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Raymond Tuttle
Fanfare, March 2017

In these readings, which one might call highly “interpreted,” Vogt has used the scores as mere starting points. Much of his phrasing, dynamic gradations, and decisions about color, touch, and tone seem to come from reading between the lines, or from wanting to present the music to listeners as he hears it internally. Vogt has definite ideas about Schubert and Schubert’s music… This is music that reflects despair, presentiments of death, and attempts to self-comfort.

This is recommended, unless you are under treatment for clinical depression. In that case, you might want to ask your doctor first! © 2017 Fanfare Read complete review

Huntley Dent
Fanfare, March 2017

Whenever a performer displays such finesse and feeling, the listening experience rises to a higher level. Vogt has always been what I’d describe as a touch pianist but without the finickiness that irritates me with Lupu and Schiff in their Schubert. The whirling Impromptu No. 2 is done with plenty of consideration for its finer points, and the turbulent middle section has Beethoven’s inwardness in mind. The dreaming melody of No. 3 is handled with a lovely tenderness and delicate rubato. The stop-and-go hesitations of Impromptu No. 4 are expertly knit together with the flowing line. In all, a wonderful set to rival Uchida, Perahia, Lewis, and yes, Brendel, who was at his best in this music. © 2017 Fanfare Read complete review

Bruno Repp
American Record Guide, March 2017

Lars Vogt (b. 1970) is one of Germany’s most eminent pianists and a fine Schubertian. While the pieces on this program, apart from the German Dances, are familiar and have been recorded many times, Vogt’s interpretations need not fear comparisons. His ability to play quietly and thereby create a rapt atmosphere must be especially commended. © 2017 American Record Guide Read complete review on American Record Guide

Hugo Shirley
Gramophone, December 2016

Much of the playing is forthright and determined. There is some quiet playing of lovely stillness, too, such as in the wistful pianissimo major-key passages in the First Impromptu (at 3’42”, for example), even if most drops in volume tend also to herald drops in tempo.

Matters improve a great deal in the Fourth Impromptu, though, where Vogt’s rippling, silvery touch is especially beguiling. He also seems a great deal more settled in the Moments musicaux, which receive a very fine performance. There’s more wonderful pianissimo playing in No 2, a pleasing, jaunty jerkiness to No 3’s rhythms and real excitement in No 5. Vogt is more convincing too, if rather po-faced, in his take on the Deutsche Tänze, where he is happy to let the notes do the talking in a way that he’s reluctant to in the Impromptus. © 2016 Gramophone Read complete review on Gramophone

Oliver Fraenzke
Pizzicato, November 2016

Lars Vogt is a convincing Schubert performer, and if there is a lot of warmth in his playing, which does however not avoid the abysses of the music. © 2016 Pizzicato

Hank Zauderer
My Classical Notes, October 2016

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. © 2016 My Classical Notes Read complete review

David Denton
David's Review Corner, October 2016

Lars Vogt is one of the most interesting pianists of our time, the searching interpretations he has placed on disc continuing with this Schubert collection. He sets the scene in the Four Impromptus where his wide dynamic range goes down to a gentle pianissimo that in itself has many differing gradations. His fast fingers ripple effortlessly through the Second, though he has shown in the First that he is not someone who hurries through lyric passages he wishes to savour. Maybe here and there you will question some moments of rubato, and throughout the work you have the feel of someone playing to themselves and trying out the interpretive possibilities while we eavesdrop. Now and then he cherishes a particular moment, shaping rather than free-flowing the rippling music in the Fourth. In the German Dances he is more ready to let their simplicity rule, his view being that Schubert intended them to be sensitive and tender, introducing a moment of rustic joviality in the Fourth. Those who treasure, as I have done, Mitsuko Uchida’s somewhat wilful recording of Moments musicaux, will equally enjoy Vogt’s use of a personal view that carries such utter conviction that it eventually makes others look divested of tonal colour and beauty. You will again have to allow for a highly personal approach to some passages both in terms of tempo and rhythm, especially so in the popular Third, but it is a vision of the work I commend to you. The recording made in conjunction with German radio is superb. © 2016 David’s Review Corner

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