Goldbergovy variace v recenzích

"Ruku na srdce: jako posluchač bych nečekal, že právě tohle nástrojové uskupení bude jednou hrát Bachův klávesový monument. Jenže ono to funguje dokonale. Tohle album zkrátka potvrzuje starou pravdu: kdo umí hrát, měl by si někdy zahrát Bacha! A kdo to neumí, měl by si ho aspoň poslechnout. Tohle album je totiž čistý zázrak, jakých člověk za život moc nepozná."
- ProMusica

“Tomáš Ille, the arranger, has paid attention to the nature of each variation, trying (mostly successfully) to match his four disparate instruments, and not being afraid to have one or more sit out an entire movement... Where all four instruments are in combination – most of the Variations – it is true chamber music in that they are “conversing” with one another. The Quodlibet is one of the rare instances where they are in unison, and the result is joyous, as that movement should be... I have really enjoyed the seemingly unlikely version of this incredibly versatile work, and will certainly return to it.”
- Music Web International

“This combo is new though. And it really kind of works... All four players are virtuosos in their own right. I have rarely heard horn playing like this, for example Baborák's agility is matched by few.”
- Classical Explorer

“This time it’s for the unlikely combination of French horn, violin, bass clarinet and – if that wasn’t enough – marimba. This orchestral microcosm sets up the framework in which Bach’s silver-spun melodies are reimagined with natural-dyed wool and silk embroidery thread. Mismatched needles are required to work such cloth; the resulting piece is pleasingly spongey.”
 - BBC Music Magazine

“It’s a work for the new century and will make you hear the Variations as something other than music to put you to sleep. It’s music for thought, music for consideration, music that engages your interest and then switches to something else – sort of an audible version of flicking through your social media, but with a better result!”
- Interlude

“It is in this spirit of exploration that Radek Baborák now tackles a pinnacle of the keyboard repertoire: Johann Sebastian Bach's Goldberg Variations, in an unpublished transcription for horn, violin, marimba and bass clarinet — a deeply personal reading, carried by exceptional musicians, which demonstrates once again how Bach's music lends itself to all instrumental combinations, even the most unexpected. ... Bach is always masterfully served when the musicians are as superb as they are here!”
- Crescendo Magazine

“This new one on the Prague-based independent label Animal Music is for an unusual, eyebrow-raising combination for four players... on paper it sounds bizarre but play the CD, and the transcription by composer Thomás Ille sounds stimulating, serene and sometimes sublime... For those who find the original solo keyboard a little austere the polychrome tonal variety and shading of this splendid recording will change their minds. Even hardcore harpsichord enthusiasts, like this reviewer, will find that this disc provides an hour of many musical pleasures.”
- Midlands Music Reviews 

“What’s alluring about this particular combination is the instrumental blend, or, more specifically, the lack of it. Each voice has such a distinct identity, and the unpredictability with which Illes assigns different lines leads to plenty of ear-tickling moments, and many passages where it’s impossible not to giggle. Ille confounds our expectations, with Andrei Pushkarev’s marimba far more than a keyboard substitute and Petr Valášek on bass clarinet playing unfeasibly high at various points. Radek Baborák’s agility is a given (listen to his effortless lip trills in Variation 14), and violinist Dalibor Karvay slips in out of focus to magical effect depending on which line he’s playing. Sample Ille’s exquisite Variation 16, recast as a lonely violin and marimba duet. That number segues into a virtuosic take on the little “Ouverture” which pops up halfway through the sequence, with outlandish horn and bass clarinet solos competing for attention. Variation 25 is another gravely beautiful violin and marimba duet, and the “Quodlibet” is a rousing four-part romp. Big-hearted fun, and very nicely recorded to boot.”
- The Arts Desk