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Michael Greenhalgh
MusicWeb International, November 2018

Taking the first movement of Piano Concerto 2, freshness is the key to Lars Vogt’s Beethoven. It combines clarity, urgency and flair. The piano solos are in turn jocular, athletic and then show touches of graceful refinement, or tellingly point significant changes of harmony. And you feel the pianist and orchestra’s joint ownership of the proceedings. © 2018 MusicWeb International

Jerry Dubins
Fanfare, September 2018

This [Fourth Concerto] may just be the most sensitively played, most moving account of the Fourth Concerto I’ve ever heard. …I’ve concluded that it has to do with his [Vogt] weighting of phrases and individual notes, both in the piano and the orchestra, through agogic stress and release, and the shaping—sculpting would be a better word—of dynamics.

Buy this for the truly memorable Fourth. © 2018 Fanfare Read complete review

Huntley Dent
Fanfare, September 2018

Lars Vogt completes his well-received Beethoven cycle with this disc of Piano Concertos Nos. 2 and 4. There’s nothing new to report, but it was a pleasure to once again hear the virtues critics have praised in the previous installments: strong pianism with bold contours, a skillful chamber orchestra…

Vogt attempts something similar in the Fourth Concerto, to which a common adjective, “feminine,” no longer applies. He hears the score as equal in force to the “Emperor” Concerto. © 2018 Fanfare Read complete review

Stephen Wright
American Record Guide, September 2018

Here Vogt as soloist and conductor reveals an assertive and interesting personality. His delightful Concerto 2 is effervescent and affectionate, woodwinds and horns prominent, producing a playful chamber music intimacy like Mozart’s mature concertos. Vogt’s pianism is by turns bold and coquettish, but always lambent and warm, always a sensual pleasure. Apart from the ambitious cadenzas, if I heard this in passing I’d assume it was Mozart. A real delight. © 2018 American Record Guide Read complete review on American Record Guide

Michael Quinn
Classical Ear, June 2018

Vogt playing with relishable brio to offer an intriguing commentary on shape and detail. The outer movements of the Second, the fleet, fluid finale especially, brim with vitality, the Adagio rich and warm, the overall effect balancing classical poise and posture with Vogt’s more energetic and unabashed conviction in its presaging of future triumphs. © 2018 Classical Ear Read complete review

Alex Baran
The WholeNote, May 2018

Both concertos [Piano Concertos Nos. 2 and 4] are a delight to hear but the Concerto No.4 really shows the composer as a mature tunesmith. The players sound as if they take some special delight in driving forward the powerful rhythms of this concerto. Vogt is brilliant at the keyboard. © 2018 The WholeNote Read complete review

Michael Greenhalgh
MusicWeb International, May 2018

Vogt’s piano version immediately decorates the march with vivacious twirling and adds a leisurely, curvaceous phrase. The tutti orchestra emphatically present the march in full blaze and add their own extension. The woodwinds are eager to share the piano’s second theme. The heavy boots of orchestral chords are matched by bristling piano semiquaver cascades but suddenly softened to velvet slippers before the boots return. © 2018 MusicWeb International Read complete review

Richard Osborne
Gramophone, May 2018

…given that Vogt is currently Music Director of the Royal Northern Sinfonia, the rapport between the soloist and this highly accomplished band of musicians is everything it should be, and more. These are marvellous performances, and the recordings, derived from live performances at Sage Gateshead, serve them well. © 2018 Gramophone Read complete review on Gramophone

Phil Muse
Audio Video Club of Atlanta, May 2018

One thing you notice about Vogt’s Beethoven is his absolute mastery over the sequences of notes, even approximating actual glissandi, that come across with crystal-clear purity, sometimes in bold relief and at other times like the enchanted tinkling of little bells.

The music gradually builds in intensity toward a sensational forte in which the piano soloist seems to be galloping together in tandem with the orchestra, an irresistible surging of vital energy and joy. As Vogt sees and interprets it, the effect is more as if two different worlds were colliding, with a creative energy that carries through all the way to the end. © 2018 Audio Video Club of Atlanta

James Manheim, April 2018

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. © 2018 Read complete review

John Suchet
Classic FM, March 2018

This recording is the final volume in Lars Vogt’s new cycle of Beethoven’s Piano Concertos. This recording includes Piano Concertos Nos. 2 and 4, two outstanding examples of Beethoven’s writing.

Conducting Royal Northern Sinfonia from the keyboard, Vogt’s fresh interpretations of the Beethoven concertos have been widely welcomed, and recently he was nominated for Artist of the Year 2017 award by the Gramophone magazine. © 2018 Classic FM

David Mellor
Classic FM, March 2018

This exceptional disc draws attention to the partnership between the pianist/conductor Lars Vogt and the Royal Northern Sinfonia, Classic FM’s orchestra in the North-East and at the Sage, Gateshead, Vogt is their Music Director.

Vogt is a Beethoven specialist, but I don’t think he has ever made a better album than this, in terms of the poetry and insight of his playing, and the response he gets from the orchestra. © 2018 Classic FM Read complete review

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