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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

Classical - Released February 25, 2013 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Choc de Classica - Hi-Res Audio

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

Chamber Music - Released March 17, 2017 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik

Classical - Released May 15, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio
Even though hearing Ludwig van Beethoven's Diabelli Variations, Op. 120, performed by Andreas Staier on a fortepiano, may be the main selling point of this 2012 release on Harmonia Mundi, it seems to take second place when the CD's curiosities are considered. Viennese publisher Anton Diabelli challenged a number of Austrian composers to devise variations on his original waltz, and though Beethoven's set of 33 variations has come down to us as the most memorable result of this contest, one almost never hears any of the variations composed by the likes of Carl Czerny, Johann Nepomuk Hummel, Frédéric Kalkbrenner, Joseph Kerkowsky, Conradin Kreutzer, Franz Liszt, Ignaz Moscheles, Johann Peter Pixis, Franz Xaver Wolfgang Mozart, or Franz Schubert. Diabelli collected 50 variations from as many living composers, which he published as Part II of Vaterländischer Künstlerverein. But Beethoven's magisterial set was published as Part I, so Staier's reversal of the parts on this recording is strategic, to entice the listener to try the less familiar variations first, and even offering his own witty variation as an Introduction, before heading straightway into Beethoven's richly developed work. The recital is totally convincing, and Staier's plan works, because hearing the variations in their published order would have been anti-climactic, since Beethoven's monumental music dwarfs even the cleverest of his contemporaries' efforts. Staier's playing is energetic, fun, and exciting, and the sonorities he pulls out of the modern copy of a Conrad Graf fortepiano are surprisingly robust and in-tune. Harmonia Mundi's sound seems to come in and out of focus, due to the acoustics of the room, but overall it is a pleasantly resonant recording that gives the instrument its due. © TiVo

Chamber Music - Released March 11, 2011 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio

Trios - Released September 23, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik

Chamber Music - Released March 26, 2010 | deutsche harmonia mundi

Distinctions The Qobuz Ideal Discography

Trios - Released May 26, 2014 | harmonia mundi

Distinctions Choc de Classica

Classical - Released March 13, 2020 | harmonia mundi

Hi-Res Booklet
What exactly is this “new path” (neuer Weg) that the infamous pianist 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

Classical - Released February 23, 2010 | harmonia mundi


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

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


Classical - Released April 14, 1993 | deutsche harmonia mundi


Classical - Released June 17, 2016 | harmonia mundi

With attractive and entertaining performances, Andreas Staier's recording of three of Haydn's concerto per il clavicembalo should win more converts to these unfortunately neglected works. Staier possesses the technique and temperament for the music: his playing is deft and agile and his interpretations are witty and affectionate. Gottfried von der Goltz is a wholly sympathetic accompanist, bending and weaving with Staier's supple sense of tempo and dynamics. The players of the Freiburger Barockorchester adjust their touch and sound to the richer and warmer Classical sonorities, supporting and surrounding Staier's pianoforte. For some listeners, Staier's choice of pianoforte may off-putting. The instrument featured in this recording, a copy of a Walter instrument built in Vienna in 1785 built by Monika May in 1980, has an attack that may seem at first to lack clarity and a certain degree of depth. But if the listener can adjust to the tone and scale of the instrument, these performances will be very enjoyable. Harmonia Mundi's sound may be a bit too recessed and reverberant for some tastes. © TiVo

Classical - Released March 25, 2008 | harmonia mundi


Classical - Released November 18, 2008 | harmonia mundi


Classical - Released July 31, 2007 | harmonia mundi

Something is a little confusing about the title of Hamburg 1734, the Harmonia Mundi disc by ace harpsichordist Andreas Staier. Is this a collection of music heard, specifically, in the city of Hamburg, Germany, in 1734? Right off the bat one notices the Handel Chaconne in G major, HWV 435, and realizes that this could not be right; although Handel's music was popular throughout Europe in 1734, he only lived in Hamburg from 1702-1707, and Dietrich Buxtehude, also represented here, was dead by 1707. The purpose of the title is designed to honor the harpsichord in use, a lavish two-manual instrument that is a copy of one built by Hieronymous Albrecht Hass in Hamburg in 1734. This harpsichord has a big sound, somewhat similar to the Ruckers instrument Wanda Landowska once played, or the kinds of harpsichords favored by E. Power Biggs. The big name in Hamburger music circa 1734 was Georg Philipp Telemann, and three of his orchestral suites, Overture burlesque in D minor Hamburger Ebb und fluth in C major, TWV 55:C3 and Alster Overture in F major, TWV 55/F11 provide the main course in the program. The balance of Hamburg 1734 is scattered with appetizers from Mattheson, Böhm, Weckmann, Scheidemann, and contemporary composer Brice Pauset. Among the shorter pieces, the Mattheson are the most interesting ones, being Staier's own improvisations on thoroughbasses printed as exercises in Mattheson's treatise Grosse General-Bass Schule. On the whole, the pieces depending the most on Staier's own creativity are the ones that stand out -- the Telemann suites are all arrangements made by Staier himself, and some include a part for a second harpsichord, played by assistant Christine Schornsheim, whose miniscule credit is only found in the fine print. It is fun to listen to Staier's harpsichord arrangements of bizarre and eccentric Telemann pieces such as "The Concert of Frogs and Crows" and "Rustic Music of the Alster Shepherds" from the Alster Overture, but ultimately it motivates the listener to want to hear the orchestral originals, rather than return to Staier's arrangements. Staier's liner notes focus solidly on the instrument, and seem to herald its reconstruction as a return to the type of fat, romantically conceived harpsichord sound common to instruments before 1960, like Landowska's. Nevertheless, this tone is already familiar to those who like harpsichord music, and in a sense, the Hass instrument sounds comparatively "ordinary." Likewise, Staier decries the hard times Telemann's music knew in the age of "negative dialectics," however in recent days such injustice is being balanced by a welter of Telemann recordings. Hamburg 1734 is enjoyable in part, rather than as a whole; its program seems disconnected as there is no central thread to unify these pieces and, like the manner in which Pauset's Entrée für Andreas peters out at the end with no conclusion, this disc leaves the listener scratching one's head. © TiVo

Classical - Released November 25, 2011 | deutsche harmonia mundi


Classical - Released October 19, 2007 | Warner Classics International