Andreas Staier

Biography

Born: 1955  
Andreas Staier is one of the foremost authentic-instrument keyboard players in the classical music world. His early training was on standard piano. Courses in realizing continuo parts in Baroque music at the Hanover Conservatory led him to study harpsichord to learn the special technique of playing that instrument, which requires a considerably different technique of touch. "I fell in love with the sound of the harpsichord and became passionately Read more enthusiastic about the repertory." He had been familiar with the Johann Sebastian Bach keyboard repertory, because so much of that is played on piano, or transcribed for it. However, study of harpsichord drew him into a repertory not frequently played on piano, going back to the English composers for the small keyboard instrument called the virginal. When he discovered that music he was, he said, "bowled over" by it. He added harpsichord studies to his courses at Hanover, and continued with it in studies in Amsterdam. His primary teachers in harpsichord and early music were Gustav Leonhardt, Nikolaus Harnoncourt, and Ton Koopman.

His interest in the fortepiano began gradually when he discovered the difference in sound and interpretation that results when that instrument is used for playing composers contemporary with it, especially Mozart and Beethoven. He added fortepiano to his studies, becoming one of the rare classical keyboard players who specializes in harpsichord and fortepiano.

In 1983 he joined Musica Antiqua Köln, a leading small Baroque ensemble, as its harpsichord player. This involved frequent touring to all parts of the world. He resigned from the ensemble in 1986 to embark on his solo career on both harpsichord and fortepiano. He also began teaching harpsichord at the Schola Cantorum Basiliensis in Basel, Switzerland, where he was on the faculty from 1987 to 1996.

He studies the keyboard repertory deeply. His recital programs and recordings include the standard Baroque composers, but also earlier music and Spanish keyboard works. His repertory extends from the English Baroque through the entire Classical period and into the Romantic era, where he plays the piano music of such composers as Mendelssohn, Schubert, Schumann, on harpsichords or pianos appropriate to the times of the music. He looks for important links among compositions of various eras. For instance, he thinks that Beethoven's Diabelli Variations are heard in a different light if one knows Bach's Goldberg Variations which, he says, are similarly illuminated by knowledge of Byrd's variations. (Apropos the Goldberg Variations, he says that while the work is totally suited for the harpsichord, "trying to play it on the piano is like attempting to square the circle.") He waited nearly a quarter of a century to play the Goldberg in public; his long-awaited first performance of it was in Montréal at the end of April 2000.

He frequently works with other renowned artists, including Anner Bylsma, Tatiana Grindenko, René Jacobs, and various important early music ensembles. One of his closest partnerships is with the tenor Christoph Prégardien, who sings with him in the early Romantic and earlier repertory. Their recording of Schubert's Winterreise on Teldec won six major international recording prizes.

He has performed in major festivals and in most of the major concert halls of the world. His repertory consists nearly entirely of seventeenth, eighteenth, and early nineteenth century music, aside from a few twentieth century harpsichord pieces and is working on one twenty-first century work. It by Bryce Pauzé, a young French composer, and was especially written for the sound of the fortepiano with modern approaches to rhythm and tone color. Read less

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Biography

Born: 1955  
Andreas Staier is one of the foremost authentic-instrument keyboard players in the classical music world. His early training was on standard piano. Courses in realizing continuo parts in Baroque music at the Hanover Conservatory led him to study harpsichord to learn the special technique of playing that instrument, which requires a considerably different technique of touch. "I fell in love with the sound of the harpsichord and became passionately Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Allegro appassionato
II. Andante un poco adagio
III. Allegro grazioso
IV. Vivace
I. Intermezzo - Allegro non assai, ma molto appassionato
II. Intermezzo - Andante teneramente
III. Ballade - Allegro energico
IV. Intermezzo - Allegretto un poco agitato
V. Romanze - Andante
VI. Intermezzo - Andante, largo e mesto
I. Allegro amabile
II. Allegro appassionato
III. Andante con moto - Allegro - Più tranquillo
Tema. Animato
Var. I
Var. II
Var. III
Cantabile - Non troppo lento
Finale alla Fantasia - Vivace
I. Des Abends - Sehr innig zu spielen
II. Aufschwung - Sehr rasch
III. Warum? Langsam und zart
IV. Grillen - Mit Humor
V. In der Nacht - Mit Leidenschaft
VI. Fabel - Langsam - Schnell
VII. Traumes Wirren - Äußerst lebhaft
VIII. Ende vom Lied - Mit gutem Humor
I. Sehr rasch, mit leidenschaftlichem Vortrag
II. Ziemlich langsam - Etwas bewegter - Erstes Tempo
III. Kräftig und sehr markiert
Tema. Leise, innig
Var. I
Var. II. Canonisch
III. Etwas belebter
Var. IV
Var. V
Suite XXX en la mineur
Suite XXX en la mineur
Suite XXX en la mineur
Suite XXX en la mineur
Suite en fa majeur
Suite en fa majeur
Suite en fa majeur
Suite en fa majeur
Suite en fa majeur
Suite en fa majeur
Du 1er Livre de Pièces de Claveçin, Suite en Ut Mineur
Du 1er Livre de Pièces de Claveçin, Suite en Ut Mineur
Du 1er Livre de Pièces de Claveçin, Suite en Ut Mineur
Du 1er Livre de Pièces de Claveçin, Suite en Ut Mineur
Du 1er Livre de Pièces de Claveçin, Suite en Ut Mineur
I. Ouverture
II. I. Allegro
III. II. Allemande
IV. III. Courante
V. IV. Sarabande
I. Adagio
II. Menuetto I & II
III. Allegro
I. Molto allegro
II. Adagio
III. Allegro assai
I. Allegro moderato
II. Andante cantabile
III. Allegretto
I. Andante grazioso (thème et variations)
II. Menuetto - Trio
III. Alla turca . Allegretto
II. Adagio
III. Allegro assai
I. Thema. Vivace
II. Var. I. Alla Marcia maestoso
III. Var. II. Poco allegro
IV. Var. III. L'istesso tempo
V. Var. IV. Un poco più vivace
VI. Var. V. Allegro vivace
VII. Var. VI. Allegro ma non troppo e serioso
VIII. Var. VII. Un poco più allegro
IX. Var. VIII. Poco vivace
X. Var. IX. Allegro pesante e risoluto
XI. Var. X. Presto
XII. Var. XI. Allegretto
XIII. Var. XII. Un poco più moto
XIV. Var. XIII. Vivace
XV. Var. XIV. Grave e maestoso
XVI. Var. XV. Presto scherzando
XVII. Var. XVI. Allegro
XVIII. Var. XVII.
XIX. Var. XVIII. Poco moderato
XX. Var. XIX. Presto
XXI. Var. XX. Andante
XXII. Var. XXI. Allegro con brio - Meno allegro
XXIII. Var. XXII. Allegro molto
XXIV. Var. XXIII. Allegro assai
XXV. Var. XXIV - Fughetta. Andante
XXVI. Var. XXV. Allegro
XXVII. Var. XXVI.
XXVIII. Var. XXVII. Vivace
XXIX. Var. XXVIII. Allegro
XXX. Var. XXIX. Adagio ma non troppo
XXXI. Var. XXX. Andante, sempre cantabile
XXXII. Var. XXXI. Largo molto, espressivo
XXXIII. Var. XXXII - Fuga. Allegro - Poco adagio
XXXIV. Var. XXXIII. Tempo di Menuetto moderato
I. Allegro di molto
II. Andante
III. Prestissimo
I. Allegro di molto
II. Andante
III. Allegretto
I. Allegro
II. Larghetto
III. Presto
I. Allegro assai
II. Poco adagio
III. Tempo di minuetto
IV. Allegro assai
I. Allegro di molto
II. Larghetto
III. Allegro
Sonata No. 18, Op. 78 D894, 'Fantasy': I. Molto moderato e cantabile
Sonata No. 18, Op. 78 D894, 'Fantasy': II. Andante
Sonata No. 18, Op. 78 D894, 'Fantasy': III. Menuetto. Allegro moderato
Sonata No. 18, Op. 78 D894, 'Fantasy': IV. Allegretto
Four Impromptus, Op. posth.142 D935: I. Allegro moderato (F minor)
Four Impromptus, Op. posth.142 D935: II. Allegretto. Trio (A flat major)
Four Impromptus, Op. posth.142 D935: III. Thema Andante. Variations I-V. Più lento (B flat major)
Four Impromptus, Op. posth.142 D935: IV. Allegro scherzando (F minor)
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita I
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita II
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita III
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita IV
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita V
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita VI
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita VII
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita VIII
Partite diverse sopra il corale "O Gott, du frommer Gott" BWV 767: Partita IX
Aus 40 Clavierstücke für die Jugend, Op.68: 14. Kleine Studie
Aus 40 Clavierstücke für die Jugend, Op.68: 27. Kanonisches Liedchen
Aus 40 Clavierstücke für die Jugend, Op.68: 28. Erinnerung
Aus 40 Clavierstücke für die Jugend, Op.68: 23. Reiterstück
Aus 40 Clavierstücke für die Jugend, Op.68: 30.9 [Untitled]
Aus 40 Clavierstücke für die Jugend, Op.68: 34. Thema
Aus 40 Clavierstücke für die Jugend, Op.68: 42. Figurierter Choral
1. Sehr markiert
2. Sehr schnell
3. Sehr rasch und mit Bravour
4. Leise
Aus Sieben Claveirstücke in Fughettenform, Op.126: 1. Nicht schnell, leise vorzutragen
Aus Sieben Claveirstücke in Fughettenform, Op.126: 2. Mäßig
Aus Sieben Claveirstücke in Fughettenform, Op.126: 3. Ziemlich bewegt
1. Eintritt
2. Der Jäger auf der Lauer
3. Einsame Blumen
4. Verrufene Stelle
5. Freundlich Landschaft
6. Herberge
7. Vogel als Prophet
8. Jagdlied
9. Abschied
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 1. Von fremden Ländern und Menschen
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 2. Kuriose Geschichte
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 3. Hasche-Mann
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 4. Bittendes Kind
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 5. Glückes genug
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 6. Wichtige Begebenheit
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 7. Träumerei
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 8. Am Kamin
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 9. Ritter vom Steckenpferd
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 10. Fast zu ernst
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 11. Fürchtenmachen
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 12. Kind im Einschlummern
Kinderscenen. Leichte Stücke für das Pianoforte, Op. 15: 13. Der Dichter spricht
I. [Presto] - Allegro
II. Adagio - [Fuga]
III. Con discrezione - [Fuga]
Partita I
Partita II
Partita III
Partita IV
Partita V
Partita VI
Partita VII
Partita VIII
Partita IX
I. [Untitled]
II. Un poco allegro
III. Adagio
IV. Fuga a 3. Allegro
I. Fort gai
II. Allemande
III. Courante
IV. Sarabande BWV 818
V. Sarabande simple - Sarabande double BWV 818
VI. Menuet
VII. Gigue
I. [Untitled]
II. Adagio
III. Allegro e presto
I. Arioso. Adagio
II. [Untitled]
III. Adagiosissimo
IV. [Untitled]
V. Aria di Postiglione. Allegro poco
VI. Fuga all'imitatione di Posta
I. Allegro
II. Larghetto
III. Allegro
I. Allegro
II. Adagio
III. Molto presto
I. Praeludium
II. Fuge
I. Allegro
II. Andante
III. Allegro molto
I. Allegro con brio
II. Adagio cantabile
III. Scherzo: Allegro
IV. Allegro
I. Presto
II. Andante scherzoso, più Allegretto
III. Allegro molto
J.S. Bach: Brandenburg Concerto No.5 In D, BWV 1050 - 1. Allegro
J.S. Bach: Brandenburg Concerto No.5 In D, BWV 1050 - 2. Affetuoso
J.S. Bach: Brandenburg Concerto No.5 In D, BWV 1050 - 3. Allegro
J.S. Bach: Concerto For Flute, Violin, Harpsichord, And Strings In A Minor, BWV 1044 - 1. Allegro
J.S. Bach: Concerto For Flute, Violin, Harpsichord, And Strings In A Minor, BWV 1044 - 2. Adagio ma non tanto e dolce
J.S. Bach: Concerto For Flute, Violin, Harpsichord, And Strings In A Minor, BWV 1044 - 3. Tempo di Allabreve
I. Allegro affetuoso
II. Intermezzo
III. Finale. Allegro Vivace


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