Steger’s performance is striking not only for its effortless agility, but also for the precision of his intonation. Even in those slow numbers, drifting along in wide chords like the opening of Fontana’s second sonata, there is no sign of the sloppiness typically unavoidable in recorder performances. Instead, the instrument’s sensitive response to even the slightest breath of air is always evident.

Frankfurter Allgemeine – 22.8.09 – CD VENEZIA 1625

Nächster Beitrag
Vorheriger Beitrag