I have various versions of the Goldberg Variations recordings: ranging from both Glenn Gould's recordings to real unknowns, piano, guitar, string trios, harpsichord. Like the reviewer before me, I don't know what the first reviewer was hoping for, and found it amusing to read "famous interpretations by Glenn Gould" and "played the right baroque way" jotted down on the same paragraph.
This recording is as enjoyable to listen to as Glenn Gould's back in the late 50's: their approach on "smoothing-out" ornaments and doting it with a regal fluidity and Neoclassical sensibility is indeed a break from the rigidity and anxiety often permeating most of the Goldberg Variations recordings. Schmid's edition thus read: "(...) Composed for connoisseurs, for the refreshment of their spirits (...)" This recording accomplishes this, in every track, but specially on Variations 13 and 16.
Ironically for a Baroque composition, this performance is balanced, and perhaps this lovely point gets lost on the purists. Gould certainly ruffled --and still does-- their feathers, and Amati String Trio's very Neoclassical (yet while adding some very Baroque counterweights in later tracks) approach to a Baroque jewel may not be an exception.
Their level of musicianship and performance skill makes for a very satisfying recording: it can be engaging on so many levels, as it's relaxing and flawless that the general public can appreciate it, yet permeated with lovely cross-stylistic knit-work which should be picked up by those not only knowledgeable of various recordings, but of actual hands-on performance. All of this would be lost on those comparing against the hard cold ink on a partition.