Lars Vogt has established himself as one of the leading musicians of his generation. Born in the German town of Düren in 1970, he first came to public attention when he won second prize at the 1990 Leeds International Piano Competition and has enjoyed a varied career for nearly twenty-five years. His versatility as an artist ranges from the core classical repertoire of Mozart, Beethoven, Schumann and Brahms to the romantics Grieg, Tchaikovsky and Rachmaninov through to the dazzling Lutoslawski concerto. Lars is now increasingly working with orchestras as a conductor and in September 2015 took up his post as Music Director of Royal Northern Sinfonia at Sage, Gateshead.
During his prestigious career Lars has performed with many of the world’s great orchestras including the Concertgebouworkest, Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Staatskapelle Dresden, Wiener Philharmoniker, London Philharmonic Orchestra, London Symphony Orchestra, City of Birmingham Symphony Orchestra, New York Philharmonic, Boston Symphony, NHK Symphony and Orchestre de Paris. He has collaborated with some of the world’s most renowned conductors including Claudio Abbado, Daniel Harding, Mariss Jansons, Paavo Järvo, Andris Nelsons, Sir Simon Rattle and Robin Ticciati. His special relationship with the Berliner Philharmoniker has continued with regular collaborations following his appointment as their first ever “pianist in Residence” in 2003/4.
Video & Audio
Lars Vogt and Daniel Harding discuss Brahms’ piano concertos prior to MusicEmotion 2014, a season […]
Lars Vogt at Verbier Festival 2011, just after his concert / Brahms and Schubert /Verbier […]
Excerpt from a live performance at the Verbier Festival 2011, broadcast live on medici.tv on […]
19:30 16 Sep 2017 Northern Rock Foundation Hall, GATESHEAD More info
COPLAND ‘An Outdoor Overture’
BARBER ‘Adagio for Strings’
COPLAND ‘Quiet City’
HAYDN Trumpet Concerto Hob. VIIe:1
– Interval –
DVORAK Symphony No. 9 Op. 95 ‘From the New World’
Trumpet: Tine Thing Helseth
Royal Northern Sinfonia
19:30 19 Sep 2017 Perth Concert Hall Scotland, PERTH More info
BEETHOVEN Piano Concertos Nos 2, 3 & 5
Royal Northern Sinfonia
07:00 20 Sep 2017 Sage Gateshead / Royal Northern Sinfonia, GATESHEAD More info
SCHUBERT Four Impromptus D899, Op. 90
– Interval –
BACH Goldberg Variations
19:00 01 Oct 2017 Kronberg Academy Festival, Kronberg More info
Violin: Christian Tetzlaff
07:00 13 Oct 2017 Cultuurcentrum De Spil, Roeselare More info
GRIEG Piano Concerto
Conductor: Stephane Denève
Brussels Philharmonic Orchestra
07:00 14 Oct 2017 Muziekcentrum De Bijloke, GHENT More info
GRIEG Piano Concerto
Conductor: Stephane Denève
Brussels Philharmonic Orchestra
16:00 15 Oct 2017 Orchestre Philharmonique de Liege, LIEGE More info
JS BACH Goldberg Variations
BEETHOVEN Piano Sonata No 32 in C Minor Op 111
20:00 20 Oct 2017 Auditorium de Radio France, PARIS More info
GRIEG Piano Concerto
Orchestre Philharmonique de Radio France
Conductor: Jukka-Pekka Saraste
07:00 24 Oct 2017 Frankfurter Museumsorchester, FRANKFURT More info
Violin: Anna Reszniak
19:30 03 Nov 2017 Sage Gateshead / Royal Northern Sinfonia, GATESHEAD More info
GLINKA ‘Valse Fantaisie’
CHOPIN Piano Concerto No. 1 Op. 11
– Interval –
MENDELSSOHN Symphony No 3 Op. 56 ‘Scottish’
Royal Northern Sinfonia
From The Green Room
Mozart: Sonatas For Piano/ Violin More info
Release Date: 29 Oct 12
BBC Music Magazine CD of the month, Feb 2013
Ondine is pleased to release its first chamber music recording from violinist Christian Tetzlaff, featuring his long time pianist Lars Vogt. The selection of these sonatas for piano and violin by Wolfgang Amadeus Mozart demonstrate the composer’s genius and show a wide range of emotions.
Vogt Live At Verbier Festival 2011 More info
Beethoven: Piano Concertos 1 & 2 More info
Tchaikovsky: String Quartet 3; Shostakovich: Piano Trio 2 More info
Brahms: Viola Sonatas op120; Schumann: Marchenbilder More info
Schumann & Elgar Piano Quintets More info
Franck: Sonata in A, Saint-Saëns: Violin Sonata More info
Schubert: Piano Sonata 21 / 3 Piano Pieces D946 More info
Spannungen-Festival Jubildum [Box Set] More info
Brahms: Piano Quintet op34, String Sextet op36 More info
Mozart: Piano Sonata 10, 11, 12, Fantasias & Rondos More info
Beethoven - Symphony No 7; Triple Concerto More info
MOZART Piano Concertos No 21 C Major K467 No 27 B Flat Major K595 More info
Label: Australian Eloquence
Release Date: 28 Oct 13
FRANKURT RADIO SYMPHONY / PAAVO JÄRVI
Wolfgang Amadeus would compose in his workroom and music seemed to flow from his pen. Soon he would write the opera Le Nozze di Figaro in these same quarters. He had just put the finishing touches on a new piano concerto: festive C Major, luxurious scoring including trumpets and timpani (K467). It was premièred on 12 March 1785 during one of the so-called “academy” concerts. Leopold, the father, was present and could hardly curb his enthusiasm: “The concerto was sensational, the orchestra first-rate”, he wrote to his daughter. Piano Concerto K595 in B Flat Major is from 1791, the last year of Mozart’s life.
Robert Schumann: Violin Sonatas More info
Release Date: 10 Jan 14
Gramophone Recording of the Month, January 2014
Ondine is pleased to announce the second chamber music recording with violinist Christian Tetzlaff, featuring his long time musical partner pianist Lars Vogt.
With the selection of these violin sonatas for violin and piano by Robert Schumann (1810-1856) the artists show the development of the composer, including the third sonata that was neglected for a long time after Schumann’s death and only premiered in 1956.
Christian Tetzlaff has been considered one of the world’s leading international violinists for many years, and still maintains a most extensive performing schedule. Musical America named him “Instrumentalist of the Year” in 2005 and his recording of the violin concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), received the “Preis der deutschen Schallplattenkritik”.
Lars Vogt was appointed the first ever “Pianist in Residence” by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician.
The earlier release of Sonatas for Piano and Violin by Mozart (ODE 1204-2) with Tetzlaff and Vogt has won many awards, among them the Gramophone Editor’s Choice and the Recording of the Month, Chamber Choice, for BBC Music Magazine.
Frederic Chopin: Lars Vogt - Chopin More info
Bach: Goldberg Variations More info
Release Date: 10 Sep 15
Lars Vogt presents one of the classic works of the Baroque repertoire Johann Sebastian Bach’s (1685-1750) famous Goldberg Variations. Originally written for the harpsichord the Goldberg Variations, published in 1741, embody an Aria with 30 variations and a coda. Bach wrote the work for Johann Gottlieb Goldberg, who, as the narrative says, often played music as a cure for Count Kaiserling’s insomnia.
Larcher, Schumann & Bartok for Children More info
Release Date: 17 Jun 16
The pianist Lars Vogt – one of the great Mozart interpreters of the country, as well as an inventor and designer of unconventional programmes, has introduced 60 miniatures from three imaginative piano cycles of three different epochs, each dedicated to the children in its own characteristic way. Thomas Larcher’s “Poems” are a commissioned work from the “Tensions” festival organized by Lars Vogt in the Eifel region. It
was premiered in 2010 by Vogt and partly by his then eight-year-old daughter and has now been recorded by Vogt for the first time for CD.
Brahms: The Piano Trios More info
Brahms: Violin Sonatas More info
Release Date: 12 Aug 16
Gramophone Recording of the Month, September 16
Award-winning violinist Christian Tetzlaff together with pianist Lars Vogt offer an exciting program of Violin Sonatas by Johannes Brahms (1833-1897). This new release continues a successful series of recordings of violin chamber works by the artist duo. Johannes Brahms’ Violin Sonatas are among the greatest masterpieces in 19th century chamber music. Brahms wrote these sonatas between 1878 and 1888, at the height of his creative powers. With these powerful works Brahms brought the genre of violin sonatas into a new dimension. Included is also Scherzo movement from the F. A. E. Sonata which Brahms contributed to a composite sonata with Robert Schumann and Albert Dietrich in 1853.
Schubert: Impromptus More info
Release Date: 14 Oct 16
Following Lars Vogt’s hugely popular solo debut recording of Bach’s Goldberg Variations on Ondine the pianist’s new solo recording features much-loved piano works by Franz Schubert (1797-1828). The Impromptus D 899, Six German Dances D 820 and the famous Moments musicaux were written when Schubert was at the height of his maturity and they contain some of his most well-known pieces for the piano.
28 Jan 13 Vogt Live at Verbier Festival 2011 DVDMore info
“The sound recording is superb… throughout this demanding programme Vogt plays with wonderfully quiet hand, drawing the most lovely tone from the Steinway… [Schubert’s Piano Sonata No. 18] unfolds in an almost improvisatory reverie and I would buy the DVD just for Vogt’s handling of the last movement… How good to hear one of the least-played of Mozart’s miraclulous cycle and to have it delivered by Vogt with understated, stylish conviction.”
Jeremy Nicholas, Gramophone Awards 2012 Issue
01 Feb 13 BRAHMS Violin Sonatas: Vogt/Tetzlaff Wigmore Hall, LondonMore info
“…Long established as duet partners, violinist Christian Tetzlaff and pianist Lars Vogt turned to Brahms’s three Violin Sonatas for their latest recital. We have long been familiar in the UK with their individual interpretations of the composer’s concertos, much admired and rightly so. They played the Second Sonata in London in 2009: a performance of all three in one evening was a logical next step in their collaboration. Their Brahms is characterised by technical exactitude and a quiet intensity that avoids histrionics. The mix of metal and sweetness in Tetzlaff’s tone, particularly in the violin’s upper registers, precludes sentimentality. Vogt offsets moodiness with lucidity and a subtle sense of drama. It took a while, however, for them both to fully concentrate. The opening movement of the First Sonata – the most expansively lyrical of the three – could have been fractionally more focused. Things had settled by the time they reached the Adagio, however, and we were able to appreciate the warmth and finesse of Tetzlaff’s double stopping and the innate nobility of Vogt’s playing. The Second and Third Sonatas – begun concurrently, and, though finished two years apart, possibly intended as a contrasting pair – are closely wrought works, in which the players are required to function almost as one. The rapid dialogues of the outer movements of the Second were flawlessly negotiated, the Andante-cum-Scherzo exquisite in its finesse. The troubling Third Sonata, meanwhile, was marvellous throughout, with its quiet tension, subtly shifting dynamics and subdued lyricism. Tetzlaff was at his expressive best in the immensely moving Adagio. The encores opened with the theme and variations from Mozart G Major Sonata K379, ravishingly done, and close to perfection in its elegance and grace…”
30 Jan 13 MOZART Piano Concerto K451 BBC Symphony Orchestra/Jiri Belohlavec, Barbican Centre, LondonMore info
“…This was an enormously satisfying concert (broadcast live on BBC Radio 3): the combination of Mozart in display mode with Mahler’s Tragic Symphony (as it sometimes known) worked perfectly. It helped that Lars Vogt is the most perceptive of Mozarteans and Jiří Bělohlávek one of the finest Mahlerians. It was also a joy to hear the BBC Symphony Orchestra working hand-in-glove with its Chief Conductor giving a detailed account of a symphony which all-too-often is inadequately prepared.
Lars Vogt has that rare ability to surprise the listener with a sudden change of perspective. There was no pretence of profundity here, but, whilst this particular Mozart piano concerto is not amongst the greatest of them, K451 richly repays the craft of fine music-making. In its flowing Andante, Vogt resisted the temptation to over-inflate Mozart’s unpretentious material, yet dovetailed beautifully with the flute, oboe and bassoon so that the movement became almost a wind serenade with piano obligato, whilst in the finale there is an infectious gaiety and spontaneity which these performers caught like a butterfly on the wing.
Lars Vogt, most thoughtful of pianists excelled though, in the coolly charming central Andante and, above all, in the two (Mozart) cadenzas of the outer movements, rolled out with an evenness that added to the general sense of wellbeing….”
The Arts Desk.com
‘…One of the particular pleasures of these chamber concerts is the brief interview at their centre. Lars Vogt rightly used the expression “The soul is under attack” to describe these works, alluding to the Janáček as “full of blood”. In the Mists, itself an ambiguous title, dates from a period in the composer’s life when it was far from clear that his music would ever be accepted by the wider world. In these four aphoristic pieces Vogt caught perfectly the violent contrasts between the calm, hieratic moments and sudden violent eruptions, between lyricism and those jagged themes which suddenly hurl themselves out at the unsuspecting listener. This is music of dangerous unpredictability…”
The Classical Source
02 Mar 10 GRIEG Piano Concerto Los Angeles Philharmonic/Robin TicciatiMore info
“…Ticciati proved an equal partner in Vogt’s fascinating and gutsy traversal of the concerto. The pianist’s unorthodox phrasing, never mannered or wilful, made Grieg sound consistently fresh. He brought a powerfully rich tone to the showy outer movements. And his delicately shaded first movement cadenza, a mini-concerto all by itself, held the audience rapt.
Vogt and Ticciati took a risk by stretching the gorgeous central Adagio, but assisted by William Lane’s ravishing horn playing and the orchestra’s sonorous muted strings, they sustained its magic. At the conclusion, the audience stood for conductor and soloist. When Vogt returned for a solo bow, the Phil’s string players joined in by vigorously tapping their bows…”
Los Angeles Times
07 Aug 13 BEETHOVEN Piano Concerto No 4 Boston Symphony Orchestra/Denève, Tanglewood FestivalMore info
“…As soloist, German pianist Lars Vogt offered an unusually insightful, inward look into the Beethoven concerto. The effect might have been what Lang Lang was after.
Though Vogt’s playing had moments of brilliance, especially in the finale, it was broadly paced and free of pumped-up drama; the long first-movement cadenza ranged far and wide across many regions. From the bench in the finale, Vogt occasionally turned to the orchestra, urging it onward to greater heights…”
Andrew L. Pincus, Special to the Eagle
30 Sep 13 BEETHOVEN Piano Concerto No 3 St Louis Symphony Orchestra/DenèveMore info
“…Beethoven’s Piano Concerto No. 3 is a well-known quantity, but, in the right hands, a riveting one. German pianist Lars Vogt gave it an intense, effective reading both technically and interpretively, switching gears from the storms of the first movement to the delicate dreaminess of the second, then taking a breath and moving seamlessly into the the sun-dappled cheeriness of the third.
Denève and Vogt connected well with each other and with the orchestra. The tempos were spot on throughout, making for a satisfying reading…”
10 Jan 14 SCHUMANN: Three Violin Sonatas Christian Tetzlaff & Lars Vogt Recording - OndineMore info
Gramophone Recording of the Month, January 2014
“…What’s special about the reading from Tetzlaff and Vogt is that they’ve truly considered it in the light of the Second Sonata, in which Schumann’s metronome markings indicate that apparently lively tempi are actually not that fast. They make an utterly convincing and absorbing case for it, embracing the drama of the deeply unnerving opening movement, imbuing it with real rhetorical power, while in the finale Vogt makes the filigree piano-writing sound effortless – which is no mean achievent […] In the Allegretto middle movement of the First Sonata, the players superbly convey the fragility of the writing, the fleeting hints of happiness all too easily overcome by a doleful sadness. But it’s not just in the more delicate moments that these players impress so much. The effect of the opening of the first movement of No 1 is of a spontaneously wrought nervosity but listen more closely and you become aware of the myriad colours and subtle phrasing at play here […] This, quite simply, wipes the floor with the competition. If you have the slightest interest in Schummann’s chamber music, add it to your shelves.”
20 Jan 14 GRIEG BBC Scottish Symphony Orchestra Donald RunniclesMore info
“…Grieg’s Piano Concerto – the headline act – saw charismatic soloist Lars Vogt in authoritative, declarative mood, punching out the iconic opening themes with a free-flowing energy. There was an accompanying delicacy and lightness of touch though, particularly in the gorgeously limpid Adagio second movement – sublimely rendered, even if the orchestra had to strain a little in order to maintain contact with Vogt’s extravagantly nuanced phrasing. The dancing, folk-inspired third movement provided a rousing finish, and a beautifully serene solo encore of Chopin’s Nocturne in C sharp minor restored calm before the interval…”
Martin Kershaw, Scotland Herald
27 May 14 ELGAR/MOZART/BRITTEN/HAYDN Conducting - Zurich Chamber Orchestra Tonhalle Gesellschaft ZürichMore info
“…One can’t assume a gifted instrumentalist could happily fit into the shoes of a musical director. In the case of Lars Vogt however, one can. He brings an enthusiasm to conducting as if it were the greatest dream from childhood…” [TRANSLATION]
Tagesanzeiger Zurich, November 2013
20 Apr 15 JANACEK/SCHUMANN/DVORAK Conducting - Royal Northern Sinfonia Sage GatesheadMore info
“Royal Northern Sinfonia’s incoming musical director Lars Vogt returned to Sage Gateshead to unveil an exciting new classical season taking in a series of musical journeys and to give an audience a taste of what is to come.
Janacek’s Concertino was a fitting opening, with Vogt holding court over a small ensemble for an intimate musical encounter […]
Schumann’s Piano Concerto in A showcased Vogt’s impressive talents as both director and soloist […]
Vogt nursed the chamber music moments, with the orchestra sensitivity embracing his playing and responding to his every inflexion.The amorous dialogue between piano and orchestra in the slow movement had a natural grace and flowed seamlessly to a thrilling finale.Vogt moulded a masterful account of Dvorak’s Symphony No 8, investing each nuanced phrase with freshness and vitality.One could sense an electrifying connection between the RNS and their new director.Vogt has certainly won the hearts of players and audience alike in what promises to be a long and fruitful musical relationship.”
“Lars Vogt, Royal Northern Sinfonia’s incoming music director, talked, played and conducted his way into the hearts of his new North East audience in a concert designed to showcase both his world-class skill as a pianist and the more recent expansion of his talents into conducting […] In an evening of European music, the German showed contrasting sides to his piano playing, opening with Leos Janacek’s lighthearted Concertino […] Whilst Vogt faced the audience in the first piece, he turned 180 degrees for Robert Schumann’s Piano Concerto, as both lead instrumentalist and conductor.
As in the Dvorak symphony to follow, he placed the violins to his left and right, the cello section to the front and the wind section behind them in a semi-circle, resulting in a fine sound balance […] Antonin Dvorak’s 8th symphony, from 1892, was the showpiece of the evening […] My outstanding memory is of Vogt being at one with his new orchestra. It looks like the perfect marriage of youth, enthusiasm and musicianship, auguring well for classical music in our region…”
26 Aug 15 BACH The Goldberg Variations - Latest recording Recording - OndineMore info
”The German pianist Lars Vogt refers to this 75-minute work as a “sacred object”. Informed by period performance practice but playing on a modern grand, Vogt uses very little pedal and keeps ornaments clean and graceful. Textures are transparent. The simplicity, wit and honesty of his approach makes this a wonderful addition to the catalogue by a versatile musician – recently appointed music director of the Royal Northern Sinfonia at the Sage. Lucky them.”
Fiona Maddocks, The Guardian, 23 August 2015
”He is the thinking man’s Bach player: where Schiff will point out every appearance of the melody, Vogt is confidence that an attentive listener can hear through the harmonies and find the hidden gems. Each variation flows naturally into the next, and in doing so, the pulse of the music remains stable without ever being rigid. Vogt tells a story with a calm and beautiful piano tone, not least in the faster sections, where there are no hint of brittle machine-gun style. In short, this is undoubtedly the version to have if you want something other than Gould”
Pianist Magazine, 24 May 2016
10 Sep 15 Beethoven Mostly Mozart Festival Avery Fisher Hall, New YorkMore info
“The word “muscular” often came to mind while listening to the German pianist Lars Vogt perform Beethoven’s Piano Concerto No. 4 at Avery Fisher Hall on Friday evening. Mr. Vogt balanced a powerful touch that stopped just short of harsh in forte passages, particularly in the piano’s upper register, with a limpid delicacy, control and poise that proved striking in intimate sections.[…] The Mostly Mozart Festival Orchestra mirrored Mr. Vogt’s energy with dynamic, vividly etched playing. Mr. Vogt, who played Beethoven’s cadenza, rewarded the enthusiastic audience with a poetic rendition of the Larghetto from Mozart’s Piano Concerto No. 27.[…] At the Little Night Music program at the Kaplan Penthouse later that evening, Mr. Vogt offered late sonatas by Schubert and Beethoven, which he described as “not exactly entertainment music.” While introducing Schubert’s Sonata in C minor (D. 958), Mr. Vogt discussed the “Beethovenian dramatic impulse” and the very different concept of time in late works like this Schubert sonata, written in the last few months of the composer’s life and in a key favored by Beethoven for some of his most tumultuous pieces. Mr. Vogt’s playing in the Schubert C minor sonata wasn’t always as fluid as his performance of the concerto earlier in the evening, but it proved equally alluring for its contrast of tone and mood. His touch varied from delicate to forceful, conveying myriad shades in between. Mr. Vogt also spoke about Beethoven’s Sonata No. 32 in C minor (his final work in the genre), which concluded the program. He discussed its appearance in the Thomas Mann book “Doctor Faustus” and put it in context with other late Beethoven works, such as the “Grosse Fuge.” His performance of the sonata proved memorable, concluding with crystalline, elegantly flowing trills. “I know basically nothing can follow this, but I think there is a reason Beethoven called it Arietta,” Mr. Vogt said, referring to the second section of the sonata. As an encore, he offered an introspective rendition of the aria from Bach’s “Goldberg Variations.”…”
Vivien Schweitzer, The New York Time, 16 August 2015
11 Sep 15 Mozart BBC Proms Opening Concert 2015 Royal Albert Hall, LondonMore info
“…With Mozart’s great 20th Piano Concerto the evening suddenly acquired some heft. The beginning was one of those moments when the Albert Hall’s cavernous acoustic was actually welcome. It gave the rustling, anxious syncopations of the opening an enticingly romantic haze, and when pianist Lars Vogt entered with his wonderful lost, lonely phrase, it seemed more lonely than usual…”
“…the performance as a whole had intensity and embraced some beautiful interplay with the woodwinds…”
Paul Driver, The Sunday Times, 26 July 2015
“…Vogt’s first phrases, at once ruminative and imperious, raised it, however, to a different level. His playing was forthright, big-boned, remarkably intense, resulting in outer movements that were admirably moody, and a brooding, unsentimental account of the central Romance. Vogt also supplied the cadenzas – big, searching and a bit too Beethovenian for my taste, though done with wonderful weight and bravura…”
“…Mozart’s 20th Piano Concerto got a muscular reading from Lars Vogt (pictured below, by Neda Navae), often delicate but always definite. He employed very legato articulation to thread together the long melodic lines, a risky strategy in this acoustic, yet somehow he managed to retain the clarity. Oramo and the orchestra followed suit with a big-boned reading, warm harmonies from the strings and expressive solos from the winds. Yet there was as much discipline to this reading as expression. Tempos were often swift, especially in the finale, and rubato was always finely controlled. Vogt performed his own cadenzas, and these too were highly civilised, elegant and always keeping well within Classical conventions…”
Gavin Dixon, The Arts Desk, 18 July 2015
08 Nov 15 Beethoven Piano Concerto No 3 Boston Symphony Orchestra/NelsonsMore info
”…the thoughtful German pianist Lars Vogt served as soloist, bringing to the outer movements a fiery and visceral approach that magnified dynamic and rhythmic contrasts. But it was the rapt lyricism of the sublime Largo that proved the most rewarding. This movement, equal parts melody and reverie, always seems to inhabit its own private island off the coast of the rest of the concerto. Here the music was well-served by Vogt’s poetically inflected phrasing, his many fine gradations of piano, and his knack for conjuring a distant opalescent sound.”
Jeremy Eichler, Boston Globe, 10 October 2015
31 Mar 16 Trio Recital Tour Including New York, Boston...More info
“Rarely is an encore so well chosen as it was at Zankel Hall on Wednesday night. The fiery ensemble made up of the star violinist Christian Tetzlaff, the cellist Tanja Tetzlaff (his sister) and the pianist Lars Vogt had burned through Dvorak’s E-minor trio (“Dumky”) before intermission, so after a warm ovation at the end of the concert they returned to that composer with the Scherzo from his earlier F-minor trio […] Dvorak’s festive, soulful “Dumky” Trio, with its endlessly variegated surfaces, brought out the best in the group, both in passages of folksy energy and Wagnerian ethereal shimmer. The Tetzlaffs and Mr. Vogt are experienced in the Brahms trios, having released a fine recording of them last year, and on Wednesday they played the second, in C, with clearheaded pensiveness. In the third movement, as throughout the concert, even moments of repose always seemed ready to burst into action.”
Zachary Woolfe, New York Times, 25 February 2016“…Pianist Lars Vogt voiced the chords of the Adagio’s opening chorale-like segment with the masterful balance that marks a great Brahms pianist […] Reasoning that “there’s never enough Dvořák,” Christian Tetzlaff launched the second movement Allegretto grazioso from the Czech’s Piano Trio No. 3 in F Minor, Op. 65 as the encore. They gloried in the asymmetric phrases, always a little rhythmically off kilter, and played a more conventional Scherzo type movement with vigor and abandon. Applause descended from the crowd after the completion of the A section, then pianist Vogt mischievously grinned and started the Trio section, which featured snapping cello pizzicato and more weirdly syncopated violin phrasing. It was a nice summation of the evening—four warhorse representatives of the Central European chamber music literature given with a generous ear towards extremes of tempo, dynamics, articulation, and mood.”
16 Sep 16 Kodaly, Mozart, Mahler RNS Season Opening 2016/17 Sage GatesheadMore info
“The new classical music season at Sage Gateshead began with a night of brilliance and effervescence in the main hall, Sage One. The headline attraction was Mahler’s Symphony No. 4 but first up came Dances of Galánta, composed in the 1930s by the Hungarian Zoltán Kodaly […] It was a piece to put smiles on faces but this was, in any case, an infectiously upbeat concert with cheerful welcomes from the stage by both Thorben Dittes, director of the orchestra and the classical programme, and Lars Vogt, RNS music director and conductor […] Lars Vogt, conducting from the stool of the grandest of grand pianos, said he had loved Mozart’s Piano Concerto No. 27 since childhood. The affection shone through his playing and the audience held its breath. In this hall a finger can fall softly on a single key and the sound will reach the furthest ear. Simply beautiful.The Mahler took up the second part. “One of the most gorgeous pieces of all time,” Vogt had said. The German maestro wasn’t wrong […] the applause was long and warm after soprano Rebecca Evans had sung the song (written by Mahler a few years earlier) which comprises the symphony’s fourth movement, a child’s view of Heaven. Vogt was back on the podium for a piece which gave every section of the augmented orchestra a chance to shine – and the generosity with which the German directs appreciation to all his players is nice to see. This was a triumphant start to the so-called RNS at Home series…”
30 Sep 16 Beethoven/Dvorak Triple Concerto Sage GatesheadMore info
“The Tetzlaff siblings joined their close friend Lars Vogt, directing Royal Northern Sinfonia, for an invigorating evening of music-making that showcased their individual and collective talents at Sage Gateshead. […] The evening was rounded off with the three friends combining their formidable skills in Beethoven’s Triple Concerto. Vogt moulded a wonderful introduction from RNS, allowing each phrase to breathe, before the soloists entered. Beethoven gives the cello the dominant role and it was played with a steady authority by Tanja, accompanied by shimmering bowing from her brother and Vogt’s scintillating presence at the keyboard. A sense of joy was shared by all in a finale that brimmed with energy. The encore, Dvorak’s Piano Trio in F minor, rounded off a wholly satisfying evening.”
Gavin Engelbrecht, The Northern Echo, 4 October 2016
10 Jun 16 Mozart/Sibelius Conducting - Royal Northern Sinfonia Sage GatesheadMore info
”Vogt unfurled the kaleidoscopic patterns of Sibelius’s single-movement symphony with immense control, and with his characteristic attention to every detail, beginning with the carefully alert timpani beats and double bass notes in an intimate reading of the opening phrases: in their exposed passage in this first part, the middle strings sounded as if they were playing chamber music. Later in what could be described as scherzo passage, the music swung and danced, with a rhythmic sense of purpose.”
Jane Shuttleworth, Bachtrack, 11 June 2016
17 Mar 17 Beethoven Conducting - Royal Northern Sinfonia Sage GatesheadMore info
”Vogt mapped out the nocturnal slow movement with the predatory tread of something beautiful and dangerous.”
★ ★ ★ ★ Alfred Hickling, The Guardian, 19 March 2017
”This was the perfect platform for Vogt to showcase his fast, involving yet precise playing. All of his part was committed to memory, giving him total performance freedom whilst still allowing close control of his orchestra along the way.
We witnessed a man at the top of his game, demonstrating skill and total passion for the music.”
Rob Barnes, ChronicleLive, 18 March 2017
Royal Northern Sinfonia
In September 2015 Lars Vogt was appointed Music Director of the Royal Northern Sinfonia.
His second season at the helm explores Beethoven’s concertos – the five piano concertos, the Choral Fantasy and the Triple Concerto together with Christian and Tanja Tetzlaff, all of which also being recorded for the Ondine label. This season will also include the orchestra’s first tour to Asia.
Discussing his first season as Music Director with this fabulous Chamber Orchestra, Lars writes in the Guardian about how “small is beautiful…”
Click here to download the full article.