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Kulturradio 9/04/2018: CD Alte Musik - "Baroque Twitter"
Dass man dieses Album als Hörer von A bis Z nur genießen kann, liegt in erster Linie an den exzellenten Hauptdarstellern. Nuria Rial betört mit ihrer reinen, warmen, an der Alten Musik geschulten Stimme, die scheinbar mit spielerischer Leichtigkeit alle virtuosen Passagen und lichten Höhen bewältigt. Einfach herrlich!
Maurice Steger gibt dazu auf der Blockflöte seine instrumentalen "Kommentare" ab, auch hier sind bei makelloser Technik ganz wunderbare Ausdrucksnuancen zu vernehmen. Keiner der beiden drängt sich dabei in den Vordergrund, es ergibt sich ein idealer Dialog, den man immer wieder hören möchte. Bernhard Schrammek – Review in full

RondoMagazin.de 25/02/2017: Souvenirs d´Italie
…Bei Hasses „Cantata per flauto“ übertrifft sich der Supervirtuose Steger einmal mehr. Das Concerto für Sopranblockflöte eines gewissen Antonio Maria Montanari ist mit seinem Tirilieren ab sofort eine perfekte Alternative zu Vivaldis „Distelfinken“-Gesängen. Und was für herzerweichende Klagegesänge Steger gleichermaßen anstimmen kann, beweist er im wertvollen Andante einer fünfsätzigen Sonate von Giovanni Antonio Piani. Was für musikalische Souvenirs! - Guido Fischer - Full article

Gramophone 28/01/2017 : Souvenirs d'Italie: Mr Harrach's Musical Diaries
… Steger has taken virtuoso showmanship to its apotheosis; for your amusement try listening to the outer movements of Hasse’s Cantata per flauto – here an uber presto pyrotechnical tour de force of coloratura … Likewise, its central Adagio sees him right in there from the off with his ornamentations where others might have begun with an initial no-frills statement.
But that’s the thing; Steger is never dull, and while he may go for maximum velocity and more-is-more ornamentation, his attack and articulation are always varied, repeats are never the same and there’s warmth and thought behind his every note, regardless of its speed. It’s also heart-warming to behold the clear pleasure he takes in his zinging accompanying ensemble, going so far as to afford each of their instruments the same loving documentation as for his own recorders in the notes.
In short, it’s another Steger cracker of a recording. Well worth seeking out. - Charlotte Gardner - Full article

Le Devoir 28/01/2017: Maurice Steger 2.0: brillant et heureux
…Steger témoigne, avec une gestuelle abondante et expressive, de l’enthousiasme forcené, voire de l’exaltation qui le caractérise. L’Helvète bondissant insuffle à l’orchestre l’énergie qui transforme une symphonie de Rosetti en décalque de l’Empfindsamkeit (sensibilité) de Carl Philipp Emanuel Bach.
Maurice Steger est venu dire quelque chose à ses auditeurs à Québec et à Montréal. Il est venu dire quel bonheur dispense la grande et belle musique aux auditeurs de tous les horizons. Et il a même rendu les musiciens heureux, à voir leurs irradiants sourires.
Le musicien suisse le plus rayonnant et sympathique de la planète classique réussit sa lente reconversion. La prochaine fois, on aimerait entendre deux concertos pour flûte à bec plutôt qu’un. - Christophe Huss - Full article

Sydney Morning Herald 26/02/2016: Flamboyance and agility brought to the recorder
Maurice Steger plays the recorder with projection, flamboyance and remarkable agility; moving, ducking and weaving with each expressive nuance as though serenading a skeptical lover.
He relishes the fast movements of Baroque concertos with their rapid continuous patterns of notes, measuring out the template of each pattern with machine-edged articulation, and then sweeping all away in a bubbling swirl.
He has developed a technique to push the recorder sound up to just below the cracking point,  but not beyond, so that the harmonic spectrum of the tone subtly changes and cuts through the orchestral background. - Peter McCallum - Full article

www.classicstoday.com August 2015:Vivacious Vivaldi
…, this release gets the “shock and awe” award. At first you’ll be shocked (well, at least stimulated) by the energetic tempos, aggressively crisp execution, and often brash timbral blends served up by Diego Fasolis’ tightly knit ensemble. But then you’ll be awestruck when you hear Maurice Steger toss off the G major concerto’s outer movements with atomic precision and insouciant defiance.
… the ultimate fusion of virtuosic flair and stylish character, look no further than the D major RV 90’s scurrying finale, where Steger and his colleagues raise the bar for brisk, staggeringly articulated interaction. Vivaldi’s patented three-movement concerto model sometimes can sound formulaic and shopworn. Not on this disc, that’s for sure! A knockout,...-.Jed Distler

BBC Music Magazine, March 2015 ***
…Steger's virtuosity is, from a listener's viewpoint and indeed from his own, breathtaking, and he loses no opportunity in demonstrating it. For my taste, though, there is too much gimmickry in his realisations of the music...it is Steger's violin concerto arrangement that comes off most convincingly.

International Record Review, February 2015
…quite wonderful, with Steger’s phrasing and articulation balancing the meditative and the dance-like…it’s a credit to Meyer’s artistry that what comes to the fore is not so much his considerable technical gifts but a shimmering, shifting tonal and timbral palette that’s equally a credit to Fasolis and I Barocchisti’s stylish playing.

Classical Music, January 2015
…Boy can Steger play the recorder! This is high-octane playing, matched by sensational playing from I Barocchisti.

The Irish Times 24/10/2014: CD Vivaldi Concerti
5 stars from the Irish Times: ‘Vivaldi s concertos for recorders are works of rare theatricality … The Swiss recorder player Maurice Steger rings the changes in seven demanding concertos … The brio and élan of the playing are so unfailingly infectious that you may find it hard to listen without a smile on your face. - Michael Dervan