Yes, as reported on my “New Kid” thread, albeit in an unfamiliar system and with speakers that have a very different sonic character to my own. Nevertheless I had the system all to myself for a good part of an afternoon and had the opportunity to play several well known test tracks and compare back-and-forth.
At the risk of creating insurmountable expectation bias my observations were that Varèse was better on every obvious parameter, and not subtly so. Two that are particularly dear to my heart are:
- soundstage: larger in all dimensions and with more pinpoint placement and “separation”, and
- micro detail: timbre (does a double bass start sounding like a timpani below a certain frequency?), note decay (is it portrayed as clearly as the attack?), etc.
To me, these are critical ingredients of the “magic trick” of momentarily allowing your brain to fool you that you are actually somewhere else, “there”. My summary was that it sounded like “the very best analog” which I intended as a supreme compliment but wasn’t necessarily taken as such by my hosts. Oops! 
It’s swings and roundabouts though. I was even able to hear a dub on one familiar track, where two takes had apparently been spliced together. It breaks the “spell” but it’s still pretty amazing when you’ve never noticed it before. In retrospect I wish I had listened to the 1981 Gouldbergs (I didn’t). I wouldn’t mind betting that Gould’s humming would be as clear an “instrument” as the left and right hands and the “mouse orchestra” would be audible even at normal listening levels!