Similar artists

Albums

£11.99
£7.99

Keyboard Concertos - Released March 2, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
This is the final volume in a Beethoven concerto cycle by German pianist Lars Vogt that has been generally acclaimed for its freshness and detail. Vogt both plays and conducts the Royal Northern Sinfonia, of which he is music director, and the result has been interpretations in which pianist and orchestra achieve an unusual kind of sync. The results are spectacular in the Piano Concerto No. 4 in G major, Op. 58, where Vogt eases into each movement, as it were, letting details accrete and add power. Sample the final movement, where the orchestra begins at a very low dynamic level, and Vogt weaves piano and orchestra together convincingly as the music proceeds. The first two movements open in circumspect ways but, as they develop, reveal Beethoven the virtuoso as Viennese audiences must have experienced him; note especially the curious clipped treatment of the second movement's orchestral theme, so different from the stomping giant favored by most conductors. The final diminished fifth comes out in sharp, chilling relief here. Vogt's approach is a bit less successful in the early Piano Concerto No. 2 in B flat major, Op. 19, where the syncopations ring and rock, but the basic Mozartian shapes of the themes are indistinct. Nevertheless, Vogt's Beethoven recordings are major statements, and this album is no exception.
£11.99
£7.99

Classical - Released August 14, 2015 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
Many concepts have been applied to the playing of Bach's Goldberg Variations, BWV 988, on the piano rather than the harpsichord for which it was originally composed. There are readings that attempt to restrict the piano's dynamic ambit to keep it close to that of a harpsichord, those that go full-on Romantic, and monumental takes that recognize the sheer unprecedented scope of the work. Fewer, though, are those that recognize the original story of the work's origin, recounted by Bach's early biographer Forkel: a Russian ambassador in Saxony, named Kaiserling, had trouble sleeping and prevailed upon a young pianist named Goldberg to serenade him to the land of dreams with a harpsichord, asking Bach to compose something for these sessions. The tale has been widely disbelieved, but there is no reason to suppose that quiet, intimate Goldberg Variations are any less valid than an epic one. That's what's here from German pianist Lars Vogt, who manages the neat trick of delivering a truly pianistic interpretation without turning it into a Romantic one. He does so by keeping the volume low throughout and by reining in the temptation to make the big minor-key variations at the middle and end into anguished dissonant cries. Instead they are moderate in tempo and quietly dreamy, to delightful effect, and one might indeed imagine the insomniac Russian count drifting off to them. In general Vogt's treatment is straightforward, with nothing brought so far to the fore that it would interfere with the considerable contrapuntal detail that emerges naturally from the individual variations. With excellent engineering from Ondine, working in the Deutschlandfunk Chamber Music Studio in Cologne, this is a highly recommended tonic to grandiose Goldberg Variations played on whatever instruments.
£11.99
£7.99

Keyboard Concertos - Released October 13, 2017 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
£11.99
£7.99

Classical - Released October 14, 2016 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
£13.49
£9.49

Classical - Released June 17, 2016 | CAvi-music

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
£11.99
£7.99

Classical - Released May 12, 2017 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
£13.49
£9.49

Classical - Released August 10, 2018 | CAvi-music

Hi-Res Booklet
No, No, Gershwin didn’t write three preludes for saxophone and piano; he has admittedly written several preludes for piano (in the desire of writing twenty-four in the end, like Chopin or Rachmaninoff, but the project was never finished), among which three have been gathered in a collection. And of course, soon many arrangement for various instruments have flourished, like this one for saxophone and piano (whose author isn’t specified); you will note, with the piano partition at hand, that saxophonist Asya Fateyeva takes a lot of musical liberties, which only does justice to the music. However, Poulenc has well and truly written a Sonata for horn, trumpet and trombone in 1923, one example of the most facetious Poulenc, the most “bad boyish”; as well as in 1926, a Trio oboe, bassoon and piano, somewhat borrowing to Stravinsky. Marc Eychenne, a French composer born in 1933 in a then French Algeria, doesn’t hesitate to incorporate elements of folkloric essence—maybe imaginary?—in his Cantilene and dance for violin, saxophone and piano from 1961, deliberately written in a neo-classical way: it’s a rare composer that is worth discovering. Lutoslawski doesn’t need any introduction. His Partita for violin and piano from 1984 closely fits the neo-Baroque format of the rest, but none of the language; this is an incredibly original partition. All those works have been recorded live during the Chamber music festival directed by Lars Vogt that took place in June 2017 in the very singular hydroelectric plant of Heimach in Germany, now a summit of culture even if the turbines are still working. It must be said that the building from 1905 has been built in the purest Jugendstil—the German Art Nouveau—, including the machinery whose beauty is surreal. © SM/Qobuz
£13.49
£9.49

Classical - Released November 14, 2014 | CAvi-music

Hi-Res Booklet
£9.49

Classical - Released June 9, 2006 | CAvi-music

£9.49

Classical - Released November 17, 2008 | CAvi-music

These 2007 live performances of the piano quintets of Schumann and Elgar featuring pianist Lars Vogt are big-boned and muscular with plenty of power and energy, but not a lot of subtlety. Certainly, this is the right approach for Schumann's joyous, early Romantic quintet, and from the rambunctious opening Allegro brilliante through to the vivacious closing fugal Allegro ma non troppo, Vogt and the string players give his chamber music masterpiece everything it asks for. Though there have been many fine recordings of Schumann's quintet, this one can stand with all but the very best of them. However, to use the same approach to Elgar's moody late Romantic quintet is less appropriate. Though there is vigor in the closing Allegro, there is also mystery in the opening Moderato and melancholy in the central Adagio, and these qualities are muted in the ensemble's sometimes pell-mell rush to the double bars. The players are highly skilled and manifestly of one mind about the interpretations, but while their Schumann is well worth hearing and re-hearing, their Elgar must defer to the Allegri Quartet's 1970 stereo EMI recording with John Ogdon or the Nash Ensemble's 1992 digital Hyperion recording. The digital sound here is rich, deep, and detailed.
£13.49
£9.49

Classical - Released September 2, 2013 | CAvi-music

Hi-Res
£9.49

Classical - Released November 12, 2008 | CAvi-music

£7.99

Concertos - Released January 1, 2009 | Oehms Classics

£10.79

Classical - Released September 17, 2010 | Berlin Classics