Brandenburg Concertos, Sony Classical, 2017:
‘This is a record that drags you from the sofa, shakes you up, gives you a cold shower and lovingly towels you down … Beautiful music isn’t just made with the bow, but above all with the head. And here is the maverick Goebel, with a head of his own, who offers us Baroque music as timeless art: J.S. Bach, indestructible, young.’
Wolfram Goertz, RP Online, 13.10.17
‘Trumpeter Reinhold Friedrich takes the second concerto into the most glittering of tempi; in the fourth two recorders go into an embrace with the furious solo violin […]. One can almost feel the “virtually orgiastic recording sessions”.’
Süddeutsche Zeitung, 12.12.17
‘[He] succeeds in creating this inimitable swing […]. A listening delight.’
Matthias Roth, Das Orchester, 03/18
‘It’s as romantic as the legendary first recording, just as sensual, stormy, sparkling, resounding. It’s more radical in its tempi, but totally undogmatic as to the old big questions of instrumentation and tuning. And it goes a good deal further in phrasing, timbre, the transparency of the musical interplay and the interpretation of the tonal language.’
Eleonore Büning, SWR 2, 10.11.17
"Never have these concertos sounded so powerful, so dangerous, so modern."
Crescendo Magazine, 07/2017
"Goebel and the Deutsche Kammerphilharmonie let off a real orchestral firework."
Kreiszeitung Bremen, 15th June 2015
"Goebel's performances are not philology retreats, but lively representations of early music for a modern day audience. His recordings are the proof, specifically Bach's Brandenburg Concertos, which despite their initially surprising fast tempi have long enjoyed cult status."
Die Bühne, July/August 2014
"Cunning as a fox, Goebel knows exactly where to unearth each ornamentation, each phrasing and each tempo."
NDR Kultur, 31st January 2014
"The perfect Mozart tone."
Münstersche Zeitung, 22nd January 2014
"Even Vivaldi's hackneyed 'Four Seasons' became a source of fascination, thanks to vivid imagery and appropriate dramatic power [...] Such radiant enthusiasm with cheering and stamping of feet is not heard every day in the genteel Kuppelsaal."
Westdeutsche Allgemeine Zeitung, 11th November 2013
"Master of early music."
"He is one of those people who set their own bar too high and then jump right over it [...]."
Frankfurter Allgemeine Zeitung, 30th July 2012
"The Melbourne Symphony's sell-out concerts of works by Mozart and Haydn under the baton of Germany's expert in early music, Reinhard Goebel, were a triumph. At the conclusion of the final concert in the Melbourne Recital Centre last Saturday, the musicians joined in the audience's applause for Goebel's performance and at the conductor's third bow, they were clapping as enthusiastically as the public."
Western Australia Today, 11th November 2009
"From the pit emanated pure and unbroken tonal bliss, called forth by the ensemble comprising students and graduates of the Berlin conservatoires, 'Orchester 1770'.
[...] Under the direction of early music guru Reinhard Goebel, they performed miracles of subtle articulation and historically-informed playing style. They swung and bounced, parodied and languished for all they were worth, until the big clinch before the final curtain."
Das Orchester, July/August 2009
"It was an exceptional and truly festive concert, a concert of superlatives, which created yet another highlight in Dresden's rich musical life."
Der Neue Merker, 27.05.2009
"Goebel took the alla breve marking at its word, and in doing so radically swept away any hint of Rococo sweetness. In spite of this assault on Eine Kleine convention, the audience applause approved this upended Mozart hit."
Augsburger Zeitung, 27th January 2009