“a pleasing blend of intellectual rigour, robust declamation and leisurely reflection.” --BBC Music Magazine, April 2010 *****
“Happily, Staier's effortless virtuosity (hear the trills in Variation 28!) and sensible musicianship go together to make this a strong Goldberg...The instrument is undoubtedly a major star here but that need not stop us from recognising its player as a master harpsichordist.” --Gramophone Magazine, June 2010
“Happily, Staier's effortless virtuosity (hear the trills in Variation 28!) and sensible musicianship go together to make this a strong Goldberg...The instrument is undoubtedly a major star here but that need not stop us from recognising its player as a master harpsichordist.” --Gramophone Magazine, June 2010
“Astounding — not so much because of Staier’s interpretative approach to Bach’s keyboard glory: it’s more the instrument he’s playing...The colour range is enormous. So is the sound’s breadth...There’s great musical theatre in every track, plus peerless beauty and intellectual heft.” --The Times, 13th February 2010 *****
“Staier sustains a courtly musical protocol in, for instance, the four-voice Fughetta of 'Variation 10', while elsewhere executing the complex hand-crossing of 'Variation 5' with a dexterity that presents the piece as part maze, part cascade.” --The Independent, 19th February 2010 ****
“Staier sustains a courtly musical protocol in, for instance, the four-voice Fughetta of 'Variation 10', while elsewhere executing the complex hand-crossing of 'Variation 5' with a dexterity that presents the piece as part maze, part cascade.” --The Independent, 19th February 2010 ****
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