Had been thinking about Partita for 8 Voices in the context of binaural / positional audio fuckery in music, b/c Michael Gordon's 8 came up on shuffle. That also is positional fuckery based:
Eight cellos in a circle. The audience can sit around the octet, or even inside the circle. The cellists start to play, and the resulting music spirals around like a moving object. 8 is part of a series of works that started with Timber for six percussionists playing amplified simantras, and includes Rushes for seven bassoonists and Amplified for four electric guitarists. Each of these works is meant to induce a quasi-meditative, almost ecstatic state, in the listener as well as the performer.
but that recording doesn't go nearly as hard in terms of how it's mastered, I guess? Compared to Partita for 8 Voice. The spatial aspect comes off quite subtle in comparison. I wonder if it sounds better on speakers as a result.
I'm partial to music that fucks with this sort of thing, but there just aren't a lot of good recordings of interesting music that do. It's treated as a bit of an audiophile gimmick when it comes to anything recorded in a studio, I think. It's not uncommon to find binaural dummy head recordings of older live performances; for example, in some cases for like big orchestral pieces back in the day there would be two versions put out, one intended for speakers and one for headphones. But those at best just sort of captured the overall room sound. (There's also quite a few binaural bootleg recordings in the Internet Archive, but these are generally pretty lo-fi.)
Dolby Atmos et all kicked off a bit of a rush to put out spatially tweaked versions of albums, but these were mostly pretty terrible, apart from some jazz albums I think that were mostly made using preexisting surround sound DVD releases. I think the novelty factor on that stuff has largely died back off?