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Keyboard Concertos - Released March 2, 2018 | Ondine

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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.
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Classical - Released May 10, 2019 | Ondine

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After a cycle of Beethoven Piano Concertos, solo albums of works by Bach and Schubert in addition to a number of award-winning recordings of piano chamber music on Ondine label, pianist Lars Vogt releases an album of Sonatas by Wolfgang Amadeus Mozart (1756–1791). In this album, two baroque-influenced and virtuosic early sonatas are coupled together with a touching A minor Sonata K. 310 – written at the time of the composer’s mother’s death – and a delightful, Haydnesque Sonata K. 333. Mozart wrote Piano Sonatas K. 280 and K. 281 (Nos. 2 & 3) most likely in 1774, at the age of 18. The elements of Baroque influence are clearly evident in the K. 280 Sonata. A prominent feature in the K. 281 Sonata is, besides its virtuosity, the beautiful slow-movement, “Andante amoroso”. The K. 310 Sonata (No. 8) was written four years later, during the summer of 1778, and is written in a minor key: a rarity among Mozart’s Sonatas. The K. 333 was published in 1784, but the time of its composition might have been earlier. This joyful work with virtuosic passages can be described almost as a Piano Concerto for the solo piano. © Ondine
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Keyboard Concertos - Released October 13, 2017 | Ondine

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Classical - Released June 17, 2016 | CAvi-music

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Classical - Released November 1, 2019 | Ondine

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Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms’ (1833–1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard. The evolution of Brahms’ 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement "Symphony" until reaching into its final form of a "Piano Concerto" in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material. This music is packed with much drama. No wonder since these years were particularly tumultuous in Brahms’ personal life: it was during this period when his great mentor Robert Schumann was sent into an asylum and ultimately died. It was also time when Brahms formed a close, lifelong friendship to Clara Schumann. Some of these feelings might well be echoed in the peaceful second movement, Adagio. Brahms’ Four Ballades, Op. 10 are works written in 1854 by a young composer barely in his 20s, yet these pieces are technically mature and profound in such a manner that they could even be compared to his final piano opuses. © Ondine
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Classical - Released September 2, 2013 | CAvi-music

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Classical - Released November 14, 2014 | CAvi-music

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Classical - Released June 9, 2006 | CAvi-music

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Classical - Released February 6, 2009 | CAvi-music

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Concertos - Released January 1, 2009 | Oehms Classics

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Classical - Released November 12, 2008 | CAvi-music

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Classical - Released August 10, 2018 | CAvi-music

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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
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Classical - Released September 17, 2010 | Berlin Classics