big soundstage in all dimensions and especially the studio track has some enveloping, palpable voice sound, which is more focused and palpable on the studio track. Very good but not open enough for great.
Track 5, sorry is something I refuse to listen to musically, don’t like it.
Track 2 is also one of the better in sound quality in its transparency. Still not fully on the level it could be on such an album for my taste.
Track 6, the string quartet was very interesting to listen to. I must confirm Steven‘s comment, it’s recorded so dry and in a quite damped and probably small environment compared to usual quartet recordings, that it slightly fails to impress at first… But on the other hand it’s an interesting experiment, as the quartet really sounds as playing one’s own living room (even if this doesn’t sound optimal for a quartet). This is a meaningful track for such an album, I like it even if it’s quite untypically recorded.
Track 7 is impressing but at the same time odd in soundstaging/imaging. Impressing because the voice is palpable and enveloping in a nice reverbant environment. Odd because of the piano sound left and right of the voice, spread over the soundstage artificially. I don’t think that’s the left/right echoing sound of the church but what do I know.
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Final thoughts:
It seems like a mixed sampler to me with very few tracks matching what’s expected for such a topic. Some characteristics of some tracks show the potential of the technology used, but imo the average sound quality is rather below than above well selected normal recordings, not to speak of exceptional audiophile gems. It’s great to observe what happens but I suspect there’s still a way to go in terms of mic‘ing and mixing, maybe even EQ’ing experience. I’d buy the string quartet release for its special, even if slightly odd recording style and the Enmanuel Alexander recording for the music.
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In the past Octive Records SACDs always sounded a bit dark in my system, So I never tried their downloads. Now with my new streamer, all my DSD256 files never sounded better.
So, for the first time I decided to download this DSD256 from Octave Records. To my surprise the warmness returned, a few tracks did sound like what you described. In comparason, I like the HDTT DSD256 downloads, their remasters sound clean and clear, and are a major improvement over my older recordings. Maybe if my speakers have ribbon tweeter/mid-range it would sound better. 
Thanks and sorry for the confusion.
Many thanks for doing that.
I doubt I’ve ever listened to the early Mozart quartets, the movement recorded was apparently a tribute act that failed to achieve publication, and like most I start with the Haydn quartets, which are regularly performed and recorded.
The Strozzi cantata was scored in 1659 for solo voice and bass continuo, so a duet with piano might be pushing it. I have a soft spot for Montserrat Figueras for this type of music.
I’ve been to a few flamenco shows, notably Israel Galvan and Maria Pages (on several occasions, Pages once in Paris with Paco de Lucia), both from Seville, the home of flamenco. I have no idea how it is meant to be recorded. Perhaps it should not be recorded! A visit to the Bienal de Flamenco in Seville is on my bucket list.
If you want to demonstrate soundstage, I suspect it can be done very easily with a synthetic track. The famous opening section of Autobahn is a good example, Mike Oldfield did similar things. You could just simulate cars (not electric cars), planes and helicopters flying around your living room! It would be good for parties.
Just got my SACD and yes, the soundstage, even at low volume, is amazing. Nothing coming out of either speaker, and difference in venues/settings is very apparent. I’m itching for my wife to leave for an hour or so, so I can turn up the sound and appreciate the details.
Thanks Paul, Jessica and others. A great addition to my collection.
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