Piano & Conductors

Lars Vogt

Music Director, Orchestre de Chambre de Paris

Principal Artistic Partner, Royal Northern Sinfonia


© Giorgia Bertazzi


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 over 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 from September 2015 has been Music Director of Royal Northern Sinfonia at Sage Gateshead, a position which he has held for five years with the 2019/20 season marking his final season before he becomes Principal Artistic Partner of the orchestra. In October 2019, Lars was announced as the next Music Director of Orchestre de Chambre de Paris, commencing this appointment on 1 July 2020.

As a conductor Lars has also worked with many leading orchestras, including the Cologne and Zurich Chamber Orchestras, Orchestre de Chambre de Paris, Camerata Salzburg, Deutsche Kammerphilharmonie Bremen, Hannover Opera Orchestra, Frankfurt Museumorchester Warsaw Philharmonic, and the Sydney, Singapore and New Zealand symphony orchestras. In May 2019 he undertook a highly acclaimed tour of Germany and France leading the Mahler Chamber Orchestra including concerts in Berlin, Munich and Paris.

During his prestigious career Lars has performed with many of the world’s great orchestras including the  Concertgebouworkest, Orchestre de Paris, Santa Cecilia Orchestra, Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunk Munich, Staatskapelle Dresden, Wiener Philharmoniker, London Philharmonic, London Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Boston Symphony and NHK Symphony.

Lars Vogt’s new solo album release is dedicated to the piano works of Leoš Janácek (1854–1928), one of the most original voices among the 20th century composers. This album includes three of the composer’s most well-known and most extensive solo piano works. These works by Janácek are marked by deep melancholy and passion. They manifest the composer’s rich inner world through a musical language that remains to be timeless.


From The Green Room

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    02 Feb 20 Beethoven Symphonies Nos. 8 & 9 Royal Northern Sinfonia
    Barbican's Beethoven Weekender

    ”…Vogt brought such intense, focused energy to the finale of the Seventh that the audience’s cheers felt like an entirely natural discharge of tension.”
    Richard Bratby, The Spectator, 8 February 2020

    ”Vogt and the RNS seemed to have the most fun, spiky accenting and boisterous spirits prevailing in both the Eighth and the Seventh. […] the performances bristled with such infectious energy. The Seventh’s Allegretto was reverential without dragging its feet, and the Scherzo ricocheted around the orchestra before a tremendously high-spirited finale.”
    Mark Pullinger, Bachtrack.com, 2 February 2020

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    01 Nov 19 Brahms Piano Concerto No. 1 Royal Northern Sinfonia
    Recording - Ondine

    ”Leading his Royal Northern Sinfonia from the piano, Lars Vogt offers a bold and brilliant D minor Concerto, paired with finely detailed solo Brahms.
    Gramophone Magazine Editor’s Choice, 2 January 2020

    ”The music-making is nothing short of sensational […]This is a bold Brahms D minor with immense character, audacious and courageous. It is also perhaps the most sensitive and subtle reading of the score in recent memory. A wealth of seldom-heard orchestral detail emerges…

    The four Op 10 Ballades round out the recording, each imbued with a distinct character so apt that you’re left wondering how so many interpreters have failed to grasp their telling details.

    Lars Vogt has always been a pianist of remarkable gifts but over the years his artistry has risen in stature in ways one scarcely could have imagined.
    Patrick Rucker, Gramophone Magazine

    ”Lars Vogt digs deep in the dark Four Ballades, and in the composer’s First Piano Concerto, in D minor, achieves a close rapport with his players.”
    David Cairns, The Times, 24 November 2019

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    19 Aug 19 Solo Recital
    Edinburgh International Festival

    ”…it was an expertly paced and structured recital,[…]. Vogt began immersed in the deep introspection and melancholy of Brahms’s Op 117 Intermezzos and Op 119 Piano Pieces, delivered with immaculate balance and clarity. He exploded into vigour, though, in Book One of the same composer’s Paganini Variations. But vividly, wittily characterised though they were, there was a hard edge to his virtuosity, a hammered quality to his power.”
    ★ ★ ★ ★  David Kettle, The Scotsman, 20 August 2019


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    05 Aug 19 Mozart/Beethoven Royal Northern Sinfonia
    Festival International de Piano de la Roque d'Anthéron

    “The music of Beethoven was sublime, and the concerto no.1 for Piano and Orchestra in C major, which opened the performance, went so well for conductor/soloist. The orchestra delivers what Lars Vogt asks of them. […] We particularly appreciate the Rondo-Allegro, ardent, intrepid! The piano parts are a beautiful delicacy because the conductor possesses a wide range of nuances.’’ [TRANSLATION]
    Pétra Wauters, Wukali.com, 6 August 2019

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    18 May 19 Mozart Momentum Play - Direct Mahler Chamber Orchestra
    Frankfurt / Berlin / Grenoble / Evian / Paris

    ‘’…Vogt very delicately made distinctions, especially in the quieter parts and teased out of the players of the MCO the structural contrasts of dark and light, heavy and soft in harmonious balance.
    …Vogt took even more risks with agogic resulting in the finest, thoughtful playing.’’ [Translation]
    Guido Holze, Frankfurter Allgemeine, 14 May 2019

    ‘’Vogt rages and sings, the orchestra argues and shines. ‘’ [Translation]
    Eleonore Büning, Der Tagespiel, 16 May 2019

    ‘’Lars Vogt, director from the keyboard, approaches the Piano Concerto No. 20 in D minor K. 466 and the Piano Concerto No. 21 in C major K. 467 with a rich imagination, perceptible from the first bars of the orchestral introductions of these two pieces. With a reservation in the gestures of arms and hands, he marks these compositions with a theatrical seal, revealing not only a wide range of nuances, with sharp dynamic contrasts, but also a dialogue between the various instruments or its various sections, for example between the first and the second violins.’’ [Translation]
    Maciej Chiżyński, Le Clefs ResMusica, 19 May 2019

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    07 May 19 Mozart Sonatas K280, K281, K310 & K333
    Release - Ondine

    Gramophone Best New Classical Albums: July 2019
    ”Perfectly controlled drama is paired with moments of deeply moving fragility by the pianist Lars Vogt throughout this beautifully played selection of spirited sonatas by Mozart.”


    ”This is richly communicative Mozart-playing, capturing a youthfulness touched with wisdom and undergirded by one of the most sensitive left hands around today. Experiencing it is akin to having made a new friend.”
    Patrick Rucker, Gramophone Magazine

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    04 May 19 Shostakovich Trio Recital with Christian & Tanja Tetzlaff
    Washington Library of Congress

    ”With low wrists he achieves vivid articulation and pliant phrasing. For him, the pedal is a coloristic device rather than an aid to legato; his left hand is one of the subtlest in the business.

    After an explosive scherzo, Vogt’s chords introducing the slow movement evoked sepulcher doors swinging open to reveal the ghastly inroads of decay inside. When it was over, the audience sat a good five seconds in stunned silence before erupting into shouts and applause.”
    Patrick Rucker, The Washington Post, 5 May 2019

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    02 Mar 19 Mozart St Louis Symphony
    Powell Symphony Hall

    ”The soloist in the concerto was German pianist Lars Vogt, playing with finesse and feeling to communicate the deep and vivid joy of Mozart’s music with a sound like liquid gold. He’s an elegant musician who carefully considers every aspect of the score; it was a pure pleasure to hear him again.”
    Sarah Bryan Miller, St. Louis Post-Dispatch, 3 March 2019

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    07 Feb 19 Beethoven / Brahms / Janacek Solo Recital
    Sage Gateshead

    ”The latest concert in Sage Gateshead’s Piano Greats series was entitled Lars Vogt’s Appassionata and, true to the description, the pianist made the work his very own in a recital showcasing his formidable talents.

    Vogt opened with restrained bars before unleashing the first stormy passage and going on to negotiate thrilling twists and turns with laser sharpness. ”
    Gavin Engelbrecht, The Northern Echo,  11 February 2019

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    21 Nov 18 Bach Solo Recital
    Auditori de Barcelona

    ”His Goldberg radiates a bright luminosity, is eloquent, and catches the listener with its range of colours and its extremely open sonority. It is Bach confronted with courage, with character, that seduces with its strength and dazzles with its virtuosity.” [TRANSLATION]
    Lluis Trullen, Revista Musical Catalana, 23 November 2018

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    26 Oct 18 Mozart New Zealand Symphony Orchestra conducting debut`

    ”…Vogt shaped its noble Haydnesque Adagio to perfection, and the musicians made the most of sprightly dialogues in undistinguished development sections…”
    William Dart, New Zealand Herald, 29 October 2018

    ”Lars Vogt, revealed himself as a musician of a really distinctive cast.

    …the Mozart Piano Concerto No.21 in C major K.467 was beautifully done, with host of small individual touches from both piano and orchestra […] Lars Vogt revealed himself as a Mozart interpreter of real distinction.”
    John Button, Stuff.nz, 27 October 2018

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    20 Oct 18 Mozart Singapore Symphony Orchestra conducting debut
    Victoria Concert Hall

    ”There was great forward momentum and energy throughout, and a sense that Vogt did not want the concerto to succumb to the saccharine-sweetness, but to allow it to flow with freedom and a hint of risk-taking.”
    Mervin Beng, The Strait Times, 21 October 2018

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    05 Oct 18 Dvorak Piano Trio Nos. 3 & 4 Christian Tetzlaff & Tanja Tetzlaff
    Recording - Ondine

    Shortlisted for Gramophone Chamber Award 2019

    On Gramophone best new recording list of December 2018

    ”This disc sounds, and feels, like a recording born of love, and I urge you to listen.”
    Richard Bratby, Gramophone Magazine, 30 November 2018

    ”Chamber music-making of a highly superior order…”
    Gramophone Magazine Listening Room, 19 October 2018

    ”The technically outstanding trio […] delivers a stunning account of Dvorak’s trios, with one really new, multi-layered view of the music.”
    Uwe Krusch, Pizzicato, 28 November 2018

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    23 Sep 18 Royal Northen Sinfonia 60th Birthday Gala
    Sage Gateshead

    ”Vogt’s experience as a pianist has obviously taught him plenty about the importance of balance and textural clarity; enlivening qualities also in another neo-classical showpiece, Prokofiev’s Classical Symphony.”
    ★  ★  ★  ★  Geoff Brown, The Times, 25 September 2018

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    09 Jun 18 Beethoven Royal Northern Sinfonia
    Sage Gateshead

    ”Vogt led RNS through a performance that had a convincing overall coherence across the symphony. The hushed opening bristled with agitation and a feeling of daring exploration…”
    Jane Shuttleworth, Bachtrack, 10 June 2018

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    15 Apr 18 Mozart/Grieg/Schumann Frankfurter Museumorchester
    Alte Oper, Frankfurt

    ”[…] he led the fast movements so exhilaratingly, without neglecting the transitions and breaks. The Larghetto formed a longer resting point before it went to the stormy Scherzo. The tension came through in the Stretta-Coda, in which, all according to plan, there was no stopping. The prelude beforehand of the 17-year-old Mozart’s unique Symphony in G-minor was promising. The thematic contours were precisely and sharply articulated, brought alive by the imitating bassoons in the Andante. The major trio of the minuet was also noteworthy, which made full demand of the orchestra’s horn section.

    Then followed the highly anticipated play/direct performance. Grieg’s Piano Concerto certainly meets both sides of Lars’ artistic standards. […] An obviously careful rehearsal helped them get over any problematic parts so the splendour of this widely appreciated piece could develop unhindered as it grew in intensity towards the glorious Finale.” [TRANSLATION]
    Gerhard Schroth, Frankfurter Allgemeine, 16 April 2018


    ”Vogt performed grippingly and full of spirit and at every step there was a prominent but smooth sounding attack. The climaxes, especially in the first and last movements, came together like pearls on a virtuoso necklace. You could hear it was good for the orchestra to be challenged in this way. […] Robert Schumann’s first symphony, with a great deal of contrast and immediately a big hit, shows the listener the way to blossoming and verdant landscapes. The great optimism that underlies this progressive music was felt on this sun-drenched Sunday morning. In the orchestra there was a beautiful togetherness, everything was in its place – timpani, the piercing triangle sound, and of course the brass with well-prepared cues, and the strings.” [TRANSLATION]
    Matthias Gerhart, Frankfurter Neue Presse, 16 April 2018

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    02 Mar 18 Beethoven Concertos 2 & 4 Recording: Royal Northern Sinfonia

    Gramphone Best New Classical Albums: May 2018
    An enjoyable cycle reaches its conclusion in considerable style – the rapport between Lars Vogt and his Northern Sinfonia feels natural and joyous after a rewarding journey.”

    ”What we experience in the Second and Fourth concertos is Beethoven the improvising virtuoso working hand-in-glove with his alter ego, Beethoven the visionary and seer; and it’s this very conjunction which Vogt and his fellow musicians explore in what are as imaginatively alert realisations of the two concertos as I have heard in many a long year.”
    Richard Osborne, Gramophone Magazine Review

    ”a beautiful example of soloist and orchestra in perfect accord.”
    Gramphone Listening Room, 16 March 2018

    ”The delicacy and expressive rubato of the strings’ reply to the soloist at the start of No 4 shows that theirs is a true partnership. Vogt’s direction is as masterly as his playing. I can’t recall a finer account of this celestial work. No 2’s opening movement is a real allegro con brio, and Vogt cleverly integrates Beethoven’s much later cadenza into the style of the rest. A richly satisfying disc.”
    David Cairns, The Times, 18 March 2018

    “Quel goût des contrastes! Un album d’une vitalité – jusqu’à l’exubérance – salutaire.”

    “What a taste for contrasts! An album of zestful vitality, exuberance even.” [TRANSLATION]
    Bertrand Boissar, Diapason Magazine, June 2018

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    16 Sep 17 DVORAK Conducting - Royal Northern Sinfonia
    Sage Gateshead

    ”All the while genial conductor Lars Vogt, on his feet this time rather than at the piano, was crouched like a panther, controlling affairs.

    The climactic performance of Dvorák’s Symphony No. 9 in E minor, the ‘New World’, saw him in top form, drawing a wonderful rendition, full of light and shade, from his orchestra.”
    ★ ★ ★ ★ David Whetstone, Chronicle Live, 18 September 2017

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    17 Mar 17 BEETHOVEN Conducting - Royal Northern Sinfonia
    Sage Gateshead

    ”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

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    30 Sep 16 Trio Recital
    Sage Gateshead

    “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 

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    16 Sep 16 RNS Season Opening 2016/17
    Sage Gateshead

    “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…”
    David Whetstone, The Chronicle, 17 September 2016 

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    10 Jun 16 Conducting - Royal Northern Sinfonia
    Sage Gateshead

    ”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 

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    31 Mar 16 US Trio Recital Tour
    Including New York, Boston...

    “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.”
    James C. S. Liu, The Boston Musical Intelligencer, 3 March 2016 

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    08 Nov 15 BEETHOVEN Piano Concerto No. 3 Boston Symphony Orchestra/Nelsons
    Symphony Hall, Boston

    ”…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 

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    11 Sep 15 MOZART BBC Proms Opening Concert 2015
    Royal Albert Hall, London

    “…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…”
    ★ ★ ★ ★ Ivan Hewett, The Telegraph, 17 July 2015 

    “…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…”
    ★ ★ ★ ★ Tim Ashley, The Guardian, 17 July 2015 

    “…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 

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    10 Sep 15 BEETHOVEN Mostly Mozart Festival
    Avery Fisher Hall, New York

    “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  

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    26 Aug 15 BACH Recording: Goldberg Variations

    ”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 

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    20 Apr 15 JANACEK/SCHUMANN/DVORAK Conducting - Royal Northern Sinfonia
    Sage Gateshead

    “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.”
    Gavin Engelbrecht, Northern Echo, 19 April 2015 

    “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…”
    Rob Barnes, The Journal, 17 April 2015

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    27 May 14 ELGAR/MOZART/BRITTEN/HAYDN Conducting - Zurich Chamber Orchestra
    Tonhalle Gesellschaft Zürich

    “…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

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    20 Jan 14 GRIEG BBC Scottish Symphony Orchestra/Donald Runnicles
    City Hall, Glasgow

    “…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 

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    10 Jan 14 SCHUMANN: Three Violin Sonatas Christian Tetzlaff & Lars Vogt
    Recording - Ondine

    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.”
    Harriet Smith, Gramophone 

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    30 Sep 13 BEETHOVEN Piano Concerto No. 3 St Louis Symphony Orchestra/Denève

    “…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…”
    Sarah Bryan Miller, St. Louis Post-Dispatch 

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    07 Aug 13 BEETHOVEN Piano Concerto No. 4 Boston Symphony Orchestra/Denève
    Tanglewood Festival

    “…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

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    01 Feb 13 BRAHMS Violin Sonatas: Vogt/Tetzlaff
    Wigmore Hall, London

    “…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…”
    Tim Ashley, The Guardian 

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    30 Jan 13 MOZART BBC Symphony Orchestra/Jiri Belohlavec
    Barbican Centre, London

    “…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

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    28 Jan 13 Vogt Live at Verbier Festival 2011

    “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.”

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    02 Mar 10 GRIEG Los Angeles Philharmonic
    Robin Ticciati

    “…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


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    Leos Janácek

    Label: Ondine

    Release Date: 01 Feb 21

    On an Overgrown Path I In the Mists I Sonata 1.X.1905

    Pianist Lars Vogt’s new solo album release is dedicated to the piano works of Leoš Janácek (1854–1928), one of the most original voices among the 20th century composers. This album includes three of the composer’s most well-known and most extensive solo piano works. These works by Janácek are marked by deep melancholy and passion. They manifest the composer’s rich inner world through a musical language that remains to be timeless.

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    Brahms Piano Concerto No. 1

    Label: Ondine

    Release Date: 01 Nov 19

    Gramophone Magazine – Editor’s Choice January 2020

    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 2nd 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.

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    Mozart Piano Sonatas

    Label: Ondine

    Release Date: 10 May 19

    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 Piano 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.

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    Dvorak Piano Trios Nos. 3 & 4

    Label: Ondine

    Release Date: 05 Oct 18

    Shortlisted for Gramophone Chamber Award 2019

    Nominated for the ICMA 2018 Chamber Music Award

    This fruitful collaboration by three eminent chamber musicians, Christian Tetzlaff, Tanja Tetzlaff and Lars Vogt, brings together two Piano Trios by the Czech master, Antonín Dvorák (1841–1904).

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    Beethoven Piano Concertos 2 & 4

    Label: Ondine

    Release Date: 02 Mar 18

    Nominated for the ICMA 2018 Concert Award

    Gramophone Best New Classical Albums: May 2018
    This recording is the final volume in Lars Vogts new cycle of Beethovens Piano Concertos on Ondine. This recording includes Piano Concertos Nos. 2 and 4, two outstanding examples of Beethoven’s writing. Conducting Royal Northern Sinfonia from the keyboard, Vogts 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.

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    Beethoven: Piano Concerto No. 3 & Triple Concerto

    Label: Ondine

    Release Date: 13 Oct 17

    Lars Vogt continues his cycle of Beethoven’s Piano Concertos with the Royal Northern Sinfonia with this second volume in the series. The recording also includes Beethoven’s Triple Concerto where Lars Vogt is joined together with his longtime artistic partners Christian Tetzlaff and Tanja Tetzlaff.

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    Beethoven: Piano Concertos 1 & 5

    Label: Ondine

    Release Date: 01 May 17

    Lars Vogt continues his Ondine recordings with a new cycle of Beethoven’s Piano Concertos. Conducting the Royal Nothern Sinfonia from the keyboard Lars Vogt shows the brilliance and the beauty of these two majestic works of the classic piano concerto literature.

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    Schubert: Impromptus

    Label: Ondine

    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.

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    Brahms: Violin Sonatas

    Label: Ondine

    Release Date: 12 Aug 16

    Gramophone Recording of the Month, September 16

    Winner of the ECHO Klassik Award for Instrumentalist (Violin)

    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.

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    Larcher, Schumann & Bartok for Children

    Label: C-Avi

    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.

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    Bach: Goldberg Variations

    Label: Ondine

    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.

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    Brahms: The Piano Trios

    Label: Ondine

    Release Date: 09 Jun 15

    Award-winning violinist Christian Tetzlaff and pianist Lars Vogt are joined with Tanja Tetzlaff on this exciting new recording of the Johannes Brahms (1833-1897) Piano Trios.

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    Frederic Chopin: Lars Vogt - Chopin

    Label: Deutchelandfunk

    Release Date: 24 Nov 14

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    Robert Schumann: Violin Sonatas

    Label: Ondine

    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.

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    MOZART Piano Concertos No 21 C Major K467 No 27 B Flat Major K595

    Label: Australian Eloquence

    Release Date: 28 Oct 13


    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.

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    Mozart: Sonatas For Piano/ Violin

    Label: Ondine

    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.

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    Vogt Live At Verbier Festival 2011

    Label: Euroarts

    Release Date: 30 Jul 12

    Recorded live at the Verbier Festival in 2011, German pianist Lars Vogt plays a selection of works by Janácek, Schubert, Beethoven, Brahms, Mozart and Chopin. Gábor Takács-Nagy conducts.

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    Beethoven: Piano Concertos 1 & 2

    Label: EMI

    Release Date: 23 Apr 12

    City of Birmingham Symphony Orchestra

    Sir Simon Rattle

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    Tchaikovsky: String Quartet 3; Shostakovich: Piano Trio 2

    Label: Avi

    Release Date: 19 Sep 11

    Christian Tetzlaff /Lars Vogt / Antje Weithaas / Tatjana Masurenko/ Gustav Rivinius

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    Brahms: Viola Sonatas op120; Schumann: Marchenbilder

    Label: Avi

    Release Date: 12 Aug 11

    Lars Vogt / Rachel Roberts

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    Schumann & Elgar Piano Quintets

    Label: C-Avi

    Release Date: 11 Nov 08

    Vogt / Tetzlaff / Weithaas / Szulc / Masurenko / Rivinius / Bohorques

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    Franck: Sonata in A, Saint-Saëns: Violin Sonata

    Label: EMI

    Release Date: 07 Jul 08

    Lars Vogt / Sarah Chang

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    Schubert: Piano Sonata 21 / 3 Piano Pieces D946

    Label: Avi-Music

    Release Date: 06 Jun 08

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    Spannungen-Festival Jubildum [Box Set]

    Label: CAvi-music

    Release Date: 18 May 07

    Lars Vogt and Friends

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    Brahms: Piano Quintet op34, String Sextet op36

    Label: Avi

    Release Date: 09 Sep 06

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    Mozart: Piano Sonata 10, 11, 12, Fantasias & Rondos

    Label: EMI

    Release Date: 01 May 06

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    Beethoven - Symphony No 7; Triple Concerto

    Label: LSO Live

    Release Date: 04 Apr 06

    LSO / Haitink

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.