"... Mr. Stepner, whose sense of style, elegance or phrasing and purity of tone served the music to excellent effect."
NY Times Jan. 23, 1977
("Stepner and Sadovnikoff")
"Something of the same freedom and flexibility could be heard in the playing of Daniel Stepner, who last week in the Blumenthal Patio performed two violin sonatas by J. S. Bach on a 1693 Stradivarius, as part of a benefit concert by the Boston Museum Trio for the Metropolitan's Department of Musical Instruments."
New Yorker, Nov. 10, 1980
"Daniel Stepner and the composer [Yehudi Wyner] gave a fiery performance."
New Yorker, March 12, 1984
"The great Chaconne that concludes the work has to be dramatically impelled, of course, and Stepner rose to his occasion with some vivid individual pieces of virtuosity."
Boston Globe review, January 13, 1984
"Mr. Stepner and Mr. Carlin combine musical scholarship with musical spontaneity, and their program had none of the self-consciousness that often mars concerts on "original instruments."
New York Times, February 12, 1987
"Bach's famous Air, in the third orchestral Suite, could serve as an example of what was going right about the weekend's H&H concerts under Daniel Stepner's direction: Finely graded dynamics and fresh, elegant phrasing told us the truth we already know about the music - but never quite so well as from this performance, which was quite special in large matters and small."
Boston Globe, Tuesday, April 26, 1994
Cantata Singers deliver rare, great `Missa Solemnis: "The orchestra was equally splendid. There is only one prominent solo passage, the long violin solo in the 'Benedictus,' which strikes terror into the heart of every concertmaster; Daniel Stepner's playing was a model of controlled eloquence, not at all plain, but deceptively simple, because it was living at the heart of the matter."
Boston Globe, March 15, 2005
Berkshire Eagle: Andrew Pincus, 4/3/2007 "Aston Magna Travels with Bach"
For an hour and a half, he commanded the stage alone, taking the rapt listeners through music that at times evokes an orchestra, an organ or a solitary soul at its devotions - but at all times embodies the elevated mind and spirit of Bach."
Berkshire Eagle, April 3, 2007