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Chamber Music - Released March 29, 2011 | harmonia mundi

Hi-Res Booklets Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released February 25, 2013 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Choc de Classica - Hi-Res Audio
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Classical - Released August 19, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
It was 1987. A young harpsichordist, a thirty-one year old from Göttingen, Germany, dazzled the musical world with his brilliant version of the fifth Brandenburg Concerto, recorded by Reinhard Goebel and the musicians of the Musica Antiqua Köln, for Archiv Produktion. Since then, Andreas Staier has often returned to the music of Johann Sebastian Bach. He has succeeded at everything that he has tried; including Partitas, the Italian Concerto, the French Overture, Fantaisies - a piece attached to his youth (Deutsche Harmonia Mundi, 1988, 1993), the simply inexhaustible Goldberg Variations (harmonia mundi), through to his amazing recital – never to be forgotten – of the Sonatas (1997). Now, he is publishing a recording of the seven Concertos for (one) keyboard. In total harmony with his co-conspirators at the Freiburg Baroque Orchestra, Staier offers classical lovers releases like no other. He moves away from the light spirit of "entertainment" in Telemann – the historical founder of the Collegium Musicum in Leipzig - for whom these concert works were originally executed. For Staier, these concertos betray an expressive depth, a contrapuntal density, which is incomparably sonorous. Listen, for example, to the Adagio in D minor. Here, the low rumble is tinged with tension and anxiety, under the cover of a singing lyricism. The addition in the last movement of the concerto, even in a relatively tortured cadence, is reminiscent of the young Bach (who was himself influenced by the "stylus phantasticus", or tempos retained, of E major, which goes on to reveal its full melancholic tone). For Staier, these stunning pieces are all authentic mini-dramas. We have long awaited such daring and original releases. © Qobuz
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Chamber Music - Released March 17, 2017 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik
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Classical - Released May 15, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio
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Chamber Music - Released March 11, 2011 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio
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Trios - Released September 23, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik
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Classical - Released March 13, 2020 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica
What exactly is this “new path” (neuer Weg) that the infamous fortepianist Andreas Staier is inviting us on with this new album published as part of harmonia mundi’s vast Beethoven 2020-2027 project? All the works offered here were composed at the dawn of the 19th century by a young tempestuous composer who was conscious of his worth but also of his weakness as he began to feel the first effects of the deafness that would go on to take over his life. This recital is mind blowing from the first few beats of the thundering Sonata No. 16 in G major. With his crystalline, weightless fortepiano built by Mathias Müller around 1810, Staier seems to show us how much this frail instrument labours to show the full spectrum of the composer’s genius, boundary-breaking as it was at the time. The three sonatas and two series of variations that make up this programme were all published in 1802, at a time when Beethoven wanted to “start something new” at the turn of the century after the slew of revolutionary torment that had shaken Europe to its core. It was a new way of thinking for a composer who spoke with a more authoritative tone than his predecessors, in the “first person”. Andreas Staier is without a doubt one of the best possible performers to portray this new era of musical and artistic thinking that arose during a troubled time (the rise of Napoleon) when the clarity of language rivalised the closing off of individuality. © François Hudry/Qobuz
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Chamber Music - Released March 29, 2010 | deutsche harmonia mundi

Distinctions The Qobuz Ideal Discography
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Trios - Released May 26, 2014 | harmonia mundi

Distinctions Choc de Classica
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Classical - Released February 23, 2010 | harmonia mundi

Booklet
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Classical - Released October 19, 2018 | harmonia mundi

Hi-Res Booklet
For a long, long time, the Iberian Peninsula remained separate from the mainstream currents of European music, and most of the musicians and composers active in Spain and Portugal in the 18th century came from Italy or other countries. The new Spanish royal family – The House of Bourbon, established by Louis XIV of France who allowed his grandson Philip V to take to the throne – had adopted Versailles' splendour. However, they still had to reckon with the Grandees of Spain with their aristocratic tradition, privileges, morgue, precedence, freezing austerity and extreme religious faith… And so, once the succession war was over, the arts found that they had been left somewhat neglected. It was therefore down to Italy and England to lead the musical dance in Spain for a while. Scarlatti and Boccherini, of course, are the most representative names of this influence, so it is normal that this album, "Á Portuguesa" (extended to Spain, it is true), gives prominence to these two composers. The masterpiece here is, and forever shall be, Boccherini’s extraordinary Musica notturna delle strade di Madrid. The work was initially conceived for a string quintet, though is redistributed here to a string orchestra with Andreas Staier’s harpsichord. Staier remains on the harpsichord for two concertos by José António Carlos de Seixas (1704-1742), a Portuguese composer who wrote an impressive corpus of some seven hundred toccatas, as well as some beautiful concertos. England offered up some Iberian works too, including William Corbett's amusing concerto Alla Portuguesa from his collection Le Bizzarie Universali, proof that the Iberian Peninsula was still considered to be some strange place at world’s end. Charles Avison transcribed Scarlatti's sonatas into concerto grossos, of which this is one of the most striking examples. Staier is accompanied by the excellent Baroque Orchestra of Porto. © SM/Qobuz
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Classical - Released June 12, 2012 | harmonia mundi

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Classical - Released March 25, 2008 | harmonia mundi

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Classical - Released October 20, 2014 | harmonia mundi

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Classical - Released November 18, 2008 | harmonia mundi

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Classical - Released June 17, 2016 | harmonia mundi

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Classical - Released July 31, 2007 | harmonia mundi

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Chamber Music - Released February 1, 2005 | deutsche harmonia mundi

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Classical - Released October 19, 2007 | Warner Classics International